DAY6 started 2020 with the release of the mini-album The Book of Us: The Demon and the title track Zombie. However the promotions for the album and title track were halted even before the official release of the mini-album and title track due to the health of two of the members. While the two members (Sungjin and Jae) continue their recovery, the remaining members (Young K, Wonpil and Dowoon) have come together to form DAY6’s first subunit, Even of Day. The subunit makes their debut today with Where The Sea Sleeps and the mini-album The Book of Us: Gluon.
Where The Sea Sleeps brings the band back into the ballad realm. We have heard multiple ballads from the band (as a whole) before via their Every Day6 Project. That was three years ago. And while we have heard ballads as a side track from the group, a main promotional ballad is definitely a nice change. Where The Sea Sleeps is a very touching ballad. Interestingly, the emotional content in this song isn’t as much as I had expected. But yet, the vocals are quite delicate and there is still a bit of that emotional tinge to their voice that makes the lyrics more impactful. Wonpil and Young K takes the helms for the vocals and flawlessly sing their way through this ballad. I found their vocals to be very soothing, calming and captivating to listen to. The best past has to be their harmonising high note at the start of the final chorus was amazing to listen to, though Wonpil’s vocals at the very end of the song is a very close second. Oh, if you are wondering, the lyrics is all about reassuring their lover or friend that regardless of what the day holds, they will always be by each other’s side. The instrumental is slow, but it ticks the box as that swaying effect measure that I mention often is present in Where The Sea Sleeps. I liked the heaviness that the drums bring to the song, giving Dowoon a chance to shine in a genre in which drummers rarely get the opportunity to stand out. The start of the bridge was an interesting moment, where they seem to bring in synthesised drums (?), which is what sets this unit apart from their usual works under the name of DAY6.
I had expected we would be getting some acting from the trio. But surprisingly, we have presented with an animation which complimented the song’s lyrics and atmosphere very nicely. Each of the animals in the music video represents a member. The dog is Dowoon, the rabbit is Wonpil and the fox is Young K. They build a rocket ship and blast themselves into space. However, they run into some asteroids and their spaceship blows up, causing each the members to drop to the ground. Eagle eyed fans note that Sungjin (the bear) and Jae (the chicken) makes an appearance in the video during this part, with Dowoon holding the missing members very tightly during the turmoil. We then see Wonpil sinking in the ocean and he imagines himself drifting away on a boat, with the rest of the members (Jae and Sungjin included). Young K and Dowoon wakes him up and using a compass with the MyDay’s logo (their fandom’s logo), they make it ashore. This last part was based on comments that I read, adding a nice message to include their fans in the video (that with MyDay, DAY6 cannot be lost).
Song – 10/10 Music Video – 9/10 Overall Rating – 9.6/10
After weeks of empty promises, I am finally going on a review blitz. I have cancelled the album reviews for this weekend in hopes to get these reviews out. First up on the list is DONGKIZ’s Beautiful comeback, which was dropped this past 19th of August. This Beautiful comeback comes after the release of All I Need Is You and Lupin earlier in the year (which I really enjoyed), along with the debut of a Jae Chan and Min Ik subunit, DONGKIZ I:KAN (which debuted with the single Y.O.U).
As much as I want to say that I am digging this song, I can’t really bring myself to say it because of Beautiful‘s chorus. To me, Beautiful had everything but a smashing chorus. The main hook and supposedly catchiest section of the song ended up sounding like an intense groan (‘intense’ because of the instrumental, ‘groan’ because of the way they sang the title of the song). I honestly cannot think of a better description to summarise what I thought of that section than that. It just felt like the producers of the song placed unnecessary and prolonged emphasis on the Korean word of ‘Beautiful‘. If the execution of the chorus was a lot punchier and less draining, then the song could have been another great one from the group. But unfortunately, that isn’t the case. And that is such a pity, as the verses were really well done. On top of the usual dance instrumentation we hear so often in KPOP, Beautiful manages to infuse some South-Western flair into the music. Different, unique and oddly captivating. It sounds random, but it manages to work. I also enjoyed the vocals during the pre-chorus and the concurrent climb in this section, as it felt like Beautiful was approaching a really cool and dynamic drop. If only we knew what was around the corner…
I felt that this could have been an interesting video, if the video had some sort of introductory sequence or an epilogue at the end of the video. I felt that could have filled in some gaps and so it didn’t need to jam the plot line into a three minute long video. Based from my understanding (and a reminder – my interpretation could be very wrong. So I am happy if you want to correct me or point out some details that I may have missed), the video seems to revolve around Wondae, who seems to be struggling with the idea of inner beauty. The lyrics are all about unmasking and being ones self. The other members seem to try to stop him from doing so, as they seem to be a barrier of some kind (they seem to be doing a lot of haunting, and based on an earlier scene they were the ones masked not Wondae). That is my understanding of the video and I am unclear if he actually ‘unmasks’ at the end of not. I did like the darker atmosphere of the video, despite everyone else saying that the group is conforming to the norm. I personally don’t mind darker atmospheres, as I do prefer them over the brighter concepts. I just wished they were given more time to tell the story.
There is a lot of good footwork and arm-work throughout the performance that makes it a complex routine. Otherwise, at first glance, it looks like the usual stuff we see with most male groups in the industry. They just need some of sort of wow factor in the performance to make this routine memorable. I particularly like the first pre-chorus section of the choreography, which looked really cool on stage.
Song – 6.5/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 7/10
In my previous review for BLACKPINK’s earlier release this year (How You Like That), I mentioned that we would need to see the actual release of their studio album in September, given YG Entertainment’s past inability to deliver on their promise for releases associated with the group. That statement still stands, though it still looks hopefully given that we have their second single of the year, Ice Cream, as promised by their company. However, the album release has been pushed back to the start of October. But fingers crossed that 2020 will be the year that BLACKPINK finally gets their album.
In the meanwhile, let’s review their latest release, Ice Cream. The track is mainly English, but there is a rap sequence that is in Korean. Hence, I am categorising it as a Korean release and not an ‘International Song Release’. I personally don’t mind this song overall, but there are some parts that I am iffy about. Let’s start on the positives. Ice Cream joins a growing list of high profile names performing alongside high profile KPOP artists, with Selena Gomez singing alongside BLACKPINK in this song. And I feel like Ice Cream is predominately English to accommodate Selena’s featuring. I would have enjoyed the song more if it wasn’t torn between the two languages and that the rapping sequence at the bridge was in English, given that Lisa was already rapping in English earlier in the track. I liked the simple melody of the chorus, which helped make the song quite catchy and addictive for me. I might even catch myself humming along to the melody of this song in the coming weeks. The pairing of BLACKPINK and Selena was enjoyable, which I found to be surprising outcome given that I wasn’t sure how this collaboration would go. The instrumental, while typical by today’s KPOP standards due to the use of the trap elements, is quite vibrant and playful. So far, everything seems to exude youth and I quite like less intense side of the group. Now onto what I am exactly not too sure about. The biggest issue for me is Lisa’s raps. They seem a little too crude sounding for a song like this. I felt that if they toned it down, stepped back from the whole hip-hop breakdown that was going on and inserted some of that playful tones that we got in the chorus, it would have been more fitting and sensible. And the ‘Ice Cream‘ at the end just felt unnecessarily drawn out. It should have been short and sweet. But overall, Ice Cream is a refreshing and cooling treat for the fans.
I know that given the current circumstances of the world right now, YG Entertainment couldn’t bring Selena Gomez to Korea (or BLACKPINK to the U.S.) for the filming of the music video. I really would like to see what the music video would have been like if the collaboration were together as a group. That would have been epic. Aside from that wish, the music video did a good job of fusing the two halves of the video (with one half shot in the U.S. and the other half shot in Korea) to make it one whole video. I do note that Selena’s scenes were a lot better, in comparison to the sets that BLACKPINK shot in. They just looked a lot more interesting and captivating. Fashion-wise, I think I could say the same thing. Additionally, I do like how those youthful and playful charms were portrayed and were not over-complicated with a whole heap of cutesy scenes, which seems like the default in Korea.
We haven’t got much of the choreography, though it is amazing to see a lot of dance covers on YouTube for this release. It definitely shows BLACKPINK’s influence and how great this song is! I will return to this review if we are gifted with a performance or dance practice. I will also update that other review I promised to return to review the choreography, but I still haven’t yet.
Song – 9/10 Music Video – 8/10 Performance – To Return (if there is a performance/dance practice) Overall Rating – 8.6/10
Apologies once again for the delay posting of this review.
By far, KARD is one of the few artists that have been quite consistent with their music releases. Somehow their work always seems to come of as quite fresh and unique. This may be attributed to their co-ed formation, which enables the group to capitalise on dynamics that traditional male or female groups would be unable to. And while this has proven to be quite successful on the international front, the group hasn’t really made much of an impact on the domestic front, for the exact same reason. It seems that GUNSHOT, their latest title track from the single album, Way With Words, seems to be their last shot as a quartet for the next two years, as J.Seph’s impending military enlistment looms.
GUNSHOT sounded a little odd to me, at first. And that is simply because it is a lighter release, in comparison to their heavier songs we have heard from the group previously, such as Dumb Litty,Bomb Bomb and Red Moon (their most recent release prior to this comeback). But after multiple listens over the last few days, that feeling of oddness has disappeared and I am left with a satisfied afterglow with GUNSHOT. Aside from lighter nature of the song, there are a few other differences with this song. compared to their last few releases (mentioned above). GUNSHOT is a vocally-centric track, stepping back from their intense EDM dance sounds and their rap-dominant tracks. As a result, the focus for this group is on the female members (the vocalists of the group), with the male members not receiving as much limelight this time around. I quite like this change up, as we get to hear KARD from a different perspective this time around. And additionally, the song comes off a lot more melodic, which I find suitable for the song’s message of ‘using words as bullets’. I did wish J.seph and BM’s parts had just a bit more intensity to them, just to make their sections more memorable. The instrumental still is in the realm of EDM, but it isn’t as profound. Somehow it still manages to come off as intense and powerful, which might be due to the combination of everything else. The one thing I just for are bolder gunshots to really make GUNSHOT‘s chorus more captivating and jaw-dropping. What we got suffices, but the gunshots seemed masked by the rest of the instrumentals.
For the first time ever, we have an official theory for the music video! KARD sat down to explain the video and you can watch it here. Truthfully, I am still a little confused but this is what I got out of the explanation. Essentially, there are two worlds in the video. The first world, where everyone is wounded and surrounded by cameras, is a world where everyone follows the rules. The second world is where the members are criminals. The actions of the second world hurt the members in the first world, where both worlds are connected by cameras. This is an elaborate way of saying the actions of one person on one side of the world affects a person on the other side of the world, through the power of social media. The comments a person make can potentially be harmful and hurt another. A very interesting take on this scenario. At the end of the video we see the both Jiwoo from the first and second world the same scene. First world Jiwoo takes a paper gun and shoots the second world Jiwoo. KARD’s video explains it in two manners. The first is karma. What you do will always come back to yourself. The second explanation is that scene is in the first world Jiwoo’s imagination, as it is unlikely for the both of the Jiwoo’s to come into contact and that we can’t really do much in reality. It is definitely an interesting video and one worth deciphering, as I actually had a different theory in mind. Aside from the plot, what I like the most about this video are the members’ acting, especially in their psycho mode.
The choreography looked really cool. I really like the gun action they keep on pulling when they sing the title of the song. I also really enjoyed how powerful the dance moves were, making it captivating to watch. All the members did wonderful with their routine, though I can’t help but be drawn to J.Seph throughout the performances.
Song – 8.5/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8.8/10
Upon the disbandment of the groups created by the infamous Produce series (i.e. I.O.I and Wanna One), the public eagerly anticipated each member’s next move. But it is clear that the members most anticipated is ranked in the very top spot (and subsequently became the centre member). The latest person to join the ranks of Jeon Somi and Kang Daniel is Kim Yo Han, who debuted in the short-lived X1 group last year. Most of the X1 members have since gone to debut as a solo artist, join a group or go into acting. Kim Yo Han is doing all three of those. He made his solo debut yesterday with No More (the focus of today’s review), has been scouted for future acting roles and has been confirmed to be part of the lineup for WEi (which is due to debut later this year). So no doubt we will be seeing Kim Yo Han a lot more in what is left of 2020.
I didn’t follow X1 (or Produce X 101) closely, so I am not exactly sure what each member’s strengths are. So I am relying on my subpar research skills to inform me on that front. Based on online profiles, Kim Yo Han was the lead rapper and vocalist of the group. He doesn’t have powerhouse vocals, but he can sing. However his voice didn’t stray away from how he started, resulting in No More sounding quite monotone as a result. This approach, accompanied by the instrumentation (which I will talk about later on) dulled out the song for me. His singing does deliver one of the most catchiest moments of the song, the melodic ‘No More~‘ line during the post-chorus hook of the song. That kind of caught on from my first listen to the song yesterday. So I will give him that. But for the most part, I was left disappointed on that front. Moving away from the song’s dullness, you can tell that his ultimate skill is his rapping. He inserted much more expression and flair in his rapping (compared to his vocals), which tells me this is when he feels more comfortable in this mode and I wished the song just went with a rap dominant approach from the start. What I felt could have been improved with this was was the instrumental. No More‘s R&B-centric backing lacked vibrancy and colour. It could have had more of a kick to it, potentially giving Kim Yo Han an opportunity to showcase a stronger delivery of both vocals and rapping throughout the song.
The song is about reaching out to a crush and awaiting for a response. And we see him being nervous throughout the video while talking on the phone, figuring out what to wear and trying to find the right words. Apart from the scenes that make sense, there is bunch of others that I don’t really understand, such as Kim Yo Han on a small motorcycle. This might just be a cutesy thing, to infuse some of his youth into the video.
I am usually not a fan of the cutesy stuff, such as those motorcycle scenes above. However there are some exceptions from time to time. Given that the song isn’t anything serious or hefty in any way, the more aegyo-based dance moves for No More fit in nicely. To me, for the choreography, it seems playful. The cheek tapping move fits with the music, though I am not too keen on the shaking.
Song – 6/10 Music Video – 7/10 Performance – 7.5/10 Overall Rating – 6.6/10
As per the Tuesday schedule, it is time for the next Past Album Review (PAR). This week, the artist I have chosen to focus on is 2PM. It has been been a while since we heard from the legendary male group from JYP Entertainment. Their last official full-group comeback was back in 2016 with the album I had chosen to focus on today, Gentlemen’s Game, which features the title track Promise (I’ll Be). We will probably be hearing some good news about music releases from the group soon, as the members are slowly coming back from their military enlistment. In the meanwhile, here is an album review to revisit and satisfy any 2PM cravings you may have. If you are after mature and sensual songs, this album is for you!
Gentlemen’s Game Album Cover
1. Promise (I’ll Be) (Title Track) – The combined review score was 6.5/10. Upon looking at my records, I originally gave the song component a 8/10, which contributed to the combined review score. Click here for the full review of Promise (I’ll Be).(8/10)
2. Uneasy – I really like the brewing nature of the verses in Uneasy. You just know that great things in the song are coming your way when they are slowly building to it in the verses. In Uneasy’s case, we get an amped up chorus, continuing that momentum that the verses had begun and built upon. The instrumentals are quite similar between the two sections. While I would usually make a comment about the song being consistent in this case, Uneasy manages to change things up slightly to keep the sections different. There are three differences: the subtle blast of energy when the choruses begin; the change in vocal techniques, such as Nichkhun’s falsetto; and smooth melodies. The bass gives the song a metrosexual type of appeal and binds everything together in a satisfying manner. (10/10)
3. Give U Class – Give U Class is another slow burning track. It delves into the R&B genre, infusing trap into the instrumental. Typical at the time of the album’s release and typical even now. As a result, I don’t find this song to be much of a standout instrumentally. What Give U Class does extremely well is the focus on the vocals and raps. The members shined in this song. But I don’t think anyone topped Jun.K’s delivery of his lines. When he sings in the chorus, you can hear the yearning behind his voice. And he ends his chorus lines with a short rap sequence, which definitely is a highlight. Other members that surprised me (in a good way) include Taecyeon and Nichkhun’s vocals and Wooyoung’s rap sequence that he wrote for himself in this self-penned track. (7.5/10)
4. Make Love – Make Love doesn’t waste any time, with the lyrics going straight for what exactly the title alludes to. Paired with the lyrics is a funky 80s instrumental. But this is no energetic retro spin, which is what KPOP is quite well known for. The song still remains sensual and mature as the lyrics are. The most I can be see being done with this track are body rolls. Aside from the falsettos we get in the chorus, there isn’t much in the vocal department to comment about. It is essentially what I had expected. The rapping could have been less cringy (sorry Taecyeon), as the opening line to the rap seemed to be a little more childish than 2PM mature, if you catch my drift. (7/10)
5. Without Trying / All Night Long (시도때도없이) – I find Without Trying to be rather dimensionless. While I do acknowledge that there is sophisticated nature to the R&B instrumental, it just doesn’t offer anything new or exciting about 2PM. In more blunt terms, I find the song to be quite dry. All the members may sound nice in this song, but I don’t hear or remember any memorable moments from the song. I also don’t enjoy that squeaky baby voice that pops up every now and then in the song. Sadly, a skippable track in my opinion. (5/10)
6. Never – 2PM re-approaches R&B with a more successful stride in Never. The instrumental, once again, enters typical land for me, though I do like the electric guitar. The instrumental also feels a little more upbeat, which I find enables for a decent choreography to be performed on stage alongside this song. I find the members vocals to be a lot smoother in Never. The melodies are quite dreamy and appealing this way. It also gets me to sway along to the song, which you may know is something I look forward to in a good ballad. Never is no ballad, but that measure can be broadened to other types of songs. The rapping also gives the song a little punchiness, which would make it sound really amazing on stage. I particularly liked how low the rappers went with their tone in this song. (8/10)
7. Humming (콧노래) – We divert slightly away from the typical R&B instrumentals for something a little more jazzy. I am already liking this change up. The song starts off with some nice harmonies from the members. Both the jazzy nature of the background and the harmonies kick off Humming in a warm manner. I liked how the harmonies continued into the rest of the song, but I felt they could have held back a bit with the quantity of harmonies we had by the time the song wrapped up. It felt like it was overdone and something so nice should have been used sparingly, so we wouldn’t get tired of it. The most surprising moment of the song goes to Jun.K, who has a really smashing and bold rap sequence in the bridge of the song. He does it in a way that fits the jazzy nature of the song perfectly, so there is no mismatch of tempos or style. (7/10)
8. How Is It? (어때?) – How Is It? reenters the funky domain, cutting the string of R&B tracks we just came from. Like most funky tracks, I am enjoy the energy that comes from it. It just makes me want to dance. I just like how the chorus had a bit of everything when it comes to the instrumental, making everything quite enjoyable and appealing to listen to. The only part of the song that I am not keen on is the bridge. It attempts to fuse trap together with the funky retro and this doesn’t come off as well. But other than that, it is a fun track. (8/10)
9. Perfume (향수) – Perfume steps away from the funkiness of the last song, but still stays within the boundaries of the retro genre. The main draw point of the song has to be the drums in the instrumental. Usually, it is synths or guitars that are the main centerpiece of instrumental, so it nice to hear drums as the main star, for once. This makes Perfume unique and distinctive. Everything else is quite enjoyable. The vocals, rapping, melodies, hooks. The lot was extremely pleasant, contrasting with the slight harshness that the drums bring to the song. (9/10)
10. My Last – My Last tethers between ballad and R&B genre. At certain points, we could say the song conforms to balladry. At other parts, the instrumental gives off a R&B feel. But that is fine, as the song comes together really nicely. There is a lot of velvety vocal moments in the song, such as Junho’s beautiful falsetto during the bridge/final chorus, Taecyeon’s rap (it didn’t feel out of place and felt somewhat refined enough for this song) and Jun.K’s ad-libs at the end of the song. All very appealing and enjoyable. (8/10)
11. Can’t Stop The Feeling– The final song on the album is brings back that jazzy feel that we heard earlier on in the album. Can’t Stop The Feeling seems to bring it up the notch and make it the main style of the instrumental. The brass and the low strings that we are so good. And those piano and electric guitar solos we get just before the song fades out! Too good! The members sound good in this song, like in most of the album above. For me, Taecyeon’s rap steals the show. I find this interesting, as I don’t find the genre to be the best match for him. However, his section is deep and has an upbeat kick to it, which made him more captivating than the rest. I also liked it when they all harmonise together with Jun.K leading at the end. Based on its position, I am giving it a hidden gem title. (10/10)
Overall Album Rating – 8/10
Wooyoung Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Taecyeon Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Nichkhun Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Jun.K Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Junho Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Chansung Teaser Image for Gentlemen’s Game / Promise (I’ll Be)
Burning their way to their first comeback today is CRAVITY, who is returning with the title track Flame. If you missed this group’s debut, they are the latest addition to the Starship family and made their debut with BREAK ALL THE RULES back in April of this year. The group followed up their debut promotions with Cloud 9, which was a side track from their first mini-album, HIDEOUT: REMEMBER WHO WE ARE, which I have also reviewed. Let’s see if CRAVITY latest comeback is worth adding fuel to keep alight, or whether it is better to extinguish now.
Excuse my bad pun at the end of the introductory paragraph. But I thought it would make my review a little more interesting. To answer that dilemma, Flame is worth keeping alight. Though, I may have thought it was be best to extinguish it, given that Flame doesn’t offer anything new to what we already hear consistently. There are a few elements in the song that keep it alight and they should become apparent as you continue reading this paragraph. It starts off with these hollow and soft taps that plays throughout the first verse. I liked them as they add a little refreshing aesthetic to the instrumental. They poke through the rest of the song’s instrumentation every now and then, which keeps that aesthetic continuing in the song. Unfortunately, the rest of the instrumental reverts to something a little more typical. It was a generic intense instrumental spiel. There isn’t anything wrong with this, as the atmosphere was still quite good. But I would have expecting something a little more dynamic and captivating, given that was what those hollow taps alluded to in my mind. I also think the generic nature caught onto the vocals and rapping, as they could have been more explosive and powerful in this song. While I did think things got generic, I did enjoy the vocal melodies in the chorus, particularly the second half of the chorus. There are also some good hooks that keep this song in my mind, even after all those generic thoughts about it. Overall, Flame could have been better in many senses, but it just has enough to justify maintaining the flame.
While I may have used ‘generic’ as a word to describe the song, it isn’t a word I would used to describe this the music video at any given moment of its three and a half minute span. Just from opening sequence, we get a bit of futuristic and apocalyptic vibes. I feel that there might be a story line embedded somewhere throughout the closeups or a connection to their previous music videos, given that these mini-albums are a series. Aside from that, you can tell that the production value of this music video is extremely high. The quality just looks so good! The editing was amazing and the post-production gives off a cinematic aura. And of course, amber orange is the main colour of focus to match the title of the song.
While the choreography doesn’t really have anything that impressive, I still feel that it was a good routine. It matches with the music that we got. So if we got anything sharp or intense, I don’t think it would have been fitting for the song that we got. I would have said that they had overdone it. I did like how they got into formation for the start of the second verse and their suits looked quite elaborate, even though the suits were cut into.
Song – 7/10 Music Video – 9/10 Performance – 7/10 Overall Rating – 7.6/10
MCND is looking to be the most worked rookie of 2020. They kicked the year off with their unofficial debut single TOP GANG. The group returned two months later with Ice Age and then two months after that with Spring. Last week the group made their third comeback (fourth, if you consider their unofficial debut) with nanana and the mini-album Earth Age. While this might be tiring for the members, the multiple comebacks will hopefully pay off long term as MCND will be name that constantly pops up every few months, which will make them unforgettable. But that is only they continue this pattern, with reasonable breaks for the members to cool off in between.
But the five member male group is currently in the midst of the promotions for nanana, so we should continue this review post. nanana can be seen as either two entities: (1) a blastful concoction that has a thrilling momentum, or (2) a noisy mess. I just don’t see an in-between descriptor. Currently I am in the mood for something vibrant, energetic and bombastic, so I am very well in the realm of the first option. I find the song to be fun, powerful and intense thanks to its EDM instrumentation. This may be overwhelming for some, and I understand where those people are coming from. Personally, I would prefer that each section was a little more distinct, because I will admit that it seems like a blur. The verses, chorus and bridge all sound quite similar. The pre-chorus was plain, but it was probably the only section that provided relief to the listeners and it was much appreciated. To keep up with the energy and fast momentum, the members had to rap their way through the song. A bit typical by today’s standards, but I enjoyed the energy they channeled through it. In order to compete with the instrumental, the members had to delivery their raps in a shouty way. Once again, this can be overwhelming for some, but I enjoyed it. I also enjoyed the hooks of the song, which ended up being quite catchy. Despite it can be much from start to end, I find nanana‘s relentless nature to give it an overall dynamic vibe.
To match with the overwhelming nature of the synths in the song, the music video moves along quite quickly to match up with the tempo of the song. Though, aside from choreogeaphy and closeup, the only other thing to comment on about are the edgy sets. They have a bit of an intense flair to them, which keeps it aligned with the music video. I mean, flashy images on the screen and the stage was on fire. What more can you ask for?
Two things I like about this choreography. The first has to be how jumpy it looks. The second has to be how intense it looks, thanks to the music of course. I feel that if the song wasn’t too exhausting for them (i.e. the jumpy nature and the continuous shouty rapping), the members could have gone with more appealing and strong moves to highlight the song and their potential.
Song – 8.5/10 Music Video – 7/10 Peformance – 7/10 Overall Rating – 7.8/10
Kang Daniel has been busy this year with his musical releases. Earlier in the year, he started off with the release of Cyan and 2U. And earlier this month, Kang Daniel returned with his third mini-album Magenta (the focus of this album review post) and the title track Who U Are. As part of this R&B centric comeback, Kang Daniel enlisted four additional artists to feature in the mini-album. Jamie and Simon Dominic featured in his pre-release single, Waves, while Yumdda and Dvwn feature in a song each elsewhere on the mini-album. Continue reading this album review to find out which songs those two artists featured on and my thoughts on Magenta!
Magenta Album Cover
1. Flash – Starting off the album is Flash. The stormy start and end of the song (complete with rain and thunder) really pulls me into the song. The actual R&B EDM trap-based instrumental of the song is layered on top of that sample and then comes into full display as the main centre piece. I particularly enjoyed the pre-chorus change, which to me adds a dynamic kick to the song prior to the melodic chorus. This keeps the song interesting and eventful. It also pairs extremely well with a subtle yet intense atmosphere that also keeps the song suspenseful without the use of any dramatic synths. I feel that Kang Daniel’s vocals and raps are well displayed in this song. I do think Flash lacks a memorable hook, which would have made the song that little more attractive. But nonetheless, Flash is a cool and appealing start to the mini-album. (8.5/10)
4. Runaway (ft. Yumdda) – Runaway seems to be the odd-ball on this album. Everything else seems to delve into R&B, however Runaway has a reggae hip-hop infused sound to it. This gives the song an interesting dynamic and makes it sound very interesting. I also enjoy the energy that comes from the song, as it feels a little more upbeat. I appreciate this change up, given that R&B can be a repetitive genre at times. And the main star of this track sounds fantastic. There is more of a kick to Kang Daniel’s vocals and rapping, which makes the song enjoyable. However, Yumdda’s featuring was the weakest moments of the song. His delivery feels more like mumbles and I couldn’t decipher what he was delivering, even as I was following the lyrics. This may be his way of doing things, but I would have preferred with a cleaner featuring. (8/10)
5. Movie (ft. Dvwn) – I am aware that there is a music video for Movie, which dropped earlier this week. At this stage, I have decided to hold back with a full review for Movie and will hold the music video for a future Missed Music Video Review post that I have been continually promising. Movie is a R&B EDM-trap based track that is quite catchy. It feels similar to the first song on the album. This one just has a little more typical atmosphere to it. But that doesn’t really become a flaw, as Movie’s chanting hook is what really catches on and gives the song that addictive nature. To me, the hook has a bounce to it that makes the song so much more appealing. The energy behind the song isn’t explicit. Rather it is subtle and this makes it much stronger. Both Kang Daniel and Dvwn (the featuring artist) sound fantastic in this song. (9/10)
6. Night (밤) – Ending the album is probably Kang Daniel’s best display of vocals on this mini-album. There is a dreamy vibe to Night that makes this song so palatable. Once again, he delves into R&B for this track. No surprises here though, as R&B seems to bring out the good side of his vocals (as seen in all the songs on this mini-album). Facilitating the display of great vocals, as well, are smooth melodies that are so appealing to listen to. It just makes the song ideal for a chill session or a ‘kick back and relax’ situation. The instrumentation is light, so it definitely helps in making this song track calming and soothing. I do detect a slow rock type of vibe in the instrumental at the start of the song and I liked how they retained it for the chorus, giving it a unique touch. (9/10)
It has been a while since I have posted a review for non-Korean songs by KPOP artists. The last post was published back at the start of July and this mainly featured Japanese releases. With several KPOP artists releasing songs in English over the last two weeks, I thought it would be a nice to sit down and review them now, rather than wait a few weeks (as the original intention was to knock out a few other reviews from my ‘To Review’ list. Joining BTS, Sunmi, Wonho and WayV’s English releases from earlier in the year and EXID’s very recent Japanese release.
Dynamite – BTS
The first release to be reviewed on this list is also most recent release. Without a doubt, you probably have already checked out Dynamite despite it only being dropped yesterday. Dynamite is a funky pop track, tailored for the Western music industry. It is a fun and vibrant song that focus purely on the members’ vocals. Jimin’s high pitched vocals were amazing and even the rappers showed off their vocal capabilities effortlessly. It is super addictive, with the ‘Like A Dynanana‘ replaying constantly in my head. I have no problems with this track, given that they hit all the right notes and made it super appealing – not just to Western audience, but also the average KPOP listener. As for the music video, we are thrown back into pastel land and similar sets to what we saw in Boy With Luv. I don’t mind that we have a similar copy to a past music video, given the current global pandemic. I just don’t want it to be the default for BTS’ happy, energy filled and funky releases. The choreography isn’t a central piece of this comeback, but it looks fiting for the funky side of the song. It is a little different from what we get from BTS usually, but given the vibrancy of the song, it works like a charm. (9/10)
BORDERLINE – Sunmi
Sunmi dropped the unexpected music video for BORDERLINE earlier this week, as well. While the song has been known for a number of years now (Sunmi has previously performed BORDERLINE at her solo concerts and released its lyrics in 2019), the song has yet to be formally released. It seems like Sunmi is keeping this song to herself for the time being. BORDERLINE is a self-penned English track, that has this slow churning momentum that plays on the more sensual side of R&B. This is definitely new ground for Sunmi and it is nice to hear something different from her usual retro sound. The lyrics also zone into her personal stuggles over the years, making this an extra powerful song for her and her fans. Her vocal style were an excellent delivery mechanism for these lyrics, as you can hear how much emotions are behind the song. For me, it also made the song more thought-provoking. The music video is quite simplistic. Sunmi and her dancers are dressed in black and perform a very aesthetic interpretaive dance routine. The background was simply shadows projected into a wall. Everything was dark and it was hard to make out their faces, which I would say is suitable for the meaning behind the lyrics. Overall, a captivating and immenseful informal release of a song. (9/10)
Losing You – Wonho
Ahead of his solo comeback next month, Wonho pre-released Losing You last week as the start to his solo career. It is all in English, which is why it is being reviewed here instead of its own review post. Listening to the song the first around when it was released last week, I was speechless. It is a very emotional number, so prepare yourself. Lyrically, Losing You is all about him willing to putting another person (lover, friend etc.) ahead of himself regardless of the situation. Whether the song is directed to a former lover, his fans or to his former group members is all speculation, but damn these lyrics are definitely heartbreaking and very moving. The song is a R&B ballad, made up of the simple combination of piano and soft percussion. Wonho’s voice stuns and leaves me in awe. You can definitely hear the emotions behind his voice. I really like the extended ‘You‘ that features in the bridge of the song. The autotune seems unnecessary, but it is bearable. The music video is another dark video, but it was quite captivating to watch. Throughout this video, he is very emotional and lost. Every setting we see him in depicts the reflective road he took while he was on hiatus. At the end, we see two different scenes. Wonho standing in front of a car, telling us that he is still willing to sacrifice himself no matter what happens in the future. But we also see him standing in the midst of a sea of lights, which looks like mobile phones, suggesting that he will return to the stage soon (with the support of his fans, WENEE). (10/10)
Bad Alive – WayV
Despite being a subunit of NCT members, I have actually yet to review any WayV releases. That should hopefully change when I do a dedicated International Song Review post for just WayV and their 2019/2020 Chinese releases (some time in the future). In the meanwhile, WayV did release an English version of Bad Alive, one of the songs from their first Chinese studio album. And since that is a predominately English version (with some Korean and Chinese mixed into it), it has landed itself on this list for a review. Aside from the question marks that I would like to throw against the lyrics, Bad Alive‘s instrumental backbone definitely has a lot of potential. There are a lot of textural synths and high intensity in this trap-influenced piece. There also seems to be some hip-hop influence in the song as well. When it comes to their vocals, I feel that their voices are rather tame. I wanted more intensity and growls from the members to match the harshness and roughness of the instrumentation. What we got was decent, but not that powerful. I did like the layering, as that was differey. But amped up vocals and raps would have been appreciated. As for the music video, it is definitely overloaded with amazing visual of the members. The emphasis of red shows the fierceness of the members and I think that aligns with the image that I have come to associate with WayV through their most recent comeback in China. The sets were boxes, but they seemed fine in this video. The worst aspect has to be the white/gold jackets they wore over casual wear. They don’t go together. As for the choreography, powerful and masculine. Definitely going hand-in-hand with the fierceness mentioned before. (7.5/10)
B.L.E.S.S.E.D – EXID
The werid thing about EXID is that while they are considered inactive in South Korea, the group still needs to regroup for Japanese promotions as they are still under contract as EXID. This is a very interesting situation. But I am not complaining, since we get to hear more releases from EXID! B.L.E.S.S.E.D is an enjoyable pop track filled with a feel-good vibe. I like the slghtly jazzy vibe that the brass brings to the song. When the chorus comes into the play, there is a little kick to it and it feels like an cute anime OST, which adds to that enjoyable factor. I also like how all the member’s voices compliment the style choices. This also applies to LE, who is known for her nasally and harsh texture. But she fits into this song fine as her approach isn’t too serious, matching the song’s feel-good vibe. However, I do wish that some of the hooks/melodies that were just spoken/shouted in the chorus were more dynamic. I just wished they were a little more melodic and sung. The music video just shows the members doing some ordinary things while looking pretty. Nothing that really captivating and interesting to be honest. The group shots were nice, but that was essentially it to the music video. (7.2/10)
When I look at my ‘To Review’ list that I posted on Twitter the other week (Shameless plug – Follow my Twitter @kpopreviewed), One of the artists on the list is D1CE (or D-ONCE), who made their debut last year with Wake Up. The group returned with Draw You back in mid-June and more recently with One Summer just this week. Given that they have a more recent release, I thought I check D1CE first and both their releases today in a double review to knock two songs in one go.
As mentioned above, Draw You has been out for a while and so has been sitting on playlist for a while now. That length of time has really allowed the song to grow on me, as the song failed to capture my attention the first time around (otherwise, I wouldn’t have left it two months on the list). Draw You is a mid-tempo ballad track that doesn’t really go anywhere for me. This is a feeling that has remained with me since day one. Aside from showing us that they are a vocally capable group, Draw You doesn’t offer much excitement or jaw-dropping amazingness. There are some good melodies, the instrumental was pretty pleasant and I enjoyed the rapping moments prior to each chorus. These are the elements that have grown on me over time. If I had to just sum up the song in a short description, then ‘luke-warm pleasant’ would be the term I use.
One Summer is the more recent release, actually dropping just four days ago. The song belongs to the Summer category, given how upbeat and vibrant the instrumental feels. I really like that high-pitch reverse water drop like sound in the background. It is rather repetitive, but it was a nice detail in this otherwise typical instrumental. I also enjoyed the use of synths throughout the song, which helped in this vibrancy department. If the group continued anything from their earlier song, it would be the solid vocals and rapping potential It just would have been nice if their vocals and rapping were presented alongside catchy hooks and melodies. This is undoubtedly an important aspect of any song. You lack the right hooks and melodies, you pretty much dulled the potential. What we got was pretty typical and lacked excitement. One Summer had a good foundation, but it just disappointed me with its skippable momentum.
Based on the music video, One Summer doesnt seem like a formal comeback (I have yet to see a live performance for this release). The members just sit around sitting to the song and there is a bunch of closeups of the members to give the video some variety. It is the type of video where you seen it once, you have seen it all. I did like their focus on blue in the group shots and the one colour dominance in the closeup shots. But other than that, there isn’t much else to the video. As for Draw You, the music video is a lot more interesting, in the sense that there is more to it. It is a artistic video, with the lighting and colours giving off a warming feeling (despite the cool blue colour corner). This makes sense as the song was all about being able to draw someone they were attracted to, based on their memories from seeing that person. The special effects also helped with that artistic factor as well. I really liked the sky effects and the minimialist vibe of the set they were in.
Interestingly, Draw You doesn’t feature any choreography in the music video. I find the moves are fitting for the song’s seperate section, as the mid-tempo nature calls for a choreography. However, I feel that the moves could have been finetuned to feel more cohesive, given how they go into a more hip-hop vibe during the rap sequences, which didn’t blend as well with the less loaded vocal moments (i.e. verses).
Draw You Song – 7/10 Music Video – 8/10 Performance – 6.5/10 Overall Rating – 7.2/10
One Summer Song – 7/10 Music Video – 5/10 Overall Rating – 6.2/10
As per the Friday schedule, there is an album review coming your way. And the album being reviewed today is ATEEZ’s ZERO: FEVER Part 1, which was released a under a month ago. The album features the fan-chosen title track, INCEPTION, which the group has promoted for a while now. The alternative title track is THANXX and that was confirmed to be the follow-up promotional track that the group will promote with next week. Unfortuately, I have chosen to not wait around for the THANXX music video and this will be put on the Missed Music Video Review that I have been promising for a while now (don’t worry, it is coming!). But until then, you can check out my thoughts on THANXX and the other side tracks from their ZERO: FEVER Part 1 mini-album below.
Zero: Fever Part 1 Album Cover
2.FEVER – Picking up from the instrumental fade out of the first track (which simply a young voice reading a diary entry and setting the context for this Zero series) is FEVER. I find the FEVER incorporation into the preceding track to be a nice connection between the two. That aside, FEVER pairs the group’s usual dance sound with a sentimental tone. I liked this pairing as it feels well-balanced and doesn’t overwhelm with one or the other. There is a smooth texture to the song, which I feel wonderfully compliments the group and the song’s tone. I personally enjoyed the piano at the bridge and the chorus was very catchy to listen to. Great vocals and rapping from the members, as well. Definitely an ear-catching track that I am sure many will enjoy. (9/10)
3. THANXX – THANXX was the alternative title track that was not picked up as a title track, a decision made by ATINYs. However, we will be seeing the music video release and follow up promotions featuring THANXX in the near future. To me, THANXX was probably the better pick as a title track (out of the two). It had momentum and a powerful energy that ATEEZ would have flourished with on stage. I do admit that the song doesn’t offer anything new, sounding pretty much like the rest of their title tracks that we have heard from the group so far. The exception is the foreign flair that the guitar brings to the song at the start. There were some parts of the song where the members do amp up their sound, such as the bridge, which I find to be an amazing extension of their sound. (9/10)
4. TO THE BEAT– If the group wanted to opt for a different sound for the title track yet still be in the vicinity of their past releases, TO THE BEAT would have been a perfect pick. While I am usually not a fan of autotuned voices, the high pitch ‘To The Beat’ we get as part of the instrumentation adds an addictive sound. The rest of the instrumentation is texturally loaded with unexplored ground in KPOP. And given ATEEZ’s amazing choreography history, I am sure they would have had a spectacular dance break at the very end. The rappers do shine the most in this song but I also enjoyed the chorus where all the members would shout out the lyrics and the low-tone whispering, with the latter helping create a suspenseful and attention-grabbing vibe to the song. (10/10)
6. Good Lil Boy– Similar comments made regarding To The Beat could also be directed to Good Lil Boy. It also had a different vibe to it, allowing ATEEZ to offer something that aligns to their previous works but not give us the exact same flair. And I honestly think this would have been another great contender for title track status. What I really like about Good Lil Boy is how the tempo changes between the chorus and verses/bridge. The contrast is just so good. And the rush of energy really lifts up the urban hip-hop instrumental to a new level. I particularly liked the acoustic guitar in the pre-chorus, paired with light vocals and acting as a ‘calm before the storm’ scenario. Once again, vocals are great and the rapping had such good momentum to drive the song forward. (10/10)
7. One Day At A Time – One Day At A Time is a pleasant surprise. Not only is it the softest and lightest track on the album, it is also all in English. The R&B track definitely contrasts with the more loaded songs above it, but its softness is much appreciated, providing us with some relief. There is some heaviness to the song, coming in the from the thumping deepness. Other than that, everything else is soothing. Vocals, melodies and atmosphere. My only issue with the song is that the rapping felt a little too much for this song. It just didn’t feel fitting for this song. But other than that, a nice ender to the album. (8.5/10)
Giving off one of the most boldest impressions for a comeback ever, ONEUS utters one of the most well known lines in English literature for their comeback today. Ironically, ONEUS’ return with TO BE OR NOT TO BE is also a breath of new life to the group’s discography and story-telling, carrying on from their Road To Kingdom days, a show they participated in earlier this year to win a confirmed position on the upcoming and now delayed season of the Kingdom. This is also the group’s first official comeback since their A Song Written Easily comeback earlier this year.
ONEUS already has a discography full of powerful songs. But TO BE OR NOT TO BE overtakes, conquers and triumphs this discography without a doubt. Just with the initial listen, I was in awe with this new release. It had everything I had wanted and wished would come as the song progresses. The harsh and rough instrumental for TO BE OR NOT TO BE is a dramatic synth dance track, infused with rock elements at the right moments to give the song a much appreciated layer of textures. I also really enjoyed the brewing atmosphere that the song dives into for the suspenseful pre-chorus. The choppy melody that brings the pre-chorus to life is probably one of the best ‘on the edge of my seat’ moments of 2020. I also loved how the producers of this song amped up the final chorus, differentiating it from the rest of the song in a specticular fashion. It is what I desired for the final chorus as we got to it, dreading a return to the same chorus we had earlier (as this is what has been happening with a number of releases lately). Aside from the amazing instrumentation, the members blew me away with their amazing showcase of vocals and rapping. My favourite part has to be the pre-chorus that I had already mentioned, along with the ‘To Be Or Not To Be‘ post-chorus hook, which continued the choruses’ monentum in a subtle manner. I think that based on my prasies, you probably know where I officially stand with TO BE OR NOT TO BE.
Obviously matching the song’s atmosphere is the music video. I really liked the imagery and darkness. My type of atmosphere. Based on the story films for this comeback, the plotline of the story relates back to the Come Back Home video and fits into Greek mythology. I am not clever enough to break down the video to the fine details today (though this one seems interesting for a music video theory series). Some fans have already done the hard work in the YouTube comments. So below is one of the theories.
The music video builds upon this, though. We see the members being locked up (as stated in the second story film) and in the ‘light world’. As they had been locked up by Helios, their end goal is to free themselves. But the catch is told in the second story film. The members end up breaking the curse themselves by drinking the blood of the descendants (as foreshadowed, but I am not exactly sure what triggers this). They go back to steal the necklace from the first story film to regain their powers, their monarch title and to go back to protecting the people, who now need to suffer pain as a result to the their actions. Do note that this is just one of the theories and there can be many others. Another could be that while locked up, they were tortured by their memories of failed love and breakups, which lead them to breaking free and regaining their powers to ‘forget’ their past relationships entirely.
The choreography looks amazing. We don’t see much in the music video, as there was a whole cinematic storyline to tell. But the bits and pieces we did see looked amazing. It was powerful and definitely shows off an edgier and angsty side of the group that we haven’t seen before. Some of the formations looked really cool and some of the moves defintiely have a wow factor, such as that jump we see at the end (definitely something ONEUS had picked up and built upon during their Road To Kingdom days).
Song – 10/10 Music Video – 10/10 Performance – 10/10 Overall Rating – 10/10
Once again, apologies for the delay for this review.
Making their grand return earlier in the week was ITZY with Not Shy, which is featured as part of the group’s third mini-album of the same name. This comes after the group released the extremely catchy WANNABE earlier this year. Let’s see if Not Shy lives up to the standard that ITZY had created and instilled on all of their future releases.
Based on my own thoughts, the group does not go above and beyond that same standard they had set with WANNABE with this latest release. Not Shy lacks a certain energy to make it a blastful song. That, I believe, was a responsibility of the instrumental. To me, the instrumental was lacking and failed to bolster that punchy feeling that ITZY is known for through their releases and that was partly delivered by the vocals. And as odd as it may sound, I also found the typical instrumental for Not Shy to be rather loose. It just didn’t feel as tight as their past releases, which constantly felt full and loaded. I did like the use of the choppy brass. Though I wished it was much louder to add that blast of energy and colour that was needed. Regarding certain parts of the song, the one that I want to question the most was the repetition of ITZY’s name throughout the chorus. Was it needed and necessary? I don’t think so and it just annoyed me throughout the song. But other than that, everything else gets an approval nod from me. There were a number of catchy hooks. There was good vocal work and rapping in this song was quite good. All these elements would have benefited given a more profoundly dynamic backdrop. The main highlight of the song would have to be the bridge, which showed off Lia’s vocal chops and potential.
Shot in the desert, the members of ITZY are outlaws driving after a van carrying important and fragile goods. They are definitely Not Shy with their driving and threatening skills, as they catch up to the van that had a head start and managed to get the driver out of the car at gunpoint. The group drive the van back to their base and store the boxes in a freezer installed in the ground. The member, whilst performing their choreography and all their closeups, actually come off as quite edgy. I just wished the final credits stuck with that. I lowkey expected something dangerous like guns in the boxes. And if that was too extreme, then I would have expected some sort of expensive item or gold. But it turned out to be a bunch of cakes and desserts. So whatever touch image they had built for themselves in this music video ended up being dissolved once the video stopped playing with this innocent twist. Very typical for KPOP.
I really liked their use of space at the very start and during the first verse. This looked very cool and different from most performances, which tend to start with the focus in the middle of the stage/formation. I also thought they had good transitions between each formation throughout the performance and effortlessly moved to their new positions in a fast manner. As for their dance move, everything looked quite cool (given what they had to work with).
Song – 7/10 Music Video – 7/10 Performance – 9/10 Overall Rating – 7.4/10
Dream Catcher continues to explore the rock niche that they have created themselves through the release of their latest mini-album, Dystopia: Lose Myself, which features the title track, BOCA. To date, no other group has managed to overtake or compete with Dream Catcher in this niche market. It is a pity that they are not getting more attention in the domestic market. But it has been confirmed that their fanbase is growing with each comeback, their last being Scream. More recently, the group collaborated with the mobile game Girl Cafe Gun and released their second mobile game soundtrack, R.o.S.E B.L.U.E.
The last few title tracks (i.e. Scream and Deja Vu) that Dream Catcher has promoted have left me in awe within the last listen. Unfortuately, BOCA didn’t have that same initial appeal. It actually took a few listens to actually settle on an opinion for BOCA. I wished that BOCA had more of an electrifying vibe to the song. There is that fast tempo harshness that the electric guitars brings to the chorus. That is quite exciting in itself, but it didn’t feel enough. I wanted them to go that extra mile with it, especially in the final chorus, to give the song that extra edge and some differentiation from the preceding choruses. Aside from a high note, there isn’t much to really give the final chorus that much needed energy release and climax, and hence I found the song to be somewhat repetitive by the time they wrapped up. Everything else gets a massive tick of approval from me. I really enjoyed the verses as they brought a hip-hop vibe to the song, which I felt Dream Catcher has not really paired with their rock sound before. This is comes after a really nicely aesthetic ‘tututu‘ in the background for the first verse. The vocals throughout the song was just superb. Yoohyeon’s powerful vocals and falesetto that leads into the chorus, along with Siyeon’s high note at the end makes them standout in this song. On the topic of members, Gahyeon joins Dami as one the rappers in this song. That I thought was quite interesting and different, as I remember that Dami was the main rapper in all their songs. And their part was definitely rhythmic and added a much darker and edgier vibe to the song. Overall, there are some lacking elements that does weigh down the song. But BOCA still fits in with Dream Catcher’s work and proves their worth.
The visual game in this song is strong. That really jumped out at me when I was watching the music video. From their innocent and pure side (shown when the members are in dresses) to their dark and edgy side (shown through their choreography outfits), Dream Catcher looks stunning and jaw dropping in this music video. BOCA in Spanish means mouth and throughout the music video, you see a lot of ‘mouth’ references. The mouths are mainly taped up or covered, preventing people from speaking. Based on the lyrics as well, it seems like the music video shows the members are fighting against these people who just constantly judge them and provide hateful comments. Definitely a powerful message, suitable for a powerful video like this.
I really liked how the choreography represented the mouth. It connects the music video, song and performance in a clever manner. In addition to the mouth move, I really liked the circle formation that they form with the backup dancers during the chorus. It looked stunning when they started turning around Siyeon. The rest of the performance carries the intensity of the music quite well, making this another standout performance from the group.
Song – 8.5/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.1/10
Today’s album review is brought to you by Jeong Sewoon!!! A month ago in mid-July, Jeong Sewoon brought to us the first half of his first studio length album, 24. It features the title track Say Yes, which Jeong Sewoon has finished promoting, as far as I can tell. I have to start of by expressing how disappointed I feel that this album did not get much attention or fanfare. My initial listen to this album was one month ago (which is also when I decided that an album review for this particular album will be written up) and I have been left captivated since then! Even as writing this album review, I am still stunned and shocked at this album’s quality. To the point where I gave every song a rating higher than 9/10. I think that is a first and truly represents what I would call a ‘good darn album’. Well, have a listen to this ‘good darn album’ and see for yourself.
2. Don’t Know – Sometimes it is hard to articulate thoughts into words. for these album reviews. I find this to be the equivalent to being speechless. And depending on the situation, it can be either a good or bad thing. In Don’t Know’s case, me being speechless is definitely a compliment. I had to backspace my way through multiple sentences as I had no idea where to begin the review for this song. You have an amazing instrumental kicking the song off. All of the acoustic guitars, the drums, the electric guitar riffs and the tiny bits of saxophone that we get in the chorus makes this instrumental quite dynamic in its own way. Paired with Jeong Sewoon’s powerful vocals and beautiful melodies that make you sway along to the song, Don’t Know ends up being a standout soft pop rock ballad that steals my attention. (10/10)
3. Horizon – Horizon is a very smooth yet chill track that is very easy on the ears. The song highlights the velvety nature of the soloist’s voice, which just makes this song so captivating to listen to. The pairing of Jeong Sewoon’s with the backing vocals helps create a smooth tone that glides the song forward so effortlessly. As a result, the song’s atmosphere is just perfect for when you just need to escape from reality for just a brief, almost-three-minute period. I also liked the echoey effect that comes off his voice. It just makes the song feel more wholesome and aesthetic. (10/10)
4. Beeeee – We re-enter that upbeat territory that has been absent in the last two songs. Beeeee just has a feel-good vibe that just rubs off on you through the upbeat and slightly funky pop instrumental. In a sense, it is rather straightforward (yes, this is the best critical statement I can give this song). But it is still amazing, nonetheless. Great vocals, once again. Great beat. And great energy. (9.5/10)
5. O (동그라미) – O is a bluesy track with a nice acoustic guitar-based instrumental. It really like how the chorus ends with the harsh acoustic guitar strumming. It is a little different than what we usually get and I liked this uniqueness. Towards the end, electric guitars come into play. There is a whole solo devoted to its presence and I quite like that as well. As for his vocals, we have seen this side of Jeong Sewoon in the past, so there isn’t anything new on this front. Though, I do like this vocal route on this album. The inclusion of this song on the album does help fulfil a full rounded experience of Jeong Sewoon’s vocals, as the change of pace enables the spotlight to highlight a different side of Jeong Sewoon on this particular album. (9/10)
6. Hidden Star (새벽별) – The final song on the album covers the mandatory ballad that is featured on every single KPOP album. Hidden Star also continues the slow pace from the previous track and hence we are treated to a duo of songs to ease us off the first half of the album. The ballad is simply made up of two elements. The first being Jeong Sewoon’s vocals, which is amazing in this song. The second is a really beautiful standalone piano piece. I can see myself drifting to sleep with this song, knowing that I will have good dreams thanks to the riveting and stunning nature of Hidden Star. (9/10)
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