And now we skip back to a today release. DIA makes their comeback today with Hug U. This is a slightly different looking DIA, as the lineup for this comeback is only five members. If you know your DIA members, Chaeyeon and Somyi are absent from this comeback as they are currently taking a break, while Jenny left the group after their previous promotions (Woowa) due to an injury. Despite only being a five member lineup and the group is still promoting under the name DIA, their management and the five refer to themselves as a unit of the group. But that’s okay, as we will take any form of a DIA comeback, given that they have been absent from the stage since March 2019.
Hug U, to me, feels like they are returning to their early days. Unfortunately, I was looking forward to a track as dynamic as Woowa (their previous single) was. So I was a little disappointed to hear Hug U, initially (to an extent). I am also disappointed as their throwback to this earlier sound might not be a good idea, given that the group was never successful with it. But I am keeping an open mind with the new song. I like their delicate touch that they give the song throw their vocals. And based on their tone, it has definitely sounds like they have matured vocally. There is nice melodies and I can it becoming mildly catchy with multiple listens in the future. Instrumentally, I am not that excited with Hug U. There is a nice graceful touch and a level of prettiness to it, which matches the vocals. As mentioned before, I wanted something dynamic and energizing. Hug U‘s instrumental sadly doesn’t have that. They could have somehow infused some additional energy into the song, but given the dominant use of classical strings in the instrumental, that would be difficult to achieve. I feel like if I was looking for a song that as soothing and graceful at the same time, then this song might be for me. But that I am not into that niche and sadly, this song isn’t for me.
While the song wasn’t up my alley, I actually liked the music video. There is small yet good story to it, which made it worth watching. In this video, it seems like the DIA members are apart and doing their own thing, which may be the reality of over the last year or so. And they all look quite happy alone. Eunchae seems to be planning a reunion party of the members. And it seems like all the members are on board. Jueun, however, did look a little hesitant about going at first. But she is soon reminded of the fond memories during their time to go, so she ultimately decides to go. But it started to rain, which delayed her arrival. Eunchae was quite sadden that Jueun did not turn up at first. But she was definitely relieved when Jueun came late. The members ended up looking at their happiest together, showing their forever bond It feels relevant to the group, who may have experienced a similar thing event while setting up for this comeback. It is a pity that Chaeyeon and Somyi weren’t there, as a full group would have made it more emotional for fans. I also liked the choreography shots as well, as the members looked very pretty in their colourful dresses in those drone shots.
Naturally, their performance is a lot more graceful and pretty to match the song’s style. But I do note that while watching the performance, the song is pretty decent tempo, which allows for their moves to be quite quick. That being said, there is a bit of slowness at some parts, which also helps create a balance in the performance. This, overall, helps makes their choreography visually appealing and a strong point of this comeback.
Song – 6/10 Music Video – 8/10 Performance – 7.5/10 Overall Rating – 6.9/10
Another Monday release that I need to review. I think there is one more after this one, but I will hold that for tomorrow. Today’s focus will be on Super Junior K.R.Y, which is a subunit of Super Junior’s main vocalists – Kyuhyun, Ryeowook and Yesung. The unit made its debut back in 2006 with The One I Love and we last saw the three promote as a unit in 2015 with the release of the Japanese single, Join Hands. On Monday, the unit made their grand return with When We Are Us and their first ever mini-album of the same name. It is said that this comeback is the start of the many Super Junior activities we will see this year as they celebrate 15 years in the Korean music industry.
As Super Junior K.R.Y is made of main vocalists, it makes the most sense for the unit to go with songs that focuses on their vocals. And as I have stated a lot recently, the most typical way to do this is through a ballad. With that statement, you can tell that When We Are Us is a ballad, singing about longing for a loved one. It feels and sounds like your typical ballad, with those swaying melodies that I always enjoy in ballads and a beautiful instrumental made of the classical piano and strings. Vocally, I don’t think it is worth pointing how breathtaking they sound (FYI, they do sound amazing, as one would expect). They have already showed us long time fans and listeners of KPOP their vocal abilities through Super Junior activities and more recently through their solo endeavours. As for which section caught my attention, I didn’t find anything that memorable to talk about as it is that typical ballad. But as the song progresses towards its peak in the bridge, the song got very interesting very quickly. Sadly, it was brief but that is what you expect from the peak of the song. Here, the soaring vocals are layered on top of each other, before ending with high note harmony with all three members. The ad-libs that follow, along with the final set of harmonies ties the song together nicely. Overall, it is still a nice ballad. Just very typical in a nutshell.
I think I have mentioned this before. But Super Junior is such a senior group that they are well respected by fans and other artists that come after them. And with that mentality that their fans will continue to support them nonetheless, the music video can be dry as a bone. This is what we are experiencing here. Aside from some artsy shots with TVs positioned around them, the sets were incredibly lackluster. While I assume the swimming pool set was meant to offset the darker scenes of the member’s closeup shots and go hand-in-hand with their lyrics (i.e. references to the colour blue and Summer), I can’t help but note how empty it felt. I am not expecting flashing lights and club scenes to fill up the space, but there are many successful ballad music videos with a lot more substance within them.
Song – 7/10 Music Video – 6/10 Overall Rating – 6.6/10
While there are a few more Monday releases to review, I am going to skip them for now and move onto the Tuesday release. It is time to review WJSN’s Butterfly. We last heard heard from the group in November of last year with As You Wish. Not much has been heard from the group since that round of promotions aside from the fact that the members recently had their 2020 concert, Oblivate, in South Korea and Japan. Butterfly is the lead title track off the group’s eighth mini-album, Neverland.
I am not sure if Butterfly is marketed as a summer single, as it is featured on a standard mini-album rather than a special summer mini-album. But I find that Butterfly strays away from the group’s usual fantastical sounding releases in a similar fashion to what last year’s Summer hit Boogie Updid. Maybe that is a bit too extreme to say that they go in a complete different direction, as there may be that slight influence in the song. But what I do find is Butterfly is much more synth heavy and quite heavy with its instrumentation, overall. There is a good level of bass and I think there is a bit of guitar mixed into it. The instrumental isn’t overwhelming nor do they hold back with its energy. As a result, the song is very upbeat and feels very suitable for the season of refreshing energy and a neat follow up to BoogieUp. In addition to the song’s energy, I find the hooks of he song to be very catchy. They also feel quite bold over the top of the upbeat instrumental. And the members sound freaking fantastic in this song. Good job to Soobin, who handles the high note in Butterfly. I also like Exy’s singing just before her rap sequences kick in. I would have loved to hear more of her in the song though, as her rapping really fits this style. The rest of the members showcase solid vocals, to the point where it is hard to pinpoint who is a sub vocalist in this song. Overall, Butterfly is an amazing Summer hit which I am already enjoying just from today’s listens.
This music video largely adopts that closeup and choreography formula that I dislike in KPOP music video as it feels quite plain. But what Butterfly‘s music video does so well is highlight the member’s beautiful visuals in each of their solo shots. I was in awe when each member had their closeups, as each of these scenes made them look like goddesses and had a really artistic appeal to them. I also liked their use of colours in the music video, particularly in the sets where they shot their choreography shots (as the members were all dressed in white and hence made the colours stand out). It might have used that dreaded formula, but it made good use of it.
I liked how in every opportunity possible, WJSN managed to incorporate some sort of butterfly references into the choreography. It would be insane to count each reference as they do not just limit to just the two hands joined together to make it look like a butterfly slowly flapping it wings. They had moves that used their entire arms to mimic wings and their capes on their outfits really give the performance a heavenly look.
Song – 9.5/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9.3/10
N.Flying is due to make their comeback tomorrow on the 10th of June. However, the group unveiled the music video for their latest title track, Oh Really, yesterday. And with that reasoning, it should have been the first review of the week. But as yesterday’s album review took a lot longer than expected and I had to bump N.Flying’s review to today. Oh Really marks the group’s return to a five-member lineup, with the addition of Seo Dong Sung, who is the former leader and bassist of N.Flying’s younger labelmate, HONEYST. For those who don’t know of HONEYST, they were a younger band who debuted in 2017 with Like You and later disbanded in 2019 due to creative differences.
Since the band’s popularity has flourished since the release of Rooftop in early 2019, N.Flying has demonstrated a range of styles within the year alone. And as we move into a new year for the group, Oh Really adds a suitable upbeat Summery style to the band’s portfolio. Paired with what you know is actual instrumentals (as they are band!), I find the song to be quite extremely pleasant and lighthearted, unlike their past upbeat tracks which seem to be more in your face and energetic that this number. In addition to that, some of the guitar work in the song has that Hawaii theme to it, which allows us to associate to the beach environment. As for the members, we know that Seunghyub and Hwesung are capable singers through their past releases and Oh Really is further proof of that. Their vocal work throughout the song is superb, with Hwesung’s section in the bridge being utterly amazing. I wish that their harmonies were further highlighted in this song, as this would be the perfect vehicle for that purpose. My favourite aspect of the song is the really simple but effective hooks that really make this song catch on. It feels as if the hooks go with the flow and doesn’t feel like it is forced onto you or into your mind. Subsequently, I find myself humming along to the music after listening to it. Overall, Oh Really is a memorable song for its simplicity and catchiness. Just another reason to start listening to this underrated band.
Oh Really seems to be a very versatile expression. For the lyrics, the song expresses the term of a relationship context, where their partner is pretending to love them but the members are not willing to give up just yet. Oh Really is used in a pleading manner in the song. But as the music video demonstrates it, it can be used in an affirmation context (i.e. the TV infomercial), in a questioning context (i.e. the antique TV show), in a stressful manner (i.e. the non-working TV remote), in a surprised context (i.e. the award show), in an emotional context (i.e. Hwesung singing in the telephone booth) and a disbelief manner (i.e. that scene where it looks like the members are world leaders sitting at a round table and the newest member is in between the argument). I really liked how these contexts were cleverly weaved into the music video to match the lyrics of the song. The antique TV show is a good example of this, when Cha Hun asks about whether Hwesung can dedicate himself to the antique using the Oh Really hook and, later on with Hwesung expressing how hard it is for him to let go once the antique was smashed on the ground.
Song – 8.5/10 Music Video – 9/10 Overall Rating – 8.7/10
It has been a while since the last Past Album Review (i.e. an album review from previous years of my choosing) as I always ended up choosing a studio album, which usually consisted of 10 or more songs. So, they are quite time consuming and lengthy to write up. And it is because of this that I have been skipping a few weeks of PARs. But I am hoping I can get ahead during this week, so I have a bunch to schedule. For this week, it is another studio album that took me the last few weeks to write. I am talking about Red Velvet’s The Red, which was released back in September 2015. It featured the title track Dumb Dumb and was highly praised overall for its quirkiness. Personally, I think the album is a good mix of tracks that highlighted Red Velvet’s potential at the time. Looking back, it is one of Red Velvet’s more iconic releases to date. Let’s have a closer look at the album.
2. Huff n Puff – Quite sure that at the time of its release, I would have considered Huff n Puff to be a one-of-a-kind song. And that feeling might be the same after all these years. I really liked its roughness, heaviness and robustness. As mentioned before, the childish notes in the instrumental, along with the trap breakdown we get in the song gives it a fun feel. The crashing at the end was also a fun nod to the Big Bad Wolf. Their hooks to be quite creative and catchy, adding to that fun feel even more. The shouty nature of the chorus really helps them stand out in the chorus, which is very heavy with dramatic thumping. The members opt for some rapping throughout the song, which really compliments the song’s nature. We also get a Wendy Happiness moment, though in Huff n Puff, this is shared between Seulgi and Wendy (and my pick for best moment, aside from the chorus). (9/10)
3. Campfire – The members are reminiscent of a campfire, which is where the first moves of a relationship were made. In the midst of all of that, there are cutesy actions referenced by the members associated with camping and campfires, which gives the song that innocent swing. Once again, their delivery is a mixture of rapping and vocals. While the rapping was very nice, their vocal work stands out the most in this song. As for the instrumental, it is made of a mixture of heavy thumping and an upbeat R&B rhythm. Quite attractive, if you ask me. I would love to see a instrumental for this song and wonder what direction would they take. It would be interesting to see them go with some edgy with this song. There moments that I thought were a little forgettable (i.e. the verses), but overall, Campfire was another strong side-track. (8/10)
4. Red Dress – Another upbeat number. But the instrumental for this is a lot lighter and bouncy at the same time, which is a little different from the heaviness that we have heard thus far. But while the song starts off in a very powerful manner, I did not like how they toned down the energy for the chorus. It is like an inverted song. I would have loved for them to go with an even more intense chorus and have that executed decently to help blow me away. I am glad that the final chorus manages to up the energy (relatively to the other choruses in this song). But it still doesn’t cut it for me. Their vocals were nice and crystal clear throughout the song. I say that because they easily could have masked their vocals with an overpowering instrumental in any of the song on the album thus far. But the producers made sure the members shined in each song so far. (7/10)
5. Oh Boy – The opening to Oh Boy feels like it can be used as the opening to a sitcom or teenage TV show. I like its boldness and Wendy wows with her vocals in just the opener. Joy also performs the opener throughout the song as well, showcasing her vocals. What I like about the song is that it just continues as it is. The instrumental is already bold thanks to the energy that comes off it. So, there is no need to change it. The member’s vocals add to this boldness and really strengthens the song in a way that really captures your attention. I also like how it is in the forefront of the song and sounds very crisp on top of the instrumental. It is very catchy and upbeat. Overall, a really strong side-track on this album. (10/10)
6. Lady’s Room – I really like the 90s feel to the instrumental. It felt like it could have come from a hip-hop track and it also feels like a song that could have come from LOONA (a much more recent group, who debuted a few years after the release of this album). Obviously, there is a little more to the song’s instrumental. It is toned down to be appropriate for this girl group. While I think there are good vocals in this song, I find that the song’s melodies feel little lost and non-cohesive in this track. The vocal melodies and instrumental just don’t merge nicely together and this weigh the song down for me. With that in mind, Lady’s Room could have been more enjoyable with the right fitting melodies. (6/10)
7. Time Slip – The song has R&B roots, but the melodies during the verses seem to direct us toward the hip-hop genre. It is a very nice mash of the two genres. The song feels quite clean and straightforward, with the various sections of the song attaining to one of the two genres. Never do they actually merge to be uncategorizable. The R&B sections (i.e. the choruses) showcase the group’s smooth vocals, while the members do a fair amount of rapping in the song’s verses. It is backed with a really trendy instrumental. And with all these elements together, Time Slip easily could have been released now and I would not even ping it as a song released years ago. I really liked the ending of the song. It is dragged out, but it ties the song together quite nicely with its bass and their catchy ‘Baby here we go’ hook. (9/10)
8. Don’t U Wait No More – Aside from the title track, Don’t U Wait No More seems to the peak of Red Velvet’s Red side. For those who don’t remember or know, Red Velvet releases tend to fall into two categories. Red is more of their colourful and energetic releases, while Velvet is their more silky and mature releases. It seems like Red Velvet releases don’t follow this system anymore, but it is always interesting to guess how songs would fit into the categories. Opening the song up is the very catchy hook of the repetition of the title. It is paired with what I would consider to be a wacky instrumental. It makes use of a bouncy set of synths that is quite low, contrasting with their vocals (which is where the energy is injected into the song). While the shortness might be a flaw for those who enjoy the song, I can see why the song was kept short. It relies heavily on repetition and if it went on for any longer, I fear the song would be considered repetitive (in a bad way) and excessively boring. But don’t worry. I like it the song exactly how it is. (8.5/10)
9. Day 1– The initial moments of this song, I thought the song was going to fall into their Velvet side. But that would be ill fitting, considering that the entire album is called The Red (and hence alludes to their Red side). But in a matter of seconds, the song injects a fair amount of enjoyable energy into the song. I really liked the old retro vibes in this song. It feels like it could easily be a musical number thanks to the song’s melody. Even the ending has that Hollywood theatre type of vibe to it. The chorus was cute and quite catchy. Vocally, Day 1 is a very strong song. The fact that they sing together in the choruses are further signs that support the musical feel of the song. Wendy’s high note was pretty good. I was concerned about how they would bolster the song, but the high note and inclusive singing in the chorus resolved that concern with minimal effort. (9/10)
10. Cool World – Cool World is a very pleasant pop track. It ends the album neatly. A little too neatly, if you asked for my personal opinion. While the song does have a refreshing vibe thanks to its easygoing instrumental and it does feel quite suitable for the Summer season, the song feels quite bland. We don’t get much from the members in this song other than straightforward vocals. I wished that the song somehow had more of a zing and energetic vibes, which would be more enjoyable. But still, Cool World works gracefully and comfortably as an album ender. (7/10)
This Monday is loaded with comebacks and I won’t be able to get through all of them today (as I am running out of time to write them – the album review took a lot longer to write than expected). Apologies in advance. The rest of them will come Kicking us off with this week’s intense influx of comeback is Ha Sung Woon, who makes his return with Get Ready. This track is the title track off his 3rd mini-album, Twilight Zone, which was also released today. This is the soloists first comeback of 2020 and since the release of Blue mid-last year. Since this Blue comeback, Ha Sung Woon has been busy with a solo concert, collaborations, charity work and an OST release (based on his Wikipedia profile). After that busy absence from the music scene, let’s hear how his return fairs.
Prior to the release of Get Ready, we were promised with a funky number as his comeback title track. And that funkiness was delivered from the first second. Funky guitars and the featuring of one brass sound kicks us off into a very dynamic and upbeat track. During the verses, we got to hear some nice vocal work and I really liked the falsetto part (this funky falsetto combination reminded me to Robin Thicke’s Blurred Lines for a brief moment). However, I didn’t like that sudden change up for the pre-chorus, which weakened the song in my opinion. Interestingly though, it felt fine in the second verse. It just doesn’t sit well with as part of the first verse and catches me off guard as it cuts the flow of the song. The chorus is no doubt the catchiest section, with it kicking up the energy of the song and applying more of the brass to up the funk. While add more brass makes logical sense to input more energy and funk into the song, I do have the concern that the brass overpowered the chorus and it doesn’t let the melodies or hooks (and hence vocals) shine. I think the melodies and hooks were fine as they were and the producers could have gone with a less overwhelming brass line. Apart from those falsetto moments, Get Ready‘s bridge was another favourite section, as it provided a bit of relief from the two choruses that surrounded it and allowed for Ha Sung Woon to show off his vocals before the brass drowned them out. The melody was smooth and the ‘Yeah Yeah Yeah‘ was quite catchy.
The music video starts off with a very mysterious sequence. We don’t have much context to the video, so everything is quite confusing. So here is a literal breakdown of what I see occurring. We see Ha Sung Woon swim to a house under the ocean. He enters the house while its under water, where there is a house party going on. He is thrust into the party (which looks really boring). He reflect that exact same feeling with some of the part goers later on in the video. About part way into the video, we see the house vibrating and Sung Woon jumps out of the house with a life buoy. Good thing he took that life buoy as he ends up floating away with it and the house was revealed to be floating in the sky. I would definitely like to know what this all means as I have no clue, even once I put it into words. What I can say is that the video looks quite good. His orange hair is a miss for me, even though I get Joker vibes from it.
While we haven’t seen a full performance just yet, what we managed to see in the music video promises a few things. The chemistry with the dancers make it look very appealing and adds that lighthearted vibe to the performance. The chorus looks fun and likable, especially how the dancers jump out from behind Ha Sung Woon for the final chorus. That looks unique. Overall, it looks dynamic and very fitting for the music.
Song – 7.5/10 Music Video – 6/10 Performance – 8.5/10 Overall Rating – 7.3/10
The next album review we need to cover before we get stuck into one busy week of comebacks and releases is MONSTA X’s latest release, FANTASIA X. As mentioned in the review for the mini-album’s title track (FANTASIA), this is the group’s first official domestic release that does not feature Wonho as a member, who left the group last year while the group was promoting their previous release, Follow. Let’s dig deep into the album and see what the group has to offer for us in their eighth mini-album.
2. FLOW – Following from FANTASIA, FLOW maintains an upbeat and increased intensity approach with certain sections of the song. However, it doesn’t stay in that gear for the entirety of the song. Instead, FLOW contains some soft moments in the song, but they are easily overridden and forgotten to the harsher moments of the song’s instrumental. Further contrasting with the more crunchy and powerful moments of the song, the lyrics for FLOW stakes on a deep meaning, conveying that sometimes we need to ‘go with the flow’ in life. The lyrics also compare people to swans, who may seem calm above water, but their legs are rather frantic underwater. It helps put the song’s choices into context, with the contrast between the soft and harsher sequences. As like the title track, I don’t mind their intense and angsty approach this time around, though I do wish they toned it down a bit so that their softer sections were more present. As for the members, the vocalists seemed to have been left behind as this angst sound felt more suitable for the rappers. Particularly Jooheon, who really did a good job with his pre-chorus sequences. (8/10)
3. ZONE – One of my concerns with the title track is that their style might be overwhelming for some, especially if they continually release songs of the same caliber. I feel ZONE could easily be a solution to that concern and become a title track itself. It has that intensity through its club centric EDM instrumental, and it shares a common level of energy as the title track had. But it doesn’t feel over the top and while listening to it, I did not get that overwhelming feeling to it. I also get a slight feeling of restraint despite the chorus instrumental being quite erratic in style. I also attribute the lack of that overwhelming feeling to the verses, which provide enough relief from the high intensity moments (i.e. that erratic instrumental in the chorus) to give us a chance to breathe, even though they were short. The song also shares a good balance of powerful rapping and slick vocals. (9/10)
4. Chaotic – Firstly, Chaotic is not as chaotic as the title suggest. In fact, the song felt quite tame in comparison to the preceding tracks. That being said, the song does fall into EDM branch of music and features some trendy synths that really grab your attention at the right moments (such as that machine gun style synth that appears at the end of the first and last chorus). There also seems to be some dramatic flair in the song during the bridge, when they incorporate some classical instrument to give it that oomph and wow factor. While the rapping and vocals impress once again, I have to admit the pronunciation of some of the English in the song made me do a few audio ‘double takes’’, as I thought I heard ‘Alligator’ instead of ‘I’m In Chaotic’ (which doesn’t make any sense to begin with). But other than that flaw, Chaotic is definitely a nice breather from the powerful tunes we have heard so far (despite it being a powerful tune itself). (8/10)
5. Beautiful Night– Continuing that much needed relief is Beautiful Night. It is a pop track that does not employ any explosive synths or powerful tunes. Instead, it is quite calming and pleasant. It does manage to continue that album’s upbeat trend. Calming and pleasant are also words I would apply to the song’s instrumental, with some parts opting for some acoustic guitars on top of the pop synths we get in the song. The vocals are the prime focus of this song, giving us an opportunity to appreciate their glory without anything to overpower it. Even the rappers adopt a rap-sing technique for their delivery, which shows their complete intention to shy away from the style they have been throwing at us so far. The melodies are quite nice, but the song fails to catch on with any memorable hooks in my opinion. (8.5/10)
6. It Ain’t Over– The group takes that softer approach once again with a R&B dance track. Though, for a second there at the very start during my initial listen, I thought the song would revert the album back to their more intense sounds. I liked the song’s clean sound and its simplicity, relative to the other songs on the album. It had a funky beat mixed into the background, along with quite memorable catchy. I really liked the instrumental when it goes for those droopy synths just after the choruses. I liked their member’s clear vocals and rap sequence. I did hope for the rapping to be a little more dynamic, but what we got was pretty good. As for the standout member, it has to be Hyungwon, who had plentiful amount of lines throughout the song. (8/10)
7. Stand Up– Completing the album is Stand Up, which kicks things off with all the members singing together. It is the best part of the song and I enjoy it each time we return to the inclusive sound. Overall, the song is quite light as well, but it employs some interesting house synths while also having this inspirational vibe to it. This is a pretty neat combination. There is one flaw to the song, which is its typical nature. But other than that, it is a nice ender. The members sound quite good and I liked the dynamic feel the rappers gave the song, which helped boost the appeal of the song. (8/10)
It is time for another album review. And today, we will be looking more closely at TXT’s latest mini-album, The Dream Chapter: Eternity, which features the group’s latest single, Can’t You See Me. I don’t want to give away too much of my thoughts on the album before we get to the more juicy bits of the review (i.e. the songs). But what I will say without spoiling those thoughts is that this album is definitely one to check out before reading the review. I don’t want to spoil any of the surprises that TXT has installed. This album has officially become one of my favourites of the year and I am very impressed with this establishing male group. On with the review!
The Dream Chapter: Eternity Album Cover
1. Drama – What an outstanding opener to the album. Drama kicks us off with a very energetic and upbeat funky number that I will definitely be replaying constantly into the future. I really like the deep and accented piano that just stands out in the instrumentation. I also really like the funky guitar rhythm that we get in the chorus. It pushes the song along very nicely and adds additional energy to the song thanks to its fast tempo. The addition brass really gives it some extra life and makes everything feel quite fun. I am not so much into instrumental break, which feels more of a performance element as there wasn’t really anything musically about it. The members themselves sound very nice and helped the vocal melodies standout. But the winning segment of the song belongs to Yeonjun, whose rapping segment was just so on point and more energy to the song. Yeonjun is followed by Beomgyu and Soobin, who harmonized together as a rapper and vocalist effortlessly. It is say to say that they started this album with what I would consider a top song! (9/10)
3. Fairy Of Shampoo (샴푸의 요정) – From what I am reading, Fairy Of Shampoo is a remake of a classical single of the same name by Light & Salt. It is a low tone jazz number that really captures your attention as it is unlike any song that I have heard in modern day KPOP so far (and very different from the song preceding and following it). What I did notice during my initial listen of the album (to decide whether to review the album or not) is that the song had a very ‘old’ Korean pop music melody to it, as it felt like I was listening to one of those covers on the Korean TV show, Immortal Song, where current artists compete with covers of a popular act from back in the day. And this makes total sense, given that the song was released in 1990. The jazzy elements, such as the brass and piano, of the song really made the song standout instrumentally. It may feel like traditional jazz. But mainstream or traditional genres aren’t heard as much nowadays due to the trend of mashing genres. The song brings out the group’s vocal chops. We hear the members sing at a low tone to match with the instrumental, whilst also singing with a falsetto approach. (9/10)
4.Maze In The Mirror (거울 속의 미로) – Maze In The Mirror has an alternative slow rock type of feel to it and this is combined with acoustics. It feels very innocent in a way, given the song’s softness. But I find the atmosphere to be very tense. It might be the song’s lyrics, which is about becoming lost in one’s thoughts and feelings. From what I am reading, the song is based on the thoughts and feelings of the members during their training days. Talking about the members, once again, they sounded amazing in this song. They probably, too, add to the tense atmosphere of the song. Interestingly, their voice stayed quite soothing throughout the song, from start to end. It helped give the song an ominous yet calming tone to the song. I really like how the rock side of the song slowly comes into play as the song progresses. It doesn’t full kick in until the very end, which was interesting. But it is one of the charms of the song, as it slowly churns to that peak. (8/10)
5. PUMA (동물원을 빠져나온 퓨마) – A music video for this track was just released yesterday or the day before. I won’t be writing a separate review for it and will be keeping the music video for a ‘Missed Review’ post later on. PUMA returns the album to the same style which the main title track is based on. Dark and edgy. More specifically, the song conforms to the hip-hop genre and it follows the previous song with a heightened level of intensity. It is another interesting track as when we talk about dark, edgy and intensity, we think of a song that really packs a punch in one way or another. But we never get that punch throughout the song. The instrumental and vocal/rapping stay relatively consistent throughout. Part of me feels disappointed that we didn’t get a musical punch in this song. But at the same time, it would have felt cliché and typical. TXT seems to put a twist on the style and I quite like that idea. (8.5/10)
6. Eternally – I have used the word interesting throughout this album review a lot thus far. But I think we can all agree that interesting is just a teaser for Eternally. The final song on the album starts off as an alternative R&B number. It is rather slow, and their vocals sound so smooth and superb. About a minute and fifteen seconds into the song, it changes up unexpectedly with a trap-based background and the members going into a low tone rapping sequence. If I were to describe another way, think of a really well written plot twist to a movie or story that turns the story upside down. The song re-enters R&B territory, albeit with a slow rock type of vibe to it. We return back to that change up one more time and then the song ends with another slow rock R&B mix. I find Eternally to be very thrilling and a very big surprise. It is experimental in many ways, but I think their trick ends up successful enough to be a 10/10 song. (10/10)
It is time for another review and it is time to zone into a relatively new group. I am talking about DKB, who made their comeback a few weeks ago with Still, the lead title track from their second mini-album, LOVE. But who is DKB? Well, I haven’t reviewed them yet, so I am not sure myself. Based on some research. DKB is a nine-member male group currently under Brave Entertainment. They made their debut back in February this year with Sorry Mama (which I have yet to review). While I will get to writing that review some time in the future, let’s not delay a review for the group just because I am not going in chronological order.
Still opens up with the strumming of some electric guitars before a beat is infused into the song. And I quite like this. The song pushes along was we near the end of the verse, with promise of a somewhat decent drop. What we are given instead is a slightly amplified instrumental of what we have heard so far, a lackluster hook and a really whiny synth that I am just not digging. We then launch into a hip-hop based instrumental sequence for the rappers, before the rest of the song is a repeat of what we have heard thus far. The only saving grace in the instrumental for me is the bridge, when the song brings in a set of clashing synths. It drew my attention in more a moment and it really cuts into the song’s airy and unfilled nature. So far, everything has felt very consistent and typical. This is an example of when the song could have used some additional textures and energy to give it some zing and life. I think the vocal work and rapping was a strong point of the song. Though, I felt the filtering and auotune on some of the members just degrades it slightly and this lessen the impact of the song’s direction. I felt like the producers were going for a refined touch to hip-hop and I quite like that idea. Still just doesn’t execute it properly and doesn’t have much going on to make it memorable.
As for the music video, I liked its minimalist vibes and simplicity. This was aimed for in the song but it came off as something different. Visually, the group nailed with the simple background and coloured lights. Some scenes felt slightly over-saturated, which I wasn’t a fan of. But the rest of the video was quite good. As we enter through the second chorus, the video got a little more complicated with water on the floor, computerized rain and some strong editing from post-production. And I thought it was a good progression, as we could have been easily been bored with the same coloured lighting and white background if it was put together right. Overall, a pretty good video.
The group opens up the performance with a very sharp movements in the opening sequence. Unfortunately, their performance didn’t really have any impressive moments. There was some good formations and those sharp movements and synchronization continued throughout the performance, which are undeniably good signs for any up and coming groups.
Song – 6/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 6.8/10
B.A.P is a group with a lot of wasted potential. This is something that I will continually remind you time and time again, so that they are not forgotten like other defunct, inactive or disbanded groups. A group comeback, even though promised by some members, seems like something that won’t happen any time soon. Since the start of 2019, B.A.P have gone their separate ways and embarked on solo careers. The latest member to join this movement is Jongup, who returned as a solo artist four weeks ago with Headache. The song also features YUNHWAY, who participated in Show Me The Money 8 last year.
Headache is a funky pop number that had this infectious feel good and easygoing vibe to it, which is quite pleasant. To me, Headache‘s energy is the main star of the song. It was gladly not compromised with any instrumental breakdowns or musical change ups (like mashup of different genres into one song or slow downs). Even when YUNHWAY joins in for a rap sequence, the song doesn’t change too much and maintains the energy. Her voice is rather unique. She brought a nasally yet light tone to the song and her sequence goes for an optimal amount of time (not sure if it would have had the same effect if it went for any longer). In a way, the song felt monotone. But this singular tonal approach paid off greatly. I am quite surprised and unsure why I put off writing this review. Jongup brings a nice voice to the party and helps makes the song’s melodies and hooks be more approachable and catchy. While he was more known for his dancing skills during group promotions, Jongup has definitely improved during his absence from the music industry in 2019. It would have been nice if his voice had a little more colour to it, to give it that much needed oomph. But Headache was a very nice and laid back song, overall. Oh, and in no way does the song feel headache inducing. It is just the feeling he gets when he thinks of his crush.
Jongup becomes playful in the music video when making his move on the waitress from the local cafe. That is essentially the music video summarised in the one sentence. There were a few things I noted while watching the video, though. It actually features YUNHWAY, which is a fantastic part of the music video. Many times the promotional material (including the music video) does not feature the the featuring artist when it should. Always a pity when that doesn’t happen. I also like when Jongup dances with his ‘crush’ in the music video. The flaw of the music video has to be the mistry filter, while dull the viewing experience.
While Jongup had this more carefree and easygoing vibe in the performance, I don’t think it is his most impressive performance to date. That probably will be attributed to one of the B.A.P stages from the past. With a song like this, there is a lot of smiles and energy infused into the performance, which made it very appealing to watch.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
For those who missed their comeback earlier in the year, the male group released the title track, Howling and the mini-album,Continuous, back in March. That comeback marked the return of Han Seung Woo, who returned from short-lived X1. He, along with the rest of the VICTON gang, makes their return today with Mayday, which is the title track off their second single album of the same name. This comeback, in particular, also sees the return of Byungchan who had to sit out of the Howling promotions due to an injury.
The opening sequence of the song is extremely aesthetic and this basically sets the song up for success. There is something with the minimalist vibes the bass thumping and bouncy synth in the background that feels so clever. And when the Seungsik and Sejun comes through with their higher pitched vocals, it just really drew me in. Seungwoo follows through with a rap sequence and this is followed by a really interesting chorus. Melody wise, it was fairly strong. There is an subtle intense feel to it, which made it even more appealing. The instrumental was really bold despite not having too much going on (relative to the verse that I described), stepping it up to the opener and verse. Their vocals had this filtered effect over it, like the slight static you get with voices coming through speakers of a radio. I believe this is intentional, with the members singing about conflicting feelings of a relationship. On one hand, the members want out of the relationship as it is dangerous. But on the other hand, they want more it. But the most interesting member in the entire song has to be Hanse. His rapping is very impactful and memorable. There is a rap-speaking form to his delivery, which feels sleek and dangerously alluring. The roughness in his voice is very textural. The more I listen to the song to the review, the more I am pulled into the song thanks to Hanse. The instrumental for the bridge stills for a bit and this helps deliver an impactful final chorus ending to the song. Overall, Mayday is another great song to add to the list of current amazing releases that I will probably cannot get enough of.
The video opens up with Seungwoo falling from the sky. As he gets up, we see very dramatic flashes of the members and a mysterious female figure (whom we will assume is the ‘dangerous’ factor in the relationship for his video). We see the members walking from a phone box and holding torches in the forest. It seems like these scenes depict the members wanting to leave the relationship. But we see Hanse walking towards the female figure in a crazed manner and a whole choreography scene opposite an arrow wielding female figure, which are signs of being drawn to her and the danger she presents. We later see one of the members in a car accident, which probably tells us the extent of the danger. It is a very well thought out video and I really liked how they slide in the story line (provided I interpreted right). One other thing I noticed from the video is that the circular concrete that they film is has been seen in multiple videos throughout the last few years. But I am always surprised to see how different it looks in each video, such as the flag waving and helicopter searchlights details in those associated choreography scenes.
What I have yet to mention is that I notice the song’s chorus feels quite slow and almost dragged out. Their performance does a really good job moulding itself around this set up and this results in a very epic and visually powerful performance. The verses had some really cool moments which I wonder whether they will incorporate into the live stages. The one that I am most interested in is when they use torches. That will make the performance looks really dynamic.
Song – 9/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.8/10
TWICE has the honour of kicking June 2020 off with their new release, MORE & MORE, which is the name for both their new title track and mini-album. We last saw the group in Korea for their Feel Special comeback in October last year. Since then, the group has been busy with the Japanese leg of their world tour (thought his was later affected by the current worldwide health pandemic) and have released a documentary series on YouTube, titled Twice: Seize the Light. This comeback also features the return of Mina, who returned to group performances earlier in the year, after being on hiatus to focus on her mental health.
MORE & MORE starts off a sleek dance track, featuring smooth vocals from the members. As the verse progresses, we get more of a beat becoming infused into the song, allowing members who don’t have as smooth vocals to get their moment to shine. The song that progresses to its catchiest hook, in my opinion. The pre-chorus features the ‘…more more more and more‘ repetition hook, which I find to be very strong and melodic. We glide through this section in a manner that bridges the verse and chorus together is a very pleasant manner. Then, we are hit with the tropical house-based chorus. Yes, the overused genre is making its comeback. But as 2020 isn’t overly saturated into the genre just yet, the robust chorus for MORE & MORE comes off as refreshing and robust. I also like their one liners during the chorus. I am, however, not impressed with the main hook of the song, the shouty ‘More & More‘. I wished they incorporated a more melodic approach with his hook as this would have made the song a lot stronger. Instead, it feels rather half done in my opinion. The second verse and chorus is essentially the same as the first routine. The bridge is the most cliche but dynamic part of the song, as they enter a trap-based breakdown and the rapping section of the song. Not bad for the song, but I felt the rapping to very mild. I would have liked them to adopt something that would have continued to change the song, before returning to the final chorus. Overall, it isn’t the perfect track according to my ears. And while I am unsure about their step into this trendy direction, I quite liked the song from the get-go.
I might be reading into the music video incorrectly, but I think they adopted a Garden of Eden type of concept, based on the featuring of snakes and apples (i.e. the Forbidden Fruit) in the video. It is interesting concept and it compliments the lyrics of the song in a way, as the members singing about wanting ‘MORE & MORE‘ from their relationship. I really liked the sets for this video. It is very colourful but also very mystic in a way. This can be greatly attributed to the post production editing and the use of green screen. I like their use of green screen in this video and it is JYP Entertainment’s best use of that technology. The parts of the video that corresponds to first pre-chorus and the rap sequence of the song had were fantastic and hypnotic use of the green screen, adding a dynamism to the video. The only thing I dislike with the video is the Bohemian look that opted for. While it is reflects well with the ‘nature’ side of the concept and that many people enjoy the style, I have never been a fan of it. But that is just my personal taste.
I liked what they did with the performance. There were strong moments, but I do note that they seem to have ditched the addictive and viral dance moves. And I think this is a smart move overall. Strong moments include the trap based dance break and the entire pre-chorus routine. I actually also really like final part of the chorus, when the few deep beats come into play.
Song – 8/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.3/10
Apologies for another day late album review. I was a bit busy yesterday and only got the Weekly Chart Post out before the day was over. But before we proceed with any more reviews, I had to get this out so I don’t fall behind (I had cancelled a few album reviews this year because of this). The album I have chosen to review yesterday/today is DAY6’s The Book of Us: The Demon, which features Zombie. This is the third mini-album release part of The Book of Us series, following The Book of Us: Gravity (title track – Time Of Our Life) and The Book of Us: Entropy (title track – Sweet Chaos). Unfortunately, DAY6 will not be promoting this album, which is a major pity given how good the songs on this album (and any album of theirs) are.
The Book of Us: The Demon Album Cover
1. Day & Night (해와 달처럼) – Opening this album is Day & Night. While the track is quite upbeat and bright in terms of energy, I find it to be quite light and really nice as an opener track. It opens up with this synth that resembles harmonizing vocals and some short guitar beats. We are then thrown into a verse with really nice vocals and we hear the track slowly building up to the pop-centric chorus, which features a really appealing blast of energy and keeps in line with the rest of the song. As mentioned, the vocals are quite nice throughout the song, not just the verses. I really liked the melodies in this song, especially when it came to the pre-chorus. I also liked the alternating lines that Wonpil and Dowoon shared (Yes, we should celebrate as Dowoon has lines!!!). I find the lyrics to be very interesting. They sing about opposites happening (hot and cold; getting closer but disappearing from sight; up and down; sun and moon etc.). It is as if them and their partner cannot seem to be on the same page for this relationship to work (but it isn’t at that broken stage yet). Very nice song, overall. (9/10)
3. Tick Tock– Tick Tock approaches ballad territory, but it never really sets foot into that area. Instead, it has this upbeat-ness to it that really holds it back from being a ballad. This slow style isn’t usually my style, but there is something quite captivating in this song. It might be their mature sound, which compliments and adds onto the mature vibes we got from Zombie. The way Young K brings his raspy tone to the song at the very start was extremely impressive and impactful. The instrumental for this song has this really mellow yet heavy feel to it, which I think is very nice. It invokes that swaying effect, which I really enjoy when it comes to ballads (and hence why I feel it approaches that area of music). I also like the synthesizer keyboard that is used in the song, bringing that synth that I just cannot find the right words to describe. But it really makes the song sound unique and charismatic. The lyrics are quite depressing, referencing the moment they notice that their relationship is over. (8/10)
4. Love Me or Leave Me – Out of all the side-tracks on the album, Love Me or Leave Me is probably the one that jumped out at me. It has become my pick for best song (other than the title track) on the album. It starts off slow and it remains in a slow rock mode for about halfway into the first verse. The song then sudden ticks to a much faster tempo for the pre-chorus, with the synth keyboard being the most prevalent sound in this section. It then increases in tempo once again for the chorus, going for a relentless and loaded rock sound. It may sound messy, but DAY6 (given their past work) makes it into a cohesive track that really sticks. This sudden yet accumulating energy really helps push the song forward. The melodies really helped make their vocals shine, especially the post-chorus hook, which featured on the most intense moment of the instrumental. As per the discussion on lyrics thus far, DAY6 asks their lover to honestly decide whether to stay or to leave in their relationship. (10/10)
5. STOP(때려쳐) – DAY6 amps up the rock sound to ensure its influence starts at the very first second on the album. It is a sign that they are not messing around. Like how they are in the lyrics of the song, where they had enough with the lies and inconsistent excuses their partner is telling them. The song is quite good with decent vocals, memorable melodies and a standout chorus (i.e. when they all shout ‘Stop This’ and ‘There Is No Answer’). I really like the harmonies that follows those lines, along with the harmonies present in the bridge of the song. I also really like the electric guitar riffs that acted like accents or details within the instrumental. But while I do give a tick of approval for this song, I was hoping that STOP would build on itself and kick it up a notch as it developed. Unfortunately, it didn’t. So, I am slightly disappointed on that part. (8/10)
6. 1 to 10 – It seems like my wishes are answered in 1 to 10. As above, I wanted the preceding song to step it up. And it definitely feels like 1 to 10 does just that. In addition to that, it seems to take a page from their brighter songs on the album, allowing the song to become memorable in all regards. The guitar riffs and drum beats that make up the song’s instrumental are quite cohesive and consistent throughout the song. There is also a tense vibe to the song, which makes it thrill to listen to. In addition to the instrumental, the vocals are very on point. And that, in combination with the catchy melodies that the song features, makes DAY6 bring their A-game without the use of powerhouse vocals. Another perfect song, in my opinion. As for the lyrics, they change their tune by moving away from heartbreak to declaring their love for their partner. (10/10)
7. Afraid – The album ends on a much more emotional note than in comparison to any of the above songs, with Afraid being about the members becoming worried that their partner is becoming like them due their insecurities. The contrast with the rest of the album is quite strong for obvious reasons and this just draws your attention right into Afraid. Their vocal tone is what gives the song that emotional tinge and I felt that each member also brought their A-game this song, just in a completely different sound as the preceding song. The instrumental for Afraid brings together beautiful acoustic guitars and piano melodies, along with intense electric guitar riffs and drums. I thoroughly enjoyed how the song builds on itself, climaxing during the start of the bridge. The bridge is also my pick for the best part of the song, bringing a bit of trendy touch to the song. (10/10)
Despite all the Mamamoo members being active as solo artists in the first half of this year, we have yet to see the members together. They did say that they will be focusing on solo activities for the first part of 2020, from memory. But there was no indication for how long. Let’s hope we get one in the second half of the year (I am sure we will!). In the meantime, the members do continually treat us with new solo releases. For example, yesterday, Moonbyul dropped her repackaged mini-album, 門OON, which features the new track, Absence. This repackaged album features all the songs on Dark Side Of The Moon, including Eclipse.
I am genuinely surprised with this comeback. It is another side of Moonbyul that we have never seen before. And that is the beauty of solo releases. They give us different profiles of the singer, some of which will never be shown when they promoting with their original groups. Eclipse gave us a very dark and edgy side of Moonbyul. And Absence gives us an emotional Moonbyul. The instrumental is a bit standard to my ears. There are elements in Absence that reminds me of a ballad, such as the really emotionally charged vocals and the classical setup that forms part of the instrumental. The song does infuse some trap beats into the background, giving the song that ability to bring a dance to the performance (more on that in a bit). And it is this combination that allows the song to come off as moody and somewhat dull. What I really like about this are Moonbyul’s vocals and the song’s melodies, which helps steer the song away from that feeling. She gets more opportunities to show her vocals off in this song. The showcase of her vocals have been on the rise, but this is something we have not heard from her. You can hear the heartbreak in this song through vocals, which is definitely a sign of a good vocalists. And to know that this vocalist is more commonly known for being a rapper is something. As the song builds, her vocals become more powerful and I quite like this. Her nasally tone is very appealing. I also like that bit of rapping she throws into the song. Cliche and typical, but still quite nice. Actually, that summarises all thoughts I have on Absence in a short manner.
For this review, I will be combining the music video and performance sections of the review. The music video is a performance video, as stated in the title of the official music videos. There is a number of closeups of Moonbyul singing into the camera throughout, so essentially it adopts a closeup and choreography formula. I did like the black and white filter that was placed on majority of the video. It added to that moody nature of the song. It also added to the dullness, but I feel like that was a positive for the song, as it allowed Moonbyul and the dancers to be the pure focus of the video. And as a performance video, there is a greater focus on the choreography. And the choreography is quite fitting of the song. The song doesn’t really allow for any impressive moves to come forth, but I really liked the speeds of the moves. It is relatively slow and smooth, but there is a balance that allows it to become powerful. My favourite part has to the bridge of the song, where the dancers become like waves. I thought that was a stunning moment in the entire performance.
Song – 7.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.8/10
I ended up passing on an album review last Sunday as I was a little busy. So today’s album review was meant to be released on Sunday. And that album is ASTRO’s recent album release, Gateway. The featured track on this album Knock, which I rated quite highly at the time of its release. And even though it has been released 3 weeks ago, I can confirm that the high rating still stands. This album also serves as the return of Moonbin, who was noticeably absent from their previous comeback, Blue Flame. The group did release One & Only between the albums, which did feature Moonbin, but that was no album. Let’s see what album has to offer.
2. When You Call My Name (내 이름을 부를 때) – When You Call My Name starts off with a playful tone and features a retro video game-like instrumental, which helps the song develop into a fun number. It reminds me of their earlier works before they adopted this mature sound that we have heard all of last year and through the title track, Knock. If you know me, I really liked textures in my songs. So, the choppy nature of the instrumental, particularly around the chorus was quite enjoyable. The brightness in this song gives it a nice fresh tone and quite upbeat. Their vocals were nice, with MJ’s voice being the most memorable of the group. They were used sparingly during the chorus, which was obviously to direct the attention to the instrumental as that was a centerpiece. But it did mean we didn’t much material from the group. So, I did want more out of the vocals, especially the rappers who were quite forgettable in this song. (8/10)
3. Somebody Like– In comparison to the preceding track, Someday Like is definitely very full. No major choppy instrumentals or sparingly used vocals in this track. Instead, the instrumental falls under the pop domain and feels quite suitable for a nice feel good day. I really like the guitar that is used throughout the song and the funky beat that the chorus features. It is quite energetic and refreshing in a pleasant way. And the group’s vocals bring a nice brightness to the song. I find Somebody Like to be quite catchy, as the hooks were quite memorable. Note how I said there was no ‘major’ choppy instruments at the start. At the very end of the bridge, we are treated to some choppiness in the song. It is quite minute in comparison to an entire song. But it managed to stand out in this song. Talking about the bridge, I thought JinJin’s rapping sequence layered over a trap sequence was another good stand out moment. In comparison to the other songs on the album, it doesn’t feel like the best and hence why the rating is a little less than the higher ranking songs on the album. (8.5/10)
4. We Still – Kicking We Still off is nice piano. This piano piece remains throughout the song, despite synths becoming much more dominant during the chorus. This is something that ASTRO has done before, so unfortunately it isn’t unique in any way. But what I liked about We Still is that it continues that very upbeat and bright feel that the album has been channeling throughout the song thus far. And this allows the song to come off as quite fresh. I find that both the vocals and rapping, despite that latter definitely being a lot more intense then the former, manages to bind the song together quite nice. I was very impressed with both elements and these made the song’s hook quite powerful and memorable. Apart from the title track, I reckon We Still is a strongest effort, even though it took the path of something that the group has done before. (9/10)
5. 12 Hours (12시간) – ASTRO tones it down a fair bit with 12 Hours. It is another pleasant pop R&B track, fitting in with the rest of the album, without the energetic buzz or exciting synths that drive the song forward. Instead, the song features a mellow and soft piano instrumental, accented with various guitars to give the song some small details. Their vocals are quite nice and soothing in this track. The rapping was a bit of a miss for me. I wanted to hear something a little more aligned with the song, but JinJin ended putting too much edge in his section. If Rocky and JinJin made their sections a little more mellow sounding, I think this would be a perfect combination. (7.5/10)
6. Lights On (빛이 돼줄게) – I liked how Lights On started off with. Very soft with the vocals and the ‘Tik Tac Toc’ being a nice accent to that section. JinJin then kicks up the song by bringing in his powerful delivery and rough tone to the song. Unlike in the previous song, it felt appropriate given what was brewing in the background (i.e. the synths that allowed the song to build to the chorus). The chorus of Lights On has the similar aesthetics as the title tracks on their special mini-album releases. If anything, this song’s instrumental is less intense. And the hooks were a lot more typical and boring (aside from that ‘Tik Tac Toc’ detail, which I was glad to hear in the second verse). But still feels the same, in a way. I do note that I feel like I have been a little more critical with the rapping on this album. But I think both Rocky and JinJin shined in Lights On. (7.5/10)
It is another late review. This time it is for a brand new group. SECRET NUMBER debuted last week on the 19th of May with Who Dis?. The group is made up of five members (Jinny, Denise, Soodam, Dita and Léa) and are under VINE Entertainment. You may recognise Jinny, as she previously participated in Produce 48 as an independent trainee and placed 69th. Interesting fact, the group was originally meant to debut back in March. But due to the ongoing health pandemic, they pushed their debut to May.
The first thing anyone would note was that Who Dis? is quite brass-heavy. And this is no doubt appealing to many listeners including myself. The group, despite only being newly debuted, has already garnered a lot of attention as their debut music video has already passed 8 million views. Obviously, SECRET NUMBER is doing something right in either the visual or audio department. And I like to think that this is due to the song. The brass sample that starts off the song is a piece that we have heard before. The instrumental features some brass as wow that peeks through the rest of the of thumping instrumental. When we get to the chorus, it felt like we were gonna be thrown into a loop of that same brass sample that kicked of the song. But that would have been boring. The chorus ended being a lot more interesting, amping up the thumping and bringing in a different brass piece to the chorus. The second verse is essentially the same, with Jinny rapping at the start instead. Jinny returns as a rapper for the bridge, just after a little intense break from the brass dominance. She returns once more as a rapper at the end, layered on top of the familiar brass sample I mentioned that kicked things off. You may notice that I am emphasising the rapping a lot. Well, that is because it the stronger element of the song, compared to the vocals. The group can sing. But they needed to follow through with vocal chops filled with some attitude or power to extend the chorus and make it more dynamic. Everything in the vocal department felt too typical and this drained some of the energy from Who Dis?. For a debut single, they knew what they were doing. They just need to refine their skills and I am sure they will be getting a lot more attention in the future.
As mentioned previously, the group has already garnered 8 million views. And while the music video can be cut down the seam to be audio and visual, this section of the review obviously focuses on the visual department. The music video actually looks really good. It does take on the closeup and choreography combination, but I honestly don’t mind it in this video as the closeups look quite captivating and fun. As for the concept, I don’t think it fits into the usual categories of aegyo or girl-crush. Neither is it a mixture, which I am glad. To be honest, it feels a little generic, but I am fine with that as that would be the preferred option over a combination of girl crush and aegyo in my books.
The performance looks a bit generic, like the music video. And at times, it felt relatively weak to other moves (i.e. the short strutting vs. the moves that followed right after, with the strutting being the stronger dance move). It ticks a few boxes. It has that already mentioned strutting to tick the attitude box. There seems to be some visual intensity as we see in the rap sections of the song and the short instrumental break. Overall, a good performance.
Song – 8/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 7.5/10
KPOPREVIEWED 