Making their comeback in the last week alongside the ones who I reviewed last week already is MCND. The group dropped their digital single, Spring, unexpectedly (well I didn’t know it was coming until I saw the actual music video release). For those who don’t remember or know of MCND (as they are a brand new rookie group), they pre-released TOP GANG earlier this year and debuted with Ice Age just last month.
In my last review for MCND (Ice Age), I mentioned that their debut single was kind of a step in the right direction as it provided some balance between the vocals and rapping. Spring seems to backtrack on this. But I am not complaining this time, as I thought Spring leverages the rapping to be one of the strong aspects in the song. It could have been toned a bit as it does feel very ‘in your face’. But as I said, I am not complaining. Alongside the rapping, there is still vocals in this song and the vocal work that we did get in Spring was rather good as well. I would have liked to hear the group in a song that is more dependent on the group, rather than the rappers, as I think that would be rather interesting version of the group. The instrumental is a very bright and quirky form of hop-hop. It gave the song a fun and colourful vibe, which really prevents the song stepping anywhere in the direction of a boring song. With all of these praises, I want to point out the song could have been upgraded with a more defined instrumental and better hooks. But what we good is pretty good already.
As mentioned in the song review part of this post, the song is rather fun and colourful. The music video is definitely a good reflection of this. The guys are shown to be having fun, while the visuals of the video were very bright and colourful. Completely different to the edgy tone they had in TOP GANG and their heavy usage of the colour white in Ice Age. The members are shown in a youthful style, through their school uniform (a rite of passage in KPOP and Korean culture) and casual outfits. I also liked their different visual details they added to the video, which adds to the modern profile of the music video.
I really like their performance style. With only five members, they are a relatively small group in the KPOP. So it is an expectation that they would keep all five members on stage at all times, like how they performed for the first chorus and onwards. But they continue to only perform in small groups for the first verse. They did a similar thing in Ice Age but I didn’t pick it up until I watched their performances a few more times. It isn’t a new thing, but I thought the group had an interesting tactic up their sleeves.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Kang Daniel has topped my Weekly KPOP Charts for the past two weeks with his new song, 2U. That song is featured on the soloist’s second mini-album, Cyan, which was released two weeks ago. I know there are other album releases which I should be reviewing released earlier than this album. But I couldn’t help but dive into this album first. I will get around to those albums in the next few album reviews. But in the meantime, here is my review for Kang Daniel’s Cyan.
Cyan Album Cover
1. Adulthood – Kicking off the mini-album release is Adulthood, which was released alongside Touchin’ in November 2019. It is a dance track with some R&B mixed into it, smoothing out the use of the island or house genres of EDM. I noticed that there was some very low rumbling in the background of this song, which stood out for some reason. Also the phone notification beeping that appeared now and then was pretty cool and related back to the lyrics of becoming an adult. Kang Daniel also seems to show off some vocal chops, going from falsettos to decent ab-libs. I also like how they incorporated his voice in the background of some sections. It helped bolden and define his vocals in a smart and neat way. (8/10)
3. Jealous – I swear that I don’t try to find a 10/10 song on each album (or give the best song on the album the perfect 10/10 ranking). But Jealous just falls neatly into the 10/10 category. The entire song capitalises on Kang Daniel’s husky vocals, which I am jealous of. The instrumental of the song is a wonderful mixture of peaceful piano sequences, interesting vocal filters and an upbeat electronic piece for the chorus. Everything comes together. Everything is very appealing and addictive. I just want to dive right back into the song as soon as it is over. One of the many signs that Jealous manages to show as a perfect song. (10/10)
4. Interview – Interview is a very smooth jazzy style track. The instrumental is very satisfying and it also features some piano as the icing on the ‘detail’ cake. The song has a really pleasant melody that really makes me want to dive back into it after the song wraps up. We get more of Kang Daniel’s husky voice in this song as well, which features throughout the verses of Interview. We lose the husky touch for the chorus, but it replaced with that smooth texture that the song already identifies with. We also get some rapping from the soloist, which I wanted more of. (9/10)
With this long weekend, I plan on tackling some of the previous comebacks that I missed over the last few months. I know I have attempted to do that previously, but unfortunately failed to continue it during the week. With some times on my hand and this ongoing isolation, why not smash out some reviews! First up is BLACK6IX’s Call My Name, which is featured on the group’s second mini album, Nice To Meet You. It was released mid-February and promotions for this comeback is still ongoing.
I find it very interesting that the song opened up with the line ‘…Pay Attention, People will die starting from tonight, I am a man of my word‘. Because a little threat from the singers to enjoy the song always help. Hahahaha… Moving away from that awful joke, Call My Name is a powerful dance track that is filled with angst and intensity. The intensity builds up in the song, as per the robust rush of energy we got in the final chorus of the song. However, while I acknowledge these aspects of the song’s overall sound, the instrumental felt rather typical and didn’t offer much uniqueness. The mixture of vocals and rapping in this was pretty good. I liked how they didn’t stick to ‘separate’ sections in the song (i.e. a dedicated rapping block’ in the song). I thought them going back and forth with the vocal and rapping lines made Call My Name a little more dynamic. Also, that high note at the climax of the song was rather impressive. Overall, a decent track, overall.
I thought the music video was pretty good. I thought the background to this video was very cool. All those lights (I am assuming the video was shot in front of a white wall, with all these lights and visual effects being projected onto it) really made the video look visually appealing. The angst could be felt in the video through the use of the shaky camera work and their outfits. The only aspect I am not too sure is in regards to the playful side of the video. It didn’t look that fitting in this video with such an intense sound and thought that the video could have forgone this side of the group for this video. But other than that, it was still a great video to watch.
There seems to be a bit of body and shoulder rolling in this performance. I find the overall choreography to be very fitting for the song. The moves just don’t have that memorable factor to it. It is definitely an intense routine and surprised that the members could pull off a live performance, as it looked very tiring, especially that final chorus.
Song – 8/10 Music Video – 9/10 Performance – 7.5/10 Overall Rating – 8.2/10
It has been a long time coming, but I finally getting around to reviewing IZ*ONE’s first studio album, BLOOM*IZ. It was released mid-February, but due to my poor time keeping, the album review is being published in April. As a result, I will be holding off on on future album reviews (excluding another one already scheduled for a later date) for album releases in February. This will allow for me to focus on March and April album reviews. Returning to our focus, IZ*ONE’s album features a number of unit tracks alongside the full group tracks. Some artists (especially those with many members) do this but it isn’t a common thing for so many tracks on one album to do this. Let’s have a deep dive into those tracks and more.
BLOOM*IZ Album Cover
1. Eyes – The opening song on any album should be captivating enough to engage the listeners. And I definitely think IZ*ONE nails this with Chaewon’s opening line. I just wished the rest of the album followed suit with this direction. For the most part it was good. But some moments really stuck out for the wrong reasons. I find the very low tone synth we hear at the start of each verse to be very odd selection for what is a very sweet song. The ‘Eyes On Me, yeah’ chant that the girls do at the start of the bridge/end of the song added an unnecessary child-like tone to the song. Even the high note just dissipated as soon it was unloaded. There were some good moments, such as the chorus and the rapping, but they just stayed in the shadows. (6/10)
3. Dreamlike– Dreamlike is performed by Yena, Sakura, Wonyoung, Hitomi, Hyewon and Eunbi. The track takes on board a synth-pop like instrumental and this reminded me of tropical house during the chorus. I have to say that the instrumental, particularly around the chorus, was not dream-compatible (like what the title suggested). But there was definitely a very refreshing and youthful tone to the song. For the verses, softness was the main theme. Their vocals fitted in very well, going for a light tone to compliment the refreshing ones I just mentioned. I also liked the smooth textures they introduced into the song. (8/10)
4. Ayayaya – Ayayaya featured the voices of Eunbi, Sakura, Hyewon, Chaeyeon, Chaewon, Minju, Nako, Yuri and Yujin. It is a catchy dance number that I really enjoyed listening to. I saw the performance of Ayayaya as part of their comeback showcase show and that made me a fan of the song. I liked the whistling and the synth-percussion, which gave the song have that upbeat feel. Their vocal work is a little lacking in this song, but it doesn’t get in the way of me enjoying the song. (9/10)
5. So Curious– In an earlier song, I mentioned how I didn’t like the child-like sounds that was incorporated. So Curious (performed by Yena, Chaeyeon, Chaewon, Minju, Nako, Hitomi, Yuri, Yujin and Wonyoung) was so full of this child-like tone that I cringed. But. Yes, somehow there is an exception to everything. So Curious ended up being so infectious and fun. The bubblegum-pop sound that the song went for was a success. I love how the song feels so tropical, fitting for the Summer season that Korea is about to enter. The marching drums in the bridge was a very nice twist to the song. (10/10)
6. Spaceship – Through Spaceship, we return to the full line-up of IZ*ONE. And the song had good rhythm and definitely a fast pace that is bound to attract some attention. Unfortunately, the lacked a strong hook to keep me around. While I understand cuteness is their main charm and the group does use it well in many songs, I find Spaceship to be a very typical application of this and doesn’t offer much in comparison to their unit tracks thus far. (7/10)
7. Destiny (우연이 아니야) – The first ballad-like song we get BLOOM*IZ is Destiny. And it is also the first full group song, apart from the title track, that I was hugely satisfied with. The song is not a slow ballad, as there is some pace in the chorus which helped make it stand out. The twinkling percussion, the drums and the violins really helped bolster the song. The electric guitar at the end was the icing on the cake for me. I also thought their vocals were very nice and sweet, which really helped sell this ballad to me. (8.5/10)
8. You & I – We are given double ballad treatment with the next ballad on the album following right off Destiny’s finish. You & I is more acoustic, featuring a simple guitar instrumental and the later incorporation of other instrumental. The song also enables for the focus to be purely on the group’s vocal work. And this was the obvious choice to show off that side of the group. My only concern is that the rapping component of You & I was unnecessary. But other than that, it was a good track. (8/10)
9. Daydream – Daydream is performed by a third of IZ*ONE, more specifically Eunbi, Chaeyeon, Minju and Yujin. And this was one of the standout songs on the album for me. There is a very sleek vibe in the song, which I thoroughly enjoyed. In addition to that, there is a subtle groove in the chorus, sticking out of this urban feel. The ending takes a bold turn, featuring textural synths, which were quite fun and different, making the song feel less ‘too consistent’. The line ‘Daydream ah!’ and ‘Don’t Wake Me Up’ for the chorus and post-chorus hook was definitely my favorite parts. (9/10)
10. Pink Blusher – Sakura, Hyewon, Nako, Hitomi and Wonyoung feature in Pink Blusher. Given the song’s title, I expected that the song would take a cutesy turn. No surprises (and spoilers) but I was right. I find that the song balanced on a very fine line between the cutesy sound and the cringy child-like sound that I already mentioned in this review. For the time being, I am happy to say that I perceive the songs falls on the cutesy sound, which in this case is totally fine. I really liked the rap speak section at the end of the song. If the song could be improved, I think strong hooks would have helped cement the song on the cutesy side of the line. (7.5/10)
11. Someday (언젠가 우리의 밤도 지나가겠죠) – Now, we are dealing with a quarter of the group (i.e. Yena, Chaewon and Yuri). This trio brings us the third ballad on the album and this is more so your expected ballad. It features that piano instrumental, which is later joined with violins and other instruments. Together, the track becomes a stunning piece of work. And the vocal line we have in this song show off their vocal capabilities, further extending that stunning impression that I just mentioned. (8/10)
12. Open Your Eyes – The final track on the album brings back all the members. It is one of those dance tracks (or songs in general) that really gives off a satisfying feel and this really helps brings the album to a decent close. The instrumental comes off as pretty dynamic and I liked the tempo at which it was at (it had that Goldilocks’ ‘just right’ feel to it). The vocals added a layer of refinement to the song. The only thing I thought they could have improved upon was, once again, a stronger set of hooks. But I was still happy with what the album closed off with. (8.5/10)
One of the biggest hurdles that male groups/artists need to face in the KPOP industry is the mandatory military enlistment phase of their careers. This is essentially a two-year period away from the public eye. Winner is one of the many KPOP groups entering that phase right now, with Jinwu enlisting in the military just last week (and thus will not be part of the promotions for the group’s third studio album). Fittingly, the group’s comeback title track is titled Remember, as Winner has confirmed that they will focusing on solo activities after promotions for Remember end. More recently, Winner pre-released Hold a few weeks back in anticipation for their comeback.
Remember is undoubtedly an emotional track. When the song first started, I thought the group was going in the direction of their Empty debut. But instead, the song took a more ballad-like feel, very much different to what the group has ever attempted before. The song opens with a simple acoustic guitar backing. As the song slowly progressed, they added a little more to the instrumental, ranging from echos to drums to add some definition to the song. What did remain consistent throughout was the guitar, which I think made the song feel so much more sentimental. The second thing that is strong about this song are the vocals. I have never really gotten why Winner was nominated for their vocal performances in the past. I know they have really good voices. But I never really thought it was nomination-worthy. This song changes the perception. The instrumental can be described as a blank canvas (my analogy is back!). And their vocals, well, they paint a very touching and stirring picture on the canvas. Each member brings something different to the song and I really like that aspect in this song, as the group sings about not forgetting about them. Overall, a solid track.
The music video I thought was definitely very well shot. The member alone looked like they were experiencing the painful breakup that they can’t bring themselves to do (as they allude in the song’s lyrics). When the four members are together, however, they bring that sentimental feeling to the video. While the song’s lyrics were very emotional and tear-inducing to some, I do like how they weren’t just all sad or pained in the music video. There were smiles and laughter, which brings a bittersweet but reflective tone to the video. I also liked how they interlaced footage from their concert and survival show, WIN: Who Is Next?.
Song – 9/10 Music Video – 10/10 Overall Rating – 9.4/10
Also making their comeback this week is CIGNATURE. For those who many have missed the group’s debut with Nun Nu Nan Na, CIGNATURE is a seven-member female group under J9 Entertainment. This rookie group made their first comeback at the start of this week with their new single, Assa. The single is part of the group’s debut package, as this was teased to be their ‘debut lead single [B]’, with Nun Nu Nan Na being their ‘debut lead single [A]’. With this release style, we may be seeing more ‘debut lead singles’ in the future. Until then, this is my review for Assa.
The one aspect of Assa that really jumps out at me was its instrumental. The use of the low guitar bass tones and thumping drums in the instrumental managed to make it unique and different from what we constantly hear in the industry. The chorus has this very detectable but mildly plated level of funkiness to it, through use of that twinkling-like synth. There is also restrained buildup in the instrumental, which complimenting the use of subtlenesss in the rest of the song’s backdrop. The bridge and the final instrumental section adds a little flair to the song that keeps it from being overly consistent. Unfortuately, while I am praising the instrumental side of Assa the vocals do fall short of expectations. I am not saying that the whole package does. I was very satisifed with certain (but limited) sections of the vocal work including the opening line to the pre-chorus and the rapping, in general. We also get a glimpse of some strong vocals in the bridge that I definitely desired while listening to the song. But the verses were extremely plain. I also felt like the producers under-delivered the potential for some strong hooks in the song, with the plain and typical singing.
I find the music video to be good. The sets and their outfits look really cool. There is a fair amount of smiling in this girl crush concept, which I think makes it seem like one of those videos that crosses the cutesy concept and the girl crush concept, a pairing that I don’t understand or think go well with one another. I feel like the video could have toned those smiles and this would have been perceived as a stronger girl crush concept. But that is just my thoughts on the video, overall. But as of now, it is definitely a good visual compliment to the song.
The choreography looks so cool. The chorus definitely had some intensity and sleekness when the girls performed their hair pullback move. Their outfits (suits and the urban hip-hop gear) looks so fitting for the choreography, either way looks very appealing. The one thing I didn’t really like about the choreography was the need to add some cutesy moves into the performance. I think that this ruins the feel of the dance.
Song – 6.5/10 Music Video – 7/10 Performance – 7.5/10 Overall Rating – 6.9/10
(G)I-DLE ended 2019 with their attention-gathering appearance on Queendom, who showed the industry that the new ‘concept Queens’ are here. They also finished the year off by promoting their Queendom single, Lion. Interestingly, Lion was also the only single out of the 6 songs performed by the participants that later had a music video released alongside it. But enough of their 2019 promotions. We are currently in 2020 and the female group is now making us go ‘Oh My God‘ at their latest comeback, which was also released today. Their title track ‘Oh My God‘ is featured on their latest mini-album I Trust.
This track, undeniably, sounds different from what we are used to in KPOP. We start off with Minnie hauntingly speak out some lines, which reminds me of one of their Queendom performances. The song then develops quite quickly, building up between Soyeon, Yuqi and Miyeon’s sections in the first verse and pre-chorus. We get some vintage piano in Soyeon’s section (and Soojin’s second verse) that really stands out in this song. The rush we get here is very fulfilling and intense. The song continues to infuse managed to add more intensity through the hip-hop centred chorus. I liked how they paused the music as the rush from the pre-chorus is about to climax, dissipating the flow/energy we had gotten so far and replacing it with a completely different energy for the chorus. This does annoy me to an extent but it is one of the song’s charms that continues the intensity along the song. The ‘Oh My God‘ echoes in mind even after the song ends, showcasing its memorability after just a few listens. I also like the beat of the song, overall. It was added some catchiness to the song. Soyeon’s rapping section in the second verse also adds more hip-hop flair to the song. The song ends with Minnie’s opening chant, capping the song with that eerie feeling again (and also reminding us of the intensity that we felt throughout the song. Overall, I think is this one of the group’s best releases yet.
This music video is already a contender for Best Music Video in 2020. I just want to put that out there. The music video is so elaborate and jam-packed, I am overwhelmed and speechless. I don’t know where to exactly start with this new side of the group. I wouldn’t even say this is edgy, as it would lump it alongside other music videos and concepts that I have already described using that term. And this is like no other. As mentioned there is a lot to take in with this music video. There seems to be a heaven and hell dynamic in this music video, along with fallen angels. The devil, played by Soojin, in this video tempts everyone. Soyeon was already tempted, but she is placed in the white hallway or limbo to help Soojin gain followers. Minnie is a new person being brought into limbo and she is tempted from the start with the red wine. She tries to fight it off, but ultimately fails. Yuqi seems to be an innocent wanderer in the corridors that lead to an angel (i.e. the way she holds her hands together remind me of someone praying), but she is later tempted by some red wine as well (i.e. her eyes look like they were bleeding). Miyeon is an angel sitting on a throne. But she is turned when Soojin’s followers (i.e. the dancers dress in black) surround her throne, forcing to be tempted. Shuhua is another angel, dressed in white and all pure. But she is also tempted, following the dance moves that we see Soojin do at the front of the group during the chorus. We see Soojin kissing Miyeon’s foreheard, and Soyeon appears (a known tempted member). That’s my take on the video and I can tell you right now, there are a lot of details that I don’t have time to mention.
The performance looks fanatasic. I really like their moves in this choreography. It has that contortionist type of feel to it, especially in the chorus. The use of backup dancers really helped drive the eerie feeling of the performance as well, making it very captivating to watch.
Song – 9/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.3/10
Max, otherwise known as Changmin, debuted as part of TVXQ back in 2003. And while he has been an experienced KPOP artist, he has yet to officially make his solo debut. That is, until today through the song, Chocolate. He may be a familiar face to some fans who have been listening to KPOP for some time, however he may be quite unfamiliar to any new fans to the industry. Come to the think of it, it has been a while since we have heard from Changmin. To be precise, the last we saw Changmin (in Korea) was through the TVXQ’s Truth back in 2018 (He and fellow member Yunho have been slightly more busy in Japan – their last comeback being in 2019).
The one issue I find when it comes to artists who have been around for some time is that their solo release ends up being something tacky in an effort to fit in when it. Other times, they release something too typical. Chocolate is neither of these things. Right off the bat, Changmin grabs your attention with the flawless vocals and the pretty random line ‘I ain’t scared of electricity’. The flawless vocals continue throughout the song. It sounds like he is shouting during the pre-chorus but it feels very controlled and grounded. The verses sounded like he was whispering in comparison and I enjoyed the sing-speak for the actual chorus. I also like the rap-speak that he brings, adding texture to the song. The instrumental is full of other different textures thanks to the use of various synths. It is definitely a funky mix, overall and one that undoubtedly keeps you captivated. I also find it interesting that the producers kept the chorus very short and sweet. The repetition of the ‘Chocolate‘ does not feel overwhelming or overly repetitive. Like the food item, this song is definitely one to take in moderately. Or else, you would just be replaying the song all the time.
The music video shows a failed heist. We open up with the ending. Changmin is holding on to the edge of a building and subsequently dropping down to the bottom. The thrill of this probably compliments the same feeling we got from the start of the song. The story then goes to Changmin being interrogated (which I believe is the start of the story). He then escapes, plans the heist, fails are getting the fancy marble-like structure (his hands hover near it, but he never touches it) and then proceeds to go on the run. At the end of the video, he is seen on the roof, which re-links the story back to the start of the video. I think the video wraps up nicely. I am just not sure about the other sections. Unless, I am missing key details or misinterpreting it entirely (which seems to be the case most of the time). Let me know what you think about the storyline in the comment section below.
The choreography is quite good. It may not be as ground-breaking (from what I could see in the music video) in comparison to what TVXQ is commonly known for. But it still does the job. There seems to be a flirtatious facial expression that Changmin puts on during the chorus, which I am sure fans will enjoy.
Song – 10/10 Music Video – 7.5/10 Performance – 8/10 Overall Rating – 8.9/10
The next album to be reviewed is NCT 127’s Neo Zone, which was released a month ago on March. I am slowly catching up and hoping to move to some of the more recent releases over the Easter break while I (and the rest of the world) are stuck indoors. Neo Zone features the title track, Kick It; the song dedicated to fans, Dreams Come True, which was released back on the 27th of January (27/01); and the return of Jungwoo, who took a hiatus during the latter half of 2019. A recurring point I make in this review are about the group’s astounding vocals. Just a head up that things are going to get repetitive on that topic.
Neo Zone Album Cover
1. Elevator (127F) – Elevator is a great track to open the album. It features a bright tone and funky beat, which I thought was really cool. It also was not too heavy, making the track very approachable overall. It was very easy to fall into this track’s groove, as well. And I couldn’t help but continually replay this upbeat R&B song. The vocal work was pretty nice, but I think the rapping really gave it some definition, particularly Mark’s bridge. (9/10)
3. Boom(꿈) – Boom is not the same song as their fellow subunit’s song of the same title. Though I clear that up. Opening the track are some guitars, the track features stylish vocals. Even the rappers opted to sing in this dance track, which is slightly unusual. The instrumental that follows the opening guitar is a mixture of standard dance synths and subtle tropical house (for a change). The instrumental also incorporates some slow moments, which come off smooth and drags out the song in a stylish manner. The ‘Boom’ for the chorus was also rather memorable. (9/10)
4. Pandora’s Box (낮잠) – We get some jazzy R&B in Pandora’s Box. The chorus becomes a little more dance-intensive and featured a decent melody. What I thought was interesting with this song was they kept that jazzy R&B running throughout the background of the song. There were also impressive vocals all members, but Taeil’s section in the second verse, and (for obvious reasons) the ad-libs we get at the end of the song, somehow shines throughout the rest. The rapping was also another highlight of the track, bringing back old school KPOP rapping style. I also enjoyed how the song came to an end. (8/10)
5. Day Dream (白日夢) – The title of this song, Day Dream, already sounded like it was going to be a dreamy R&B. While listening to this song, I couldn’t help but imagine a golden haze shining on me, similar to like the sun shining on you as your stare out a window. I love how light this song feel, which is a different tone that we don’t get from NCT 127 (or any of NCT’s subunits) usually. The vocal work compliments this lightness, often opting for low tones or higher pitches. The chorus was very nice, as well. The only part I didn’t enjoy was the rapping, which disrupted the lightness for me. (7/10)
6. Interlude: Neo Zone– Not going to give this a rating as it contains no lyrics (and hence is just an instrumental track). But it isn’t just an instrumental track. It starts off as a classical piece. During this period, we are teased with a feeling of something dramatic is coming. And then, it turns into EDM. And we get that dramatic flair delivered in the song, which I thought was awesome!
7. Mad Dog (뿔) – Performed by just Taeil, Doyoung, Taeyong and Mark, Mad Dog is probably the most outrageous song on this album. Not outrageous in the sense that it is controversial or just downright terrible. But rather for its eclectic and crazy mixture of genres. The song is very much within the sphere of hip-hop. But we are greeted with hip-hop centered verses, a fitting (based on the title) aggressive chorus and a smoothed-out backdrop for the vocalists featuring in this track. (8/10)
8. Sit Down! – Continuing the hip-hop momentum that a subset of the group provided us in the preceding track, Sit Down! definitely delivers on the bold front with all the members. The instrumental may be a little more typical, but the way they prose the chorus makes it equally as aggressive (as the previous song). I just love the ‘Sit Down!’ that they literally shout at you. While the song may be built for more of the rappers to showcase their style, I found it very interesting that the song had really strong vocal moments throughout. (10/10)
9. Love Me Now(메아리) – We take a step back from the intensity front by focusing on an upbeat and bright EDM-track. And this is a good breather. There is also a very freeing feel to the song, which makes me want to get lost in its sound with multiple replays. Love Me Now brings forward more of the vocals that we heard in the previous song. I really like the opening lines to the chorus lines. It is catchy and refreshing, overall. (9/10)
10. Love Song(우산) – KPOP really loves their ‘Love Song(s)’, as we can all probably name an artist that has used Love Song as a title. NCT 127’s spin on the typical title is R&B and a story of a rainy day. The song continues to push forward with the vocals that I have been impressed with so far. I do find the melody in this song to be a tad choppy for my liking, but I can overlook that. What I can’t overlook is the rapping in this song. It doesn’t feel necessary at all and over complicated what should have been a simple song. (7/10)
11. White Night(백야) – White Night is a ballad. A typically sounding ballad, given its instrumental. But my usual comments apply to the song, in regard to the amazing vocal work that NCT 127 has brought to the album. The rappers also partook in the vocal work, but also tweaked their rapping to be fitting for the softer sound of the ballad. Also, big ticks on the harmony department, as that was something I noticed to be a strong point. (8/10)
12. Not Alone – I would consider the soft instrumental that sits in the background of Not Alone to be minimalistic. There seems to be changes in the use of soft synths and EDM for this song. But since it just sits in the background, it makes the vocals (yes, I am still praising them on this front) become magnified and so clear. Apart from the usual, I find the song to be blissful and peaceful. Definitely one to check out and hitting the replay button for. (10/10)
13. Dreams Come True – The final song on the album is a soft jazzy number dedicated to the fans. It was also released some time ago. The vocal work was stunning in this song (those harmonies during the chorus are just perfection) and the rapping (in this song) is well-justified. It isn’t the most mind-blowing song on the album, but it definitely nice to end the album on a positive and thankful note. (8/10)
Since ONEWE’s last comeback with Regulus in August 2019, we have not heard too much from the band. The only thing I do remember coming from the band since their last comeback was their cover of MAMAMOO’s Hip, which they performed a number of time on the live stage. Today, the band returns with their 3rd single, Q. It features their Hwasa from MAMAMOO, their senior label-mate. I just dug up some information that Q is a pre-release single for their upcoming album, which will be released some time in the future. So keep your eyes peeled for ONEWE’s impending comeback.
As a band, ONEWE is quite rare in the KPOP industry. So to hear some R&B with actual instrumentation in Q is probably the rarest of rare treats, especially with the current synths and dance music environment. At first glance, the song does fall on the dry side. But with the many listens that I need to write a review, I am slowly warming up to the song. Overall, the song felt very restrained, which is where my initial ‘dry’ reaction to the song came from. But as I listened on, I felt the restrained feel of the song was definitely a charm, rather than a flaw. The use of actual instrumentation really makes the song feel warm, a feeling that would not possibly be achieved if it was artificial. The instrumental itself enables the singers to use a lower tone. This means that they showed off a huskier and raspier tone in their voices, which compliments very neatly with Hwasa’s widely known husky voice. That high note in the background was a memorable part, as well. There is a really neat melody and ‘ga’ hook in the chorus, which I find to be catching on. The song gets very interesting at the bridge, with the vocals going with a slightly different melody and the guitar solo brings a bossa nova feel to the song.
The video seems to reflect well with the lyrics. Based on the lyrics, it seems like the guys are in love with partner (who is played by Hwasa) and vice versa. But it is not a good relationship. The guys question why their lover acts differently every time they meet up, while Hwasa’s lyrics basically shows us that she is fed up. In the video, we see Hwasa putting make up on, making an effort with a very pained and depressed facial expression. We then see the members experience some ‘pain’ as she puts make up on. After Hwasa finishes, she throws things around the room in anger. Both of these represents how bad their relationship has gotten, but they don’t know how they got to that point.
Song – 9/10 Music Video – 8/10 Overall Rating – 8.6/10
There is a new male group entering the industry. TOO (Ten Oriented Orchestra) is a 10-member male group under N.CH Entertainment. The group was formed through the show WORLD KLASS, which aired in 2019. They were originally scheduled to debut on March 18 with Magnolia, but this was rescheduled for today (1st April). And even though they are newly debut, they have already been confirmed for their first competition show, Road To Kingdom, which is the male version of last year’s Queendom. They will be particpating/performing alongside Pentagon, Golden Child, VERIVERY, ONEUS, The Boyz and ONF.
I enjoyed TOO’s Magnolia and the group’s direction with this song. I just waited for an explosion that never came. I personally felt that it would really bolster the song and add some definition to their sound. Magnolia is a dance track, described to be a blend of trap and euro pop. It is a good mix and pleasant mix. But with a dance track, a pleasant mix doesn’t sound right. I wanted it go that extra mile, but we just never never got to that point. We get a teaser of this through the chorus when the electric guitars and rock influence are brought in, adding some depth to the song. But I just wanted more (sorry, if I sound a bit greedy). Their vocals and rapping infused some hip-hop influence to the song, which was good and helped out to an extent. But it feels very typical in that regard, as many other male groups have been doing that in the past few years. The transition from second chorus to the bridge was very awkward and sounded odd. I think that was the only section that had the song’s flow disrupted, but they managed to patch the rest of the bridge up with electric guitars.
This is a hard video to interpret, as I have very little clue on what is happening plot wise. Usually, I give the interpretation a go (see most of my other music video reviews that involve a plot line or my music video theory posts). But I am not going to try with this music video because I know I am going to screw up the interpretation of this story regardless of which direction I take the story. All I know is that it revolves around a flower (the magnolia) and focuses around a rebellion. Do you have any theories? Comment below! Apart from the story line, the video was well shot and the post-production edits/ transition made the scenes look more intense and cool. I also enjoyed their edgy look in the music video.
It seems like TOO has a lot to offer in the performance department. And watching them dance, it makes me excited to see what they will bring through their upcoming Road To Kingdom appearances. It is intense, edgy and powerful. I really liked the moments they have where two members versus each other. I thought that was a dynamic part of the performance.
Song – 7.5/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8/10
It is time to familiarise ourselves with a new group. Well, new group in the case for my blog. H&D is a male duo, consisting of former X1 members Lee Hangyul and Nam Dohyun. They have yet to make their official debut, but they did release a track (and promoted it) back in February 2020, Toward Tomorrow. I haven’t reviewed this track and will do once I get some free time in the near future. But rather than waiting around for that review, let’s dig into their comeback pre-release single, Unfamiliar, which is released ahead of their upcoming official debut on April 21.
Unfamiliar is a mid-tempo R&B track that is bound to blow you away for a number of reasons, especially if you are unfamiliar with the members or H&D, in general. At first, the song is structured liked a ballad with a simple instrumental and the start zones right into the duo’s vocals. But as the song progressed along, a beat became more apparent and in the forefront. It started to build up into a really stunning piece and I liked how the song kept the classical roots as it built up. That’s the first aspect that I enjoyed with this track. The second aspect has to the vocals. Both members sounded so damn good. The harmonies are beautiful. I really like the slight husky touch in the back of Hangyul’s voice, helping bring a very mature feel to the song. Also remember that Dohyun is only 15 years old, his deep voice is remarkable in the song. And while we are talking about Dohyun, his rapping is something that cannot be missed. There was just so much depth in his rapping voice, I was in awe. The final aspect has to be the emotion that they put into the song. It sounds so heartbeaking and emotionally driven, with the latter usually being a good sign of a song. With Unfamiliar in mind, I am definitely looking forward to what this duo can bring to the world in late April.
When it comes to the visual representation of an amazing song, such as Unfamiliar, sometimes simplicity is the key. You want the viewers to focus on the song, to feel the emotions and power of the vocals. You don’t to steal that away ability from the viewers. The producers of the Unfamiliar music video did just that. In a grey setting, they placed two black pianos in the centre and dressed the duo in white, creating a strong and striking contrast. And that is it to the video. Visually, the pair stood out. But the video wasn’t over complicated with colour and plotlines that would have distracted you from the song. I find this to be a perfect music video.
Song – 10/10 Music Video – 10/10 Overall Rating – 10/10
We kick off the new week with a solo debut that I am sure many fans will be overjoyed to hear about. I am talking about Suho’s return to the music scene with Let’s Love. For those who may not know Suho, he is the leader of EXO. Recently, the group was announced to be focusing on solo promotions this year and Suho’s solo debut would be the first of the many solo activities we can expect from the EXO members. We last saw EXO and Suho through their Obsession comeback in late November/December.
Let’s Love takes on the modern rock genre and it sounds amazing. There is a level of aesthetics in the sound profile to this song that amazes and floors me at the same time. And it is genre that I need to get back into as Let’s Love just shows me how blissful the genre can be. But enough about the genre. Let’s Love capitalise on Suho’s vocals, as you want to in a solo release. I have never really been a fan of Suho’s voice, as I do find it plain in most EXO’s songs. But here, there is a sense of balance that just makes his voice feels right. He doesn’t push himself too hard, which definitely compliments the softer rock style. His ad-libs are definitely within his range and adds that ‘main vocal’ touch to the song. My favorite part has to be the ending, where he sings in a very huskily manner, ‘You’re My Dream, You’re My Dream‘. The main concern I have with the song is its lack of a strong hook to really make listeners want to return to the song. There is a decent melody that makes me sway along to the music, but I don’t think it will serve in that purpose. But other than that, this is another great solo debut.
The song itself is about the desire to go back to a previous relationship. It talks about how his former partner completed him and how he followed them to get their attention at first. We essentially see the aftermath of the relationship, that period of desire in the video. Now that his partner had left, his world is barely nothing. We see his world is full of infinite darkness and the long concrete corridor extends further and further as he looks into the distance. But as they always say, there is light at the other end of the tunnel. And that is what Suho experiences at the end of the video, that there is that chance to go back. But that chance is reliant on that former partner. That is is my interpretation and understanding of the song’s lyrics and music video. Please note: I may be completely wrong (I have been told many times previously) and would like to hear what you thought the video. I thought the imagery was quite nice and the monotone colour palette to be very suiting.
Song – 8.5/10 Music Video – 9/10 Overall Rating – 8.7/10
It is time for another album review! And (once again) it an album that I should have reviewed a while back. I am talking about Dream Catcher’s very first studio album, Dystopia: The Tree of Language. It is definitely long overdue for the group as it has been four years since their debut (officially) and countless intense and unique comebacks. The album, released mid-February, features the title track Scream and 13 new tracks. Per usual, I will review all tracks excluding the intro, outro and instrumental tracks. Let’s get going!
3. Tension – The title gives us a little teaser of the tension and intensity the song will feature. And it blasts you with just that from the very first second in which the song started, opting for a predominately rock instrumental. For all you dedicated fans of Dream Catcher (otherwise known as InSomnia), this is something we all know is within Dream Catcher’s repertoire, given this is the style that they debuted and consistently pull out. But rather than being the same as the past songs, Tension manages to make it refreshing. The song features a change in the intensity throughout the song but manages to make it well balanced. There are also interesting vocal textures thanks to the use of autotune (Dami’s line just before the chorus is just perfect) or a more delicate backdrop (see the bridge). (9/10)
4. Red Sun – If you think the title track is amazing, wait until you have a listen to Red Sun. The song seems to go towards of a hip-hop based sound, which I think it is unfamiliar territory for the group. But it keeps that edgy sound that we know Dream Catcher for. But there is more to the instrumental than just hip-hop. It is haunting in some parts and employs trap synths in other parts. The vocal work brings very interesting and mature twist to the song, as well. The repetition of the title post-chorus and the overall aesthetics are very memorable. Red Sun ticks all the boxes for me. (10/10)
5. Black or White – As we go down this list, the songs get more interesting. There is no going back with this album. I love the thumping beat at the very start, the orchestral touch during the pre-chorus, the funkiness we got in the chorus (on top of the orchestral touch). In addition to that, I really liked how they autotuned the main hook to be part of the instrumental for the bridge. Their vocals and Dami’s rapping fitted right into the track, like a key and lock. Altogether, Black Or White is another mindblowing, addictive and very unique song. (10/10)
6. Jazz Bar – Like how the title suggest, the song delves into jazz. It is a very subtle groove to the song and its flows effortlessly from start to end. The melody was very pleasant and the chorus was satisfying good. Their vocals were very refined and delicate, matching with the jazzy nature of the song. But the real winner in this song has to be Dami. How awesome does she sound? Her nasally voice just works wonderfully in this song and has to be the best section of the song. (9.5/10)
7. SAHARA – We now return to a song with a rock touch (aka. the group’s roots). And it is a good song. But I don’t think it is as good as what we have heard so far. I found the verses to be forgettable for the most part. I did enjoy the rock rush the song had incorporated during its building up moments and during the chorus. Sadly, I also found the hook in this song to be rather weak. But I did enjoy their vocals and Dami’s rapping was pretty decent. As you can see, I would better describe as the song to skip on the album. (7/10)
8. In The Frozen – We re-enter the more interesting sounds on the album. In The Frozen starts off like any other dance track and it remains locked in that gear for majority of the track. It may sound like I am trying to saying it is typical, but I still liked it. There is an adventurous tone to the song, in my opinion. It just took its time to build up. But once we reached the final chorus, everything dropped (or should I say twist) and the entire song’s dynamic changed through the tempo, the incorporation of the song’s title and Dami’s ‘Limit no more’. This is pretty unique from other dance tracks, which once again brings another interesting song to the album. (9/10)
9. Daybreak (새벽) – Daybreak delves into the R&B genre. It seems like Dream Catcher is captialising on the number of songs by showing a lot of variety in their sound, yet still showing some of their roots in others. The instrumental has this deep yet striking beat, which reminds me of Red Velvet’s Be Natural (a song I felt was boring at first but has grown on me over time). The vocal and rapping work brings life to the song and adds a sense of refinement. The ending is one of those abrupt kinds, which I still don’t like. But overall, another nice song. (8/10)
10. Full Moon – Full Moon was a single for the fans by Dream Catcher, released back in 2018. As you can tell by the rock influences in this song, it is one of the many songs by Dream Catcher that I refer to when I talk about their roots in this review. This is one is a little more straight forward and doesn’t really do add to the sound that we are already familiar with. But this was released in 2018, when the group was still cementing their footing in the industry. I enjoyed the momentum of the song and remember head banging to it every time I had listened to it in the past. I also love the delicate ‘Full Moon’ ending to the chorus, which contrasts strongly with the rock sound that dominates the rest of the chorus. Great track, overall. (9/10)
11. Over The Sky (하늘을 넘어) – And here is another example of their roots, released in 2019 for their fans. The way this song starts off reminds me of many opening themes to animes. They literally throw you into the mix and they probably have no regrets. It is a little overwhelming at first, but you get used to it with multiple listens. Their vocals add more of a cheerful tone to the song and the melody/hook feels very pop-like in comparison to the rush of rock energy that we get in this song. But the two merges neatly with each other and sounds very decent, overall. (9/10)
14. Paradise (Siyeon Solo) (Pre-Release Track) – Not exactly sure if this was ever marketed as a pre-release track, but the final song on the album (even after the outro) Is Siyeon’s solo debut, Paradise. Paradise reminds me of old Western pop tracks and takes on an instrumental profile of a dance track through its use of EDM. But vocally, the song is steered towards the ballad domain. But it is not one or the other. However, the use of the dance instrumental gives it an engaging appeal, while Siyeon’s vocals are on full display in this song. I do feel this combination is rather safe and feel like the song would have been epic if the producers pushed in one or both regards. (8.5/10)
No, I haven’t forgotten about Winner’s review. Winner’s latest single, Hold, was released on Thursday this week and I had somehow missed the news that the quartet would be releasing a single ahead of their upcoming 3rd studio album in April. Once I realized that they had a release (which was after I had published the Lie review for Favorite), I put Hold‘s review right into my agenda and Saturday was the first free day without a review. And now, here it is!
There are two sides to Winner. One is their more serious side, as we saw in their debut and in their most recent comeback prior to Hold (i.e. SoSo). The other side is the more carefree and bright tone Winner, which we have been seeing a lot lately (i.e. Millions and Ah Yeah). It is definitely obvious where Hold sits (i.e. carefree and bright tone). The cheerful vibes that the song contains do project on you, just by listening to it. I couldn’t help but smile upon hearing the song. The song’s falls under the ‘lighthearted hip-hop’ umbrella and features good level of energy in the instrumental hook. I liked how upbeat and loud the chorus was, similar to when you hear the right number of consecutive cymbals clashing in some songs. But it isn’t perfect sounding. The weakest part of the song was the vocals. The verses, where the vocals were most present, were pretty forgettable. If it wasn’t for the loud energy of the chorus, I don’t think the song would have been deemed memorable. The rapping just before the chorus was decent and gave the song some buildup/momentum towards the chorus. The song earn some major ticks, but not all major ticks from me.
The music video features Suhyun from AKMU, a label-mate of Winner. Known for her innocent looks, Suhyun plays the youngest member of the Winner family (with Winner playing her obnoxiously annoying brothers). In this episode of the Winner family, the brothers notice that Suhyun is dating/have a crush and make fun of her. She invites the guy over, and the brothers break into her room (whe the crush was there) to embarrass her. The video is shot in a sitcom like manner, incorporating laughter from the audience. As the song sounds, the music video is intended to be lighthearted and fun to watch. There is also some dialogue that points in that direction. Overall a great video to watch.
There is a bit of choreography in the music video. Though I am not exactly sure if it is the actual choreography. But given the nature of the song and music video, something simple and entertaining like kicks in the air (what we see the members do at the 2:33 minute mark of the music video) makes total sense.
Song – 8/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 8.8/10
It is time for another album review (and I am in the process of drafting another one for Sunday!). As you can see I am busy catching on album reviews that I should have published weeks ago (major hint for the next album review). As you can also tell from the title, I will be reviewing Moonbyul’s very first mini-album release, Dark Side Of The Moon. It features the title track Eclipse, which was also released on the 14th of February 2020. Moonbyul has since wrapped up promotions for her solo release (which is another reminder of how overdue this album review is). So without further delay, here is my album review!
2. Mirror– When there is a choreography routine, the vocals and rapping are usually ‘reduced’ in KPOP to facilitate a flawless routine by the artist. And Moonbyul’s Eclipse is no exception, especially since the choreography was very powerful. Mirror, a song about the realization of the need to let go in a relationship, zones right into Moonbyul’s rapping and vocals, layered on top of a very soft and delicate R&B instrumental, filled with piano and synths to add definition to the song. I really liked how Moonbyul went into a higher tone for the end some of her lines. It really creates an interesting melody and also demonstrates more of Moonbyul’s range. Her rapping gave the song some edge and the way her rapping was packaged was perfect for the softer tone. (9/10)
3. ILJIDO– ILJIDO provides the album with a little more light-heart nature, which was definitely absent through the two songs preceding. From what I understand, the song is about wanting more in life. I find the song to be very well balance and I think Moonbyul’s huskier vocal tone was very fitting for this song. The song features another light instrumental and featured a jazzy instrumental break. Prominently featured in the instrumental are flutes and I believe they sampled Hwasa’s Twit, as the flutes here sound very similar to the latter song. I do think the song is a little safe and traditional, but it is still pleasing to listen to. (8/10)
3. Moon Movie– How awesome is Moon Movie? I am declaring this is the hidden gem of the album, even before we dive into the song. Kicking it off is a really alluring piano piece that replays throughout the song. The track’s beat is equally as alluring. The combination of all makes this track stand out in my opinon. As mentioned many times previously, I am not a major fan of the hip-hop genre. But Moon Movie delves into the genre in such an appealing fashion that I cannot help but enjoy it. Moonbyul’s rapping is so rhythmic and it just pulls you into the song even more. (10/10)
4. Weird Day (낯선 날) (ft. Punch) (Pre-Release Track) – We get a simple jazzy instrumental in Weird Day. It is then paired with the sweet vocals from Punch, along with Moonbyul husky vocal tone and soft rapping. And you effectively have created a really amazing track. The track shows how versatile Moonbyul can be, a key skill needed in the industry nowadays. The melodies are really nice and the track is very peaceful to listen to. The only problem, it goes by so quickly despite it going for 3:15 minutes. Other that, I liked this pre-release track (9/10)
5. Snow (눈) (Pre-Release Track) – We end the album with a ballad that was first unveiled in December. And this is a beautiful ballad that focuses purely on Moonbyul’s vocals. I like how Snow manages to incorporate some rhythm to the song, as if Moonbyul is rapping. The harmonies with the backing vocal really make this a strong track. I was going to say that the song feels very versatile, but the Winter theme kicks in later in the song in my opinion, which restricts it to only the Winter season. If it didn’t do that, I think I would have given the song a slightly higher rating. But it is still amazing nonetheless. (8.5/10)
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