Category: KPOP

[Album Review] WHU IS ME: COMPLEX (1st Mini Album) – HUI (PENTAGON)

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A month ago, I finally got around to reviewing HUI’s solo debut single Hmm BOP, which was released very early on in 2024. In that post, I confirmed an album review would be coming your way. It has taken a little extra time than what I had hoped for, but said album review is finally here. Hmm BOP is featured on HUI’s first mini-album, WHU IS ME: COMPLEX, and is amongst four songs on the mini-album.

While it is a bit early days for me to probably say this, but I reckon HUI has one of the best album releases in 2024. Two songs on the mini-album recieved 10/10 (find out which ones down below) and the other two were also quite strong singles. To me, this highlights two key points. Firstly, HUI deserved solo promotions many years backs. The fact that it took 8 years to finally hear about a solo debut for HUI is ridculous. Secondly, he is a really good artist and definitely deserves some attention.

Continue reading the album review for WHU IS ME: COMPLEX.

WHO IS ME: COMPLEX Album Cover

1. Hmm BOP (흠뻑) (Title Track) – Click here for the full review for Hmm BOP. (10/10)

2. MELO (ft. PARK HYEON JIN) – The instrumental of MELO is definitely the winner. Piano and dreamier elements served as the underlying layer in MELO’s background. But it becomes very robust and complex with its funky synths, detailing and deliberately placed pauses. My favourite bits are actually the instrumental bits following the choruses, when all of the above is given to us in isolation. Now don’t misunderstand my words – the rest of the track is definitely solid. HUI’s vocals are smooth and sound so blissful throughout MELO. No surprises there. Park Hyeon Jin’s featuring grounds the song and gives MELO a bit of stability and balance. (9/10)

3. Cold Killer (ft. JINHYUK (NOWADAYS)) – Cold Killer takes us into rock territory with a deep and grungy rock style that feels fitting for HUI’s repertoire. Unfortunately, I personally felt the main vocalist underdelivered slightly. His delivery lacked a bit of angst that would have worked well in Cold Killer, and I wished his vocals soared a little more at various points throughout the song. On the other hand, I lowkey expected a spectacular high note to really peak off the song, and HUI definitely delivered that during the bridge. There are some more high notes at the very end, which helped end Cold Killer in an awesome and intense manner. JINHYUK from NOWADAYS (a newly debut group under CUBE Entertainment which I will get around to reviewing) provides Cold Killer with its rap sequences, which complemented the rock sound so well. The addition of scratchy rock-esque synths was clever. (8/10)

4. A Song From A Dream (봄이 오면 겨울은 지나가) (ft. WOOSEOK (PENTAGON)) – In the final track, we see HUI reunite with fellow PENTAGON member WOOSEOK. Staying in the rock realm but taking on a ballad approach, A Song From A Dream allows HUI’s vocals to shine so beautifully. The vocal parts in the bridge, the pre-choruses and choruses are just solid evidence of this. The way he harmonises with himself in the bridge and pre-choruses was just so captivating. But what gave A Song From A Dream an edge for me is the featuring of WOOSEOK and how it fits in so well with HUI’s delivery of the song. WOOSEOK’s vocals and rapping give off additional passion to what HUI already offers us, while the energy and chemistry the pair brings to the song makes it reminiscent of past PENTAGON songs and pulls A Song From A Dream altogether to be a highly recommended track. (10/10)

Overall Album Rating – 9.3/10

WHU IS ME: COMPLEX Teaser Image

[Review] Supersonic – fromis_9

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It has been over a year since we last heard from fromis_9 through their #menow comeback and Unlock My World album. While a comeback for this group should have been sooner, it took one member (Chaeyoung) to complain publicly in May about their lack of comebacks for their company to announce the group’s comeback for this month. That resulted in the release of Supersonic, which is the focus of this review.

It took me two listens to fall for Supersonic. I acknowledged how good the song was on the first listen, but Supersonic hit really hard upon the second listen. It has been on repeat since. The instrumental is a relatively simple aspect of Supersonic. The pulsing Miami bass beats give Supersonic so much body, while the percussive synths are wonderfully light yet textural enough to give the track added vibrancy. One of the things that surprised me was how much I enjoyed the consistent instrumental. It was all very similar throughout Supersonic. Normally, I would have commented on how it negatively impacts the quality of the song. But the producers of Supersonic do just enough in that space to ensure it doesn’t feel that way. A good example is the backing of Jiwon’s part in the second verse. It ‘roughened’ the trajectory of Supersonic briefly, with Jiwon’s lines delivering her lines perfectly. Talking about delivery, the standout elements in Supersonic are the members, who were extremely charming throughout. Once Supersonic‘s chorus started, Supersonic felt like a fromis_9 song to me. DM flashed into my mind during my first listen, and it is always the first song that comes to mind when I think of fromis_9’s sound. The melodies of the two songs are different, but their delicateness is a common factor throughout both songs. The dragged-out words in the opening line of the chorus were done so well and emphasised a refreshing vibe in the song. Supersonic manages to also infuse a slightly edgier vibe to it, which was intriguing. Even the ‘Super Super, Supersonic, Supersonic‘ rap-speak hook was done so softly (which aligns with the idea of fromis_9’s sound being delicate) but yet so punchy simultaneously. Put all of this together, and Supersonic is a strong addition to fromis_9’s repertoire.

The video captures Supersonic‘s refreshing vibes extremely well. The slight breeze in the music video, the group’s casual attire, and the water explosions provide a sprinkle in the final set of choreography scenes. All of this just makes Supersonic an ideal video for the summer season. The members themselves look amazing throughout the video. I just kind of wished there was a bit more to the video. It just doesn’t feel complete to me. But truthfully, I am not entirely sure what the music video lacks.

Choreography-wise, I thought it was good. That delicateness that I mentioned in the song portion of this post felt reflected and worked nicely with the song’s vocals. The first move during the ‘Super Super, Supersonic Supersonic‘ part was somewhat familiar – NewJeans’ Super Shy came to mind. BUT fromis_9 took it in a completely different direction after that move, so don’t get me wrong. I also liked how the members ended the performance, standing in a singular line and walking off to the sides like models as the song finished.

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

[Review] Gone – BANG&JUNG&YOO&MOON

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It has been a long time coming, but it brings great pleasure to say that B.A.P has reunited! It has been six years since the group disbanded upon leaving their former company, TS Entertainment. Today, the group reunites as a quartet: BANG Yong Guk, JUNG Daehyun, YOO Youngjae, and MOON Jongup. Fellow former member ZELO is not part of this comeback due to his military enlistment. However, I saw a message of support from ZELO in the comments to the music video released alongside their new single, Gone (which leads me to believe we might see five members together in the future). Gone is the lead single off their new mini-album Curtain Call.

Gone is very unlike any B.A.P release I have heard before (as far as I can remember). It is much more sentimental, which makes perfect sense given the lyrics convey nostalgia as well as the thoughts that this moment with each other may be their last. In Gone, the music is a lot more subdued than usual for the group (for reasons already mentioned), and there is more focus on acoustics and band instrumentation. I actually quite enjoyed this, especially since the lesser presence of synths sounded refreshing. The softer sound also enables the group to showcase their vocals, which they all do quite well in Gone. While it isn’t that powerful as I had hoped for, you can really hear the passion behind each member in Gone. I have always thought that each member of B.A.P was born to be on stage. The passion and subtle emotion that delivery in Gone is testament to that. JUNG DAEHYUN and YOO YOUNGJAE’s vocals were strong and steady as always. I liked how softer BANG YONG GUK sounded in Gone, and his vocals parts brought nice texture to the song. But the standout member, in my opinion, is MOON JONGUP. I haven’t really paid attention to MOON JONGUP’s outputs since 6 years ago, but he needs to keep up with whatever he has been doing as he has shown the greatest improvement in the group with this release. My only critique about the song is that the melodies could have been a bit stronger and more developed to be more memorable. But aside from that, it was great to hear B.A.P again (sans ZELO) in Gone after 6 years.

The video sees the members reunite and hang out with one another. The video opens up with the members meeting in a diner. They have their banter in the diner before going onto a road trip to a stage where they will perform with one another again. They stop at a service station that has a sign that says ‘Closing Down, Thank you for the last 12 years‘, which is represents the time that has passed since their debut in 2012. While raiding the service station, the video snaps to a Korean barbeque restaurant which sees the members, again, enjoying a meal and each other’s company before we are taken to the stage where we can see the members perform for the first time in a while. The KBBQ scene does highlight some nerves they have since they are returning to the stage after a long time. The video ends with the members back at the restaurant, pleased and proud with the resulting music video on their phone. Despite the song’s lyrics as mentioned above, the members remain with one another at the restaurant, telling us that this wouldn’t be the last time we see the members together again.

To match the sentiment of the song, the choreography for this comeback is rather flowy. And I like how logical that is. Most of the dancing itself was handled by the dancers, allowing the members to focus on the vocal work that comes with a song like Gone. But the parts the members do participate in had this powerful aura to it that reminds me of their past.

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

[Review] Sweet Dreams – Red Velvet

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At the start of this month, Red Velvet celebrated its 10th year as a KPOP group! A huge congratulations for reaching this milestone! As part of the celebrations, Red Velvet released Sweet Dreams as part of a newer version of Cosmic (their 7th mini-album released in June this year, led by the same-name single).

Sweet Dreams is indeed a sweet song. The group sings about their journey with their fans, likening it to a child who has reached the age of 10 alongside them. For long-term ReVeluvs, this is sure to be a heartfelt song. Sweet Dream‘s instrumentation is a mellow and hopeful pop track. While the instrumentation isn’t exactly the most riveting piece of music out there, I did like the use of the heavy beats and synths. The song is already quite light overall, so the heavy beats were helpful in anchoring Sweet Dreams down, while the synths provided a nice complexity and texture to the song. As mentioned earlier, the song is sweet, and this comes down to the members’ vocals. Very light and airy on this side of Sweet Dreams as well. Like the heavy beats, the rap-like deliveries we get interlaced throughout Sweet Dreams help anchor the track down, while their high ranges bring out that high range quite nicely. I can’t pinpoint exactly if it is the instrumentation or melody, but something within Sweet Dreams reminds me of a nursery rhyme of some kind. Given the song’s analogy towards a 10-year-old kid growing up alongside Red Velvet, this felt appropriate for Sweet Dreams.

There isn’t a formal music video for this release. Instead, we got a ‘special video’ of Red Velvet recording Sweet Dreams, presented in a scrapbook format. Around these recordings were moments from past music videos, behind-the-scenes shots and the song’s lyrics, all presented in the same format. This concept worked well with the song and was a nice way to reflect on 10 years of music videos and other content. A proper music video would have been more satisfying if I were honest. But this works just as fine.

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

[Review] Dive – YOON SAN-HA (ASTRO)

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YOON SAN-HA made his solo debut eight years after debuting as part of ASTRO. His debut consists of the mini-album Dusk and the lead single Dive. This follows ASTRO’s surprise 8th-anniversary song Circles and their strong focus on solo work—CHA EUNWOO’s solo debut with STAY, a string of songs released by JinJin through his JIN LAB Project, MJ’s musical/OST works and a drama for the member of focus of today’s review.

It is great to hear from YOON SAN-HA after so long. I honestly thought Fantagio had forgotten about him – especially since he has grown considerably as a vocalist since ASTRO’s debut in 2016. It would be a pity for him to be absent from the music scene any longer. Dive is an alternative R&B track with a prolific chorus and heavy bass that gives so much definition to the song. I quite enjoyed the instrumentation as it is. I like how the verses simmer while Dive‘s full potential is reached in the chorus. YOON SAN-HA’s vocals can be described similarly. There is a nice deep tone to the new soloist’s vocals during the verses that match the tone of the background wonderfully. As for the chorus, YOON SAN-HA soars up high alongside the background when its powerfulness kicks in. I also like the emotions he puts into his delivery throughout Dive. It makes the song sound so much more powerful and passionate. However, Dive does have two problems in my mind. The first is the lack of a strong hook or clean melody to make the Dive more memorable. Everything I heard in Dive that could have served as a strong hook or clean melody just doesn’t feel fruitful enough. Secondly, I continually expect a bridge and final chorus once Dive ends. I don’t know if this feeling will be lost with further listens, but I keep expecting something more at the end of Dive to finish the song satisfyingly. But what we do get in Dive already makes it a strong solo debut release.

Dive expresses the loneliness caused by the departure of a loved one from one’s life. From what I got from the lyrics, his feelings for that person linger, and he regrets how things ended between them. In the music video, we see YOON SAN-HA alone in all of the scenes, depicting the loneliness he continually mentions in the song. But his acting really shows the emotional fatigue one gets following a breakup, and in the context of the song, processing that lonely feeling. With that in mind, however, I am not exactly sure what in the video would make me want to revisit it down the track. It is one of those videos you need to watch once, and you know the gist of things. It doesn’t help that it is straightforward and has only one constant theme throughout the scenes.

Song – 8/10
Music Video – 7/10
Overall Rating – 7.6/10

[Review] MOUNTAINS – Stray Kids

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Over the last week, Stray Kids have celebrated STAYs in their annual STAYweeK event. Amid the behind-the-scenes video, special dance practice of their latest single, Chk Chk Boom, and other special videos, Stray Kids have also released music videos for two side tracks from their recently released ATE mini-album. The first was MOUNTAINS, which is the first song on the mini-album.

Stray Kids knows how to select a song to kick off the album! MOUNTAINS is an explosive hype track that will undoubtedly get the crowd roaring when performed live during their world tour later this year. One thing that has me addicted to MOUNTAINS is its instrumentation, which features a mixture of rock influences and some hip-hop on the side. The stomping drum beats definitely bring on the adrenaline, while the electric guitar keeps an ongoing vibrant and electrifying factor in MOUNTAINS. The rapping from CHANGBIN, HYUNJIN and HAN was very boastful and powerful. If you have been a Stray Kids listener for a while now, you would know they are more than capable of this. But something in MOUNTAINS just took their delivery to a whole new level. BANGCHAN, LEE KNOW, SEUNGMIN and I.N’s vocals sounded very crisp and fresh. Some of their parts coincided with the less powerful moments of MOUNTAINS, giving us great moments of reprieve from the explosiveness of the track. But later on, they roared when carrying us through the chorus and delivering shouty yet memorable lines like “Mountains, Mountains, I woke up on the mountain“. But FELIX’s deeper and raspier vocals were the best out of the team. It gave MOUNTAINS an aggressive texture suitable for the rock influences that MOUNTAINS channelled. With the praises (and the lack of criticisms), it is safe to say that MOUNTAINS is one of my favourites from the ATE mini-album, for the hype it brings and how well Stray Kids executed it!

MOUNTAINS speaks to where Stray Kids are now in their careers—their journey now leads them to the top of the mountain. In the video, FELIX and HYUNJIN create their own content, alluding to their self-producing reputation. HAN roams around people who aren’t interested in them (which speaks to their beginnings in the industry), while BANGCHAN has lasers pointing at him, representing the hate and criticisms that Stray Kids got. I also like how the lasers are pointed at him only and not the rest of the group, indicating that he would do anything to protect the rest of his team. Later in the video, the same people HAN was walking around join Stray Kids at the foot of the mountains, creating a path for Stray Kids to walk up the mountain to reach the top, which is undoubtedly where they are in their careers. Elsewhere in the video, some other members are playing chess with buildings and interacting with a smaller city. I’m not sure the exact meaning of this, but I think it has something to do with the power they feel they have now – they can control the weather and the city. The ending (per the featured image) shows the group peering over a bright, cloudless city, which I assume represents their fandom. On their faces are proud looks. I’m not sure if my interpretation is correct, but I like the confident messaging that the video sends and the energy it boasts throughout the video.

Song – 10/10
Music Video – 9/10
Overall Rating – 9.6/10

[Review] TANG TANG TANG – 90TAN (BTOB)

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Late last year, it was announced that BTOB was leaving CUBE Entertainment after 11 years and setting up their company (BTOB Company) for group and members’ EUNKWANG, MINHYUK (otherwise known as HUTA), LEE HYUNSIK, and PENIEL solo activities. YOOK SUNGJAE and LEE CHANG SUB remained part of the group but took their solo activities elsewhere. Since then, there has been a steady stream of music from all BTOB members (one of which I have reviewed – YOOK SUNGJAE’s BE SOMEBODY). Earlier this week, two members (EUNKWANG and MINHYUK) launched a new unit called 90TAN and released their debut single, TANG TANG TANG.

Right off the bat, TANG TANG TANG jumps right at you with its energetic throwback to 90s hip-hop and hype energy. The latter was intentional, as I read from a few sources that the song is freshly minted specifically for HUTA’s recent Waterbomb performance by MINHYUK himself! I like how explosive the track feels. The instrumental is one element behind this explosive energy. But I also put it to the energy that the members bring, which is evident by their individual rap performances in TANG TANG TANG. MINHYUK’s powerful and clean rap performance is something I want to highlight in particular, while EUNKWANG does what he does best and infuses his rapping with singing as he makes his way through the second verse with ease. EUNKWANG also balances the track with smooth vocals during the pre-choruses, leading well into the pair-led chorus. I liked the texture that MINHYUK brings with his vocals in the choruses, while EUNKWANG’s vocals soar up high to further drive the energy of TANG TANG TANG up. My only gripe about the song is the lack of a hook to really sink our teeth in and have it on repeat in our minds after TANG TANG TANG is over. Had said hook has been used in the track, I think TANG TANG TANG would have been more memorable and prolific on our playlists.

A funny music video accompanies the energetic song, channelling the energy of the song in a light-hearted way. In the video, the 90TAN pair go on a heist to steal from the person who stole their heart. I liked the fun bits of the video, such as when EUNKWANG requested tools, and MINHYUK completed the hand heart, the lights-on-off stare-off with the security guards, and the subsequent chase scene between the 90TAN pair and the guards. The good news was it was a successful heist, and the members took back what had been stolen from them – lollies. I would have been right with them had I known that it was stolen in the first place! In the less comedic moments of the song, the pair channelled the 90s with their hip-hop attire. Also, it would have been nice to have Jang Wonyoung appear when she popped up in the lyrics.

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

[Review] Ice Cream – JEON SOMI

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Just a couple of days ago, it was announced that JEON SOMI would be making her comeback in just a few days. Those few days have passed, and JEON SOMI officially returned with a special summer single, Ice Cream, today. This is her first release since Fast Forward last year.

I have given Ice Cream a few listens since its release earlier today. My first impression was that the new song was disappointing. But interestingly, repeat listens have warmed me up to the music – even though that wasn’t the song’s message! Though the one thing I am sure of is Ice Cream won’t be a song I will necessarily go out of my way to listen. I find everything, from the instrumentation to the vocals, too consistent. Ice Cream comprises of constant rhythmic percussion, crunchy brass, and a singular tonal vocal approach from JEON SOMI. Aside from the one-dimensional comment, I am not upset with the instrumental. However, I wish the producers did something more in Ice Cream as it progressed. We got a hint of tropical influences in the pre-choruses and bridge (similar to the style we have heard in What You Waiting For, which I think the producers could have used more of in the song, especially since it worked well with the rest of Ice Cream. JEON SOMI’s vocals are unique, and Ice Cream does show off her vocal tone well. But I wish it wasn’t just the one tone throughout Ice Cream. It also didn’t help that her vocals sounded miles apart from the instrumentation, and they didn’t meld with one another to make Ice Cream a cohesive piece. I also wished her delivery was clearer – what she sings in the pre-choruses sounds different from what the lyrics say. The autotuned line ending the chorus and the chanty end to the song does give some variety, but it all felt the same and never pushed any boundaries. Overall, Ice Cream is a so-so track. It might get a few more listens out of me, but as alluded to above, I don’t think I will be head over heels for it any time soon.

The concept for this release was initially apparent, but then it got weird. Essentially, the song speaks to the hot weather, and the only way to combat it is by seeking ice cream from JEON SOMI herself. We see the people in the video swelter and later cool themselves off with some ice cream. Logical. Then, one of the people in the video drops their ice cream. All hell breaks loose in the community (big furry fake animal catching on fire, fights and the casual astronaut falling from space), causing the heat to rise to ‘heat-warning’ levels. Even JEON SOMI’s ice cream can’t cool them down. But a special appearance from actor Park Seo Joon saves the day, promoting JEON SOMI’s business and getting everyone to cool down again. I suppose the video is meant to be light-hearted and not taken seriously, especially since the song’s message is about cooling down (i.e. being chill).

The few listens I gave the song coincided with the music video, which does feature some choreography in it. At first, I also thought the performance was rather basic and boring. But it has grown on me. I did end up enjoying the shimmy and shakes. I was expecting another Fast Forward routine, which blew me away last year. A definite focus was on being pretty in this routine, which probably preoccupied the choreographer a bit when designing the routine.

Song – 6/10
Music Video – 8/10
Performance – 7.5/10
Overall Rating – 6.9/10

[Review] Brought The Heat Back – ENHYPEN

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Two weeks ago, ENHYPEN returned with XO (Only If You Say Yes) and their second studio album, ROMANCE: UNTOLD. Today, the group dropped a second music video for the side track Brought The Heat Back.

When you compare XO and Brought The Heat Back side by side, the difference between the two is very obvious. The former was more mellow and pleasant, while the latter was more energetic and flirty. I quite liked the upbeat nature of Brought The Heat Back, which feels fitting for the summery season when more dynamic music comes through. This upbeat nature results from the funky disco instrumental that drives the dynamism behind Brought The Heat Back. The members complemented this with their prominent vocals shining through, boldly delivering the song’s hooks and melodies. The “Yeah, Yeah, Yeah” hook was particularly catchy and addictive. I have it on repeat in my mind as I write this review. The flirtiness results from the members’ delivery and the lyrics, which speak to their jealous feelings. For the most part, Brought The Heat Back was a solid track. But Brought The Heat Back has some elements that I find myself on the fence about. The vocal processing felt a bit hit-or-miss to me. During the chorus, the autotune brought character to ENHYPEN’s vocals, which made the chorus and its hooks stand out even more. However, in other parts of Brought The Heat Back, the autotune was applied a little too thickly, slurring their delivery and this did not sound as great. I am in a similar mindset regarding the trap-based instrumental break of Brough The Heat Back. Part of me liked the edgy factor that it brought, but another part felt like it was a drag. Either way, it doesn’t negate the bridge ended with an impressive high note from JAY. Overall, I like Brought The Heat Back – a totally different vibe from their title track, but much appreciated.

The music video for Brought The Heat Back was definitely a fun one. But instead of being visually fun (i.e., through the use of colours, imagery, etc.), the ENHYPEN members took a comedic direction with the video. It is different and somewhat refreshing, as that isn’t done as much in the industry. But the members pulled it off! The jealousy depicted in the lyrics makes them compete with one another to find the black cat ‘missing’ in the video (who I assume represents their lover). Falling coffins, flying fish, elevators turned into freezers and nailing coffin lids with multiple nails so there was one less person to compete with to achieve their goal was quite funny. They are so into this black cat that they all rose from the dead to find it, showing us how infatuated they are with it. This is further backed up by the dance break, where the members don glow-in-the-dark cat eyes in their attire. Remember, their lore is about vampires, not felines. I really liked the members’ acting in the video, which conveyed that jealousy feeling well.

Brought The Heat Back’s performance is much stronger than XO’s. They showed off much more style and encapsulated the funk and groovy vibes. I enjoyed the chorus, which showed us some of ENHYPEN’s style quite well. But the dance for the outro really sold me on the performance and (once again) ENHYPEN’s skills in this department.

Song – 8.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.8/10

[Album Review] EVERSHINE (7th Mini Album) – CRAVITY

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Another album review is here – this time for CRAVITY’s EVERSHINE. This is their 7th mini-album and was released back in February of this year. It features a total of 6 songs, including the title track Love or Die and the secondary promotional track C’est La Vie. Overall, another quality output by the group with some good and great songs on the mini-album. Continue reading to find out my thoughts on the individual songs that make up EVERSHINE.

In more recent news, CRAVITY also released new music (single is titled Show Off) in Japan and the group will be appearing the revamped Road To Kingdom show.

EVERSHINE Album Cover

1. C’est La Vie – Click here for the full review for C’est La Vie. (7/10)

2. Love or Die (Title Track) – Click here for the full review for Love or Die. (9/10)

3. Cherry Blossom – When you think of cherry blossoms, you tend to think of light pink colour and perhaps even a soft breeze to brings out a crisp Spring air. Cherry Blossom encapsulates all of that quite well. It features bubbly synths with a dash of funkiness, all the while maintaining a lightness that feels fitting for the concept of cherry blossoms. I do think the producers could have gotten away with a slightly heavier dose of funk, just to give the song more boldness, edge and tenacity (but also maintaining the lightness of the song). The members themselves sounded sweet and the melodies made Cherry Blossom quite comforting to listen to. (8/10)

4. Mr. – Mr. is my pick for this album’s highlight. It takes on a 2000s EDM club banger style, which ended up feeling nostalgic to me (given I grew up in that era). Odd to think that EDM can elicit a nostalgic feeling… Anyhow, I do like how the producers didn’t overdo the EDM, which keeps Mr. refined and approachable. I liked the bass of the single, and how well that contrasted with the smooth vocals and melodies. The rappers were also in their zone in the verses of Mr., driving the song forward themselves when there was not a whole lot going in the background (relative to the choruses). The beat also works with the current funky and groovy trends, and the hooks were catchy. There was a lot to like in Mr.. (9/10)

5. Worst Thriller – A movie-like whistle and psychedelic rock takes the helm of Worst Thriller. It is a different sound profile that I am not sure anyone else in KPOP has done before, but the dreamy effect is very familiar. Definitely an interesting and unique direction. The slower pace of the track and the multiple subtle increases in the pacing at the end of the song made Worst Thriller feel quite unsettling, but in an intriguing way. At first, I found it odd. But I will admit that the song has grown a fair bit on me. The members handled the song well. I particularly like the backing vocals, which also set the unsettling and intriguing atmosphere further. (8/10)

6. Over & Over – Over & Over ends the mini-album with a familiar pop rock sound. While the track isn’t the most innovative or ‘different’ song on the mini-album, I really appreciate the straightforwardness of the track. The CRAVITY members definitely did a really good job on the vocal and rapping fronts. The instrumental just had the right amount of energy. Put all of that together, and Over & Over comes out to be a worthwhile listen. Altogether, a very comfortable end to the mini-album. (8/10)

Overall Album Rating – 8.2/10

EVERSHINE Teaser Image

[Review] WISH – NCT WISH

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This is another review for a newly debuted group: NCT WISH, the final subunit of NCT. They are officially the designated Japanese unit of NCT (like how WayV is the designated Chinese unit of the broader group) but have been active in South Korea (where they are co-managed by SM Entertainment) and Japan (where they are co-managed by AVEX TRAX). The six-member unit, consisting of Sion, Riku, Yushi, Jaehee, Ryo, and Sakuya, made its debut in February of this year with the single WISH. I will return in the near future to review their more recent single Songbird.

Despite being from one of KPOP’s biggest companies, the main reason why I hadn’t reviewed NCT WISH’s debut single, WISH, before today was that I never really connected with the song. Five months later, I feel the same way about it. Don’t get me wrong – WISH isn’t a bad song. It just needs to be better in some departments. WISH is a buoyant dance track with a youthful tone, which suits the group’s current charms and stage in their careers. To complement the WISH‘s youthful tone, it remained light all throughout (for a dance track), which sets it apart from other NCT releases (which nowadays tend to be heavier in both tone and punch). I enjoyed the combination of synths and piano/keyboard in the background, particularly in the pre-chorus, as it had a calmness to it. I also feel there is a bit of funk and groove to the instrumental in the chorus, which was a good direction for WISH to head in. However, I think the producers of WISH missed an opportunity here to capitalise on the funk/groovy elements. This could have made the song go ‘further’, adding definition and colour to the song to make it more memorable. Another element that I thought was particularly weak was the melodies, which have implications on their vocals and rapping. The melodies in the verses were bland, and this resulted in the song downplaying NCT WISH members’ individuality. When the members sang together in the choruses and during the shoutier chants like “Future is in my hands…“, the group had a better hold of my attention. But this was short-lived for one reason or another.

Music videos for the Japanese and Korean versions of WISH were released simultaneously. Both videos contained a mixture of the same and different scenes to tell the same story. If you knew about it, this would have made watching both refreshing. In both music videos, the members of NCT WISH act as not-so-great Cupids. They fall from the sky, inadvertently making an arguing couple fall for each other once again. When they intentionally try to pair a couple up, the two music videos tell you they aren’t great at their jobs. In the Japanese version, one of the members stole a guy who was gifting his partner flowers and positioned him in front of another lady in hopes of encouraging the potential couple to make a move on each other. This ultimately failed when the partner caught her guy on his knee later on, causing them to fight. At the end of the Japanese video, one of the members intentionally shoots his love bullet at a dog. The dog becomes infatuated with the guy, and this leads to another couple forming a relationship – just not the one they intend to pair up. In the Korean version, another member shoots a love bullet into a tree, and this causes one person from the potential couple to fall in love and make out with a tree. At the end of that video, one of the NCT WISH members dives in front of the love bullet, causing the female protagonist to fall in love with him instead. It turns out, as she saved his life earlier in the video and came across her again, he had fallen for her. I really enjoyed the members’ reactions to these different developments and thought the music video was fun to watch.

The choreography for WISH was exciting to watch. I like how it portrayed the group’s youthful charms, as teased out in the song. But they didn’t do it as cringingly as some of their other counterparts, which I appreciate. I really liked the routine during the song’s chanty sequences, which highlights both their synchronisation and sharp movements—which are strong attributes in all of NCT choreographies.

Song – 7/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.8/10

[Review] WHERE AM I – CHA EUN WOO (ASTRO)

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Over 5 months ago, CHA EUN WOO from ASTRO made his official solo debut with the mini-album ENTITY. Leading the mini-album was the single STAY. Following the release of ENTITY and STAY, CHA EUN WOO also released music videos for the side tracks WHERE AM I and You’re The Best (thus making both songs eligible for a separate review). Today’s review focuses on the former – WHERE AM I.

CHA EUN WOO takes us down a balladry path with WHERE AM I. The track features an instrumental consisting of alternative rock and stilling piano. I liked the presence of the alternative rock, as it a different energy to the genre, as opposed to the usual classical form. Combining it with the piano allowed for the retention and channel of a slow pace and delicateness all throughout to maintain that balladry motif. But while I do like the instrumental, it was not the scene-stealer. Rather, it set the scene up really well for the actual scene stealer – CHA EUN WOO. His vocals are so beautiful in WHERE AM I. I remember being utterly captivated by WHERE AM I whilst checking out his mini-album when it was first released and that was because of the emotions CHA EUN WOO had put into his deliver. I thought the way he did was refined, as it did not sound like he was pouring his feelings into this vocal delivery. Rather, a slight rasp, the airiness and lightness, deeper tone in various parts of WHERE AM I and the pace of his delivery/melodies really highlighted and brought the emotions to me (and the audience) with little effort. He adapted really well with the changes in the instrumentation, and his push to complement the changes remained effortless. I particularly like the ‘Where Am I‘ in the choruses, and how heartfelt these 3 words sounded. Overall, a very stunning and mesmerising ballad.

The lyrics talk about to void that is left behind and the feelings following the departure of someone important from one’s life. I can only imagine what CHA EUN WOO (and the other ASTRO members – past and present) had gone through, but you can’t help and make the connection that the song is a tribute to his fellow member and friend MOONBIN, who passed away last year. The last line “I will see you again” definitely makes me eyes well up. In the video, we see CHA EUN WOO give into his desire to drift away upon remembering that someone. To me, it represents his longing for the person and that he wants to reach out and be with them. At the start of the video, he is seen wandering the streets alone and in his own bubble. But at the end, he comes back to the surface and continuing on with his life as he continues to comes to terms with the fact that someone is no longer in his life. It is definitely a thought provoking and emotional music video, so have a box of tissues next to you when do watch it!

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

[Review] I Do I Do – KARA

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KARA returned to the stage at the end of 2022 with WHEN I MOVE to celebrate their 15th anniversary together, 6 years after disbanding. We haven’t had a KARA comeback since. But that changed earlier this week, when KARA returned with the single I Do I Do. A pre-release single titled Hello was released two weeks ago ahead of this comeback and featured vocals by the late member Hara.

If I could sum up I Do I Do in one word, ‘pleasant’ is what I would use. There isn’t anything innovative or new brought to the table through I Do I Do, but it is still quite a pleasing pop single. I liked the upbeatness of the instrumental and how solid the vocal work in the verses were. Both of these sets up I Do I Do quite well for its nostalgic, reflective and cheerful atmosphere that runs through the entirety of the song. The pre-choruses briefly moved the song to a dreamy affair, which I quite enjoyed. But it is the choruses that took most of my attention in I Do I Do. The centrepiece builds on the pre-existing instrumental and vocal work to make it punchy and catchy. The additional definition heard in the choruses just makes I Do I Do feel more charged, energised and exciting. I liked the added touch of the electric guitar at the end of I Do I Do, which gives a bit more zing to the song. The weakest part of I Do I Do is the rapping in the second verse. I am a bit torn whether it is needed. Had it not been there, I might have pulled out the ‘too consistent’ card. But at the same time, the rapping felt like it was needlessly rushing through the song. But apart from that small dilemma, I Do I Do remains a pleasant listen.

Through the lyrics, the KARA members were reliving some good memories about their time together. Similarly, the music video shows the members reliving those exact same memories with one another. Overall, it is a cute video that goes well with the music video. I would have preferred more vibrant colours, rather than the vintage look we got. I think this could have supported the song better and made it more vibrant to the listener.

There is some choreography that accompanies this comeback shown in the video, but I am not sure if we will be seeing more of it in the future. Because of that, I have decided to combine it with the music video portion of the review to be on the safe side. Not much to say here, other than it looks good and works well with the music.

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

[Album Review] TAP (2nd Mini Album) – TAEYONG (NCT)

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TAEYONG’s 2nd mini-album, titled TAP, is up for review today. It is lead by the same named single as its title track and 5 additional side tracks. Following promotions of the new mini-album and a solo concert, TAEYONG enlisted in the military. Unfortunately, this does mean he isn’t part of NCT 127 promotions of their most recent comeback Walk. But he did leave us with 6 new songs to dig into when he returned back in February of this year.

I must admit that TAP is one mini-album that I was very keen on reviewing. There are some really amazing side tracks on the mini-album that have unexpectedly blown me away. I wasn’t expecting much from this mini-album, particularly since TAEYONG is not a member I follow as much and is no whom I expect such dreamy and vocally driven tracks from. Also, I did not expect the rest of the mini-album to be so strong after I gave the title track a cold review. But the side tracks warm me right back and I want to share them with you. So if you have not yet, do check out TAEYONG’s latest mini-album and my thoughts on each song below!

TAP Album Cover

1. TAP (Title Track) – Click here for the full review for TAP. (6/10)

2. Moon Tour – The mini-album slows down considerably with Moon Tour, going down a R&B path. I am quite surprised with how much I enjoyed Moon Tour. The instrumental is super dreamy and paced (the latter works extremely well in this song). I particularly like how the instrumental came to be, despite the use of harsher and abrasive synths. I also really enjoyed TAEYONG’s vocals. He isn’t known for his vocal capabilities given his rapper status. But I really loved how delicate and heartfelt his vocals sounded in Moon Tour. I particularly enjoyed the way he dragged out the ‘You & I’ at the start of each chorus. An easy 10/10 from me. (10/10)

3. Run Away – Run Away features several changes in its instrumentation and vocals as it progresses, making it an interesting piece to me. We get an atmospheric start to the song, with TAEYONG building up towards a first verse that features a light touch of rock. The pre-choruses refocus on TAEYONG’s vocals via a dreamier melody. The choruses bring a heavier rock presence, with a beat that is foot-tapping and head-bopping worthy and electric guitar shredding gives Run Away an additional punch of energy. I also like how TAEYONG’s vocals get so raspy in the chorus. A more upbeat energy takes over in the second verse, before the same pre-chorus comes into play. The heavier rock presence returns in the second chorus (featuring a different set of lyrics) and in the end via the little outro we got. Overall, a fair bit in Run Away to digest, but another strong effort from TAEYONG. (8/10)

4. APE – Out of all the songs on the mini-album, APE feels the most aligned with what I know of TAEYONG. It is a very cool dance track, with some awesome synth work and rapping from TAEYONG himself. This is definitely enough to get me interested in it. His flow was really good, the energy was wild, and I can definitely imagine some impressive dance moves from the man himself to accompany the track. The ending of APE was probably the most interesting aspect of all. The instrumental reverted from synths to a soothing fade out, as TAEYONG raps over it with some heavy autotune. Very intriguing concept and way to end the song, but it worked really well. (8/10)

5. Ups & Downs (나에게 했던 것과 같이) – The opening verse Ups & Downs had me thinking this was going to be a ballad, but it ends up being more of an R&B piece. I really liked how TAEYONG carried himself through the song. His vocals and rapping made it a very captivating. The instrumentation was very riveting, as well. Ups & Downs started off with lo-fi beats, moves into R&B territory for majority of the song, and finally ends with a fade towards a classical motif. I am not as into this song, compared to the other songs on this mini-album. But I cannot deny how amazing Ups & Downs sounds. (9/10)   

6. 404 Loading – TAEYONG continues to blow me away in the final track on the mini-album. His vocals are stunningly beautiful in 404 Loading. The way it builds up in the song and the raspier tone he has just makes it a captivating piece. Also stunningly beautiful are the song’s melodies. The way the melodies carried me through 404 Loading just had me swaying along to the song, just like what I would expect from a ballad. The synth work in the background goes down a dreamy direction. But it also gave 404 Loading texture to anchor down TAEYONG’s vocals. Altogether, a memorable ending to TAEYONG’s mini-album. (10/10)

Overall Album Rating – 8.5/10

TAEYONG’s teaser image for TAP.

[Album Review] EASY (3rd Mini Album) – LE SSERAFIM

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LE SSERAFIM’s 3rd mini-album, EASY, is next up for an album review. It dropped in February of this year and is led by the same name single and Smart (which I just reviewed the other week). Personally, I think this is one of their weaker album releases to date. Aside from the intro and side track, the title and follow-up tracks and the rest of EASY received a lukewarm reaction from me. I do think there is a confirmed comeback for some time in August, so I am hoping for something better from LE SSERAFIM.

EASY Album Cover

1. Good Bones – The intro track of LE SSERAFIM’s album always consist of a narration from the members in their respective languages (Korea, Japanese and English). Good Bones follows the same formula, with the members speaking to the hard work they put in to get where they are now, and refuting comments that they had it easy when in fact they made it look easy. It also features a really energetic and hype rock background. The members also repeat a singular repetitive line (“Easy, Crazy, Hot, I can make it”) that starts off spoken and develops into a shoutier line by the last time we hear it. Everything in this intro track comes together quite well, kicking off the mini-album in a confident and bold manner. (9/10)

2. EASY (Title Track) – Click here the full review of EASY. (6.5/10)

3. Swan Song – Swan Song brings mid-tempo R&B to the mini-album. I liked the instrumentation of the track. It felt rustic. Vocally, LE SSERAFIM made the song rather beautiful. Some of their vocals were airy, others sounded quite sweet. But it was a good mixture, nonetheless. The only thing that could have made Swan Song better in my books is a more riveting melody, though I suspect that could be a challenge for a mid-tempo paced song. (8/10)

4. Smart – Click here for the full review for Smart. (7/10)

5. We Got So Much – This short mini-album wraps up with We Got So Much, another mid-tempo number. There is more to the pace of the track, but it got a little stale for me as the song progressed. Makes me think that We Got So Much has the opposite problem, compared to Swan Song. I really like the melodies, with LE SSERAFIM doing a really good job of delivering it with delicate vocals. The instrumental could have done with a little more life to. The faint rock in the background was a good idea, and I wished the song built towards that more in the end. (7/10)

Overall Album Rating – 7.5/10

EASY Teaser Image
EASY Teaser Image

[Review] SHOCK – ALL(H)OURS

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It is time to finally review a release from a new group – ALL(H)OURS, a seven member male group (consisting of Kunho, Youmin, Xayden, Minje, Masami, Hyunbin, and On:N) under EDEN Entertainment. They officially debuted back in January 2024 with the single GOTCHA and mini-album ALL OURS. Unfortunately, I have not reviewed that release yet and will return to review it in the future. Today’s focus is on their latest release, SHOCK, which is the title track off their 2nd mini-album WITNESS. This dropped earlier in the month.

Very noisy is the first thing that comes to mind when I think of SHOCK. But for some reason, many people associate noisy with a bad song. That isn’t the case with SHOCK. Rather, I find the entire track to be super powerful from the get-go. The instrumental itself is one layer to this powerfulness – appearing quite boastful from the onset. The more electronic leaning synth work is super riveting, engaging me from the very first second it appears. The heavy beats give the background a compelling factor, while the chorus has this super defined trance-like synth that gives so much body to SHOCK. Another layer to the powerfulness is the shouty and chanty nature of ALL(H)OURS’ delivery. This is a style of delivery that doesn’t work in some songs, but I find it was well used in SHOCK. Firstly, the members needed to be heard over the background. Secondly, they needed to complement the high-octane energy that SHOCK exudes. Thirdly, it gives definition to song, which is already quite full-on, as you can hear. ALL(H)OURS’ aggressive rapping fits in well in SHOCK, as well. SHOCK‘s various hooks also manage to stand out, thanks to the group’s delivery. The “Woop Woop” in the chorus is definitely my favourite. Probably the most uninteresting part of the song is its bridge, which allows the vocalists to shine. It did bring some relief in this energetic track, but my attention is always reverted on SHOCK‘s chorus when the energy is at its highest.

The music video for SHOCK adopts a choreography and closeup formula that I have always mentioned is a bland approach. In this instance, I might go back on that mentality, as I thought the music video ALL(H)OURS had released for this comeback worked really well. Part of it was the fact the song was high-octane, so the different shots just kept on moving onto the next. Nothing felt dragged out for a second longer than it should be. Secondly, the post-production actually made it look cool. I particularly thought the spikes coming out of one of the members was an intriguing moment. Finally, the styling was interesting (in a good way). The colour was more reserved for the background, and the members wore outfits that were bland or predominately beige to allow said colour to pop out further. A different approach to what we have seen previously in KPOP.

If this performance was anything to go by, ALL(H)OURS is a rookie group to watch out for! The start of the routine with the finger tutting (I think that is what you call it) was a really bold and intriguing way to start the performance. Throughout the routine, the members really matched the energy of the song with their moves and aggressive demeanor. It was a really captivating stage performance to watch!

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