Category: KPOP

[Album Review] THE WORLD EP.2: OUTLAW (9th Mini Album) – ATEEZ

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ATEEZ returned in June this year with their 9th mini-album THE WORLD EP.2: OUTLAW. If you haven’t guessed it by no by looking at the title of this post, this mini-album is the focus of this album review. The title track featured on this mini-album is BOUNCY (K-HOT CHILLI PEPPERS), and there is an additional five side tracks on the mini-album. All my thoughts on the song are down below, with a few songs getting a 10/10 from me. Also, intensity is the recurring theme in all of the song on this mini-album, featuring in some form in each song.

THE WORLD EP.2: OUTLAW Album Cover

1. This World – Opening up the mini-album is This World, which features such an intense and electrifying set of synths. The way the song starts and ends with the incline towards the fast tempo was quite striking from the get-go. When This World reaches its chorus, the song turns into an equally intense rock sound appears. The vocals and rapping were all so riveting all throughout, from the soft vocals at the start to the powerful and explosive rapping at the song’s peak. A very strong opener. (9/10)

2. Dune – Where does one even begin with Dune. It clearly continues the group’s exploration of intense and aggressive synth work that they featured in the previous track and even some of their past tracks (like Guerrilla from last year). But ATEEZ always introduces something new to differentiate their tracks. And for Dune, that comes in the form of the very interesting guitar-like instrument at the start. It is quite ear-catching and gives off a very unique sound. This is followed by San’s falsetto ending pre-chorus, which I found to be quite memorable. The group then takes things to a whole new level of intensity with its chorus, but it is not until the bridge and final chorus sequence that I just completely blows me away as I am always convinced that ATEEZ cannot do more. Yet, they prove me wrong once again. The deeper and rougher vocals from Yeosang in the chorus was super cool and his presence alongside Jongho’s vocals in the final chorus was perfect. Jongho’s high notes and ad-libs pierces through. The blastful and rush of energy from the instrumentation was also just so intense that it felt blissful. I found so much to enjoy and be in awe within Dune. (10/10)

3. BOUNCY (K-HOT CHILLI PEPPERS) (Title Track) – Click here for the full review for BOUNCY (K-HOT CHILLI PEPPERS). (8/10)

4. DJANGO – Taking the mini-album down a notch ever so slightly is DJANGO. I do appreciate the faintest relief that DJANGO provides the mini-album, especially following Dune and the title track. That being said, the track is still super intense in its own ways, like how it subtly built intensity by way of atmospheric synths (or is a choir background?) in the bridge. I also found like the vocalists got a chance to shine by the melodies in the chorus (which is my favourite aspect of DJANGO). Sure, the vocals do come off shouty to match the synth intensity and boldness, but they really do hold their ground in the track. The rappers themselves do an amazing job nonetheless to still give DJANGO that a powerful hip-hop and hyped edge that makes it another captivating listen overall. (10/10) 

5. Wake Up – That faint relief in DJANGO didn’t last long, with DJANGO ending its run with intensity on par with what was present prior to DJANGO starting. Wake Up adds to the intensity, once again. You got Jongho’s high notes in the choruses, the rapid synth drumming, Hongjoong’s fast pace rapping and the other members shouting in the background behind said high notes all contributing to the intensity in Wake Up. On the other hand, I also did like the dips that Wake Up provided via the verses, heavenly vocals in the pre-choruses and the autotuned chanting/background harmonisations that kicks off the choruses. It balances it all out so Wake Up isn’t another overwhelming number on our ears. A well conceptualised track on this mini-album. (9/10)

6. Outlaw – Outlaw ends with what felt like the album’s blandest track, simply because I found it to be the least intense track of the bunch. I wished for cohesiveness that Outlaw followed through on this front. For the most part, it didn’t. But I did like the balance between vocals and rapping in this track. It wasn’t until the bridge of Outlaw does things get interesting. It sees some piano work, Jongho’s dragged out high-note, some bouncier synths and a sharper chant to end the track on. Some of these elements (i.e., the chant) was heard earlier in the song, but the end just adds a bit more body to make it punchier and impactful. (8/10)

Overall Album Rating – 9/10

THE WORLD EP.2: OUTLAW Teaser Image

[Review] Fact Check – NCT 127

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One of the group releasing new music at the end of the week (i.e., today) is NCT 127, who makes their second comeback of the year, following on from Ay-Yo in January 2023. This time, the group returns with their 5th studio album, Fact Check, and is lead the title track of the same name. This comeback also follows from NCT 127’s participation in NCT’s 4th full group studio album Golden Age which was released back in August of this year.

If I am basing Fact Check on my past experience with NCT 127 title tracks from the first release of an album, I am going to be disappointed by it. I much prefer the title track of the repackaged version one of their albums, which I have no clue is happening this time around. However, interestingly, I am not disappointed by Fact Check. I actually find the instrumentation to be quite rhythmic, especially during the chorus with the well-paced beat and percussive elements. And there is no obnoxious synth (looking at you, Sticker) to ruin the song for me. The post-chorus segment was also quite an entrancing listen, especially at the end of Fact Check. Elsewhere, I liked the suspense and tension created during the vocal-centric pre-choruses of Fact Check and its background. The vocal work in Fact Check‘s bridge was a standout moment and I liked the powerfulness it yielded from Doyoung, Jaehyun, Taeil and Haechan. The rapping that follows from Mark and Taeyong, along with the further dramatic drumming and orchestration, was quite cool, as well. There are still weak points to Fact Check. The rapping at the start of the song could have been a little less in your face and the chorus’ hook could have been more compelling (even though I do find it catchy). But overall, Fact Check is one of their better works in recent times.

Cool is the recurring word I would use to describe this music video. I am not a big fan of the initial look that Mark donned in the video. But elsewhere in the video, Mark and the other members all looked fine. My favourite set of outfits has to be the one that are more of a traditional colour that are worn at the traditional palace location. Talking about locations, I found the sets and locations throughout the video are all very stylish and cool in their own way. Even the post-production looks cool (but I question why it looks like Mark is holding a goat that has been CGI into the video – did they run out of budget for a real goat?).

From what I can see from the choreography aspect of this comeback is that it very much embraces the rhythmic aspect of the song. There is also a subtle bounce to the choreography, which keeps in line with the upbeatness of the track. The best bit, for me, however is the t-rex-like walk (sorry, I don’t know if there is a properly name for the walk, but the way their arms are reminds me of a t-rex’s short arms) during the final post-chorus.

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


[Review] Love Effect – ONF

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Time to make a start on the new releases of the week. And first up is ONF’s grand return with Love Effect, the title of both of the lead single and their 7th mini-album. This is the group’s first comeback since their Goosebumps release in 2021 and their military enlistment. The group (sans U, who is Japanese) all enlisted around the same time and was discharged from the military around the same time this year, eager to return to the stage as a whole group for their fans to release new music. ONF had also released a special mini-album last year with Your Song and Storage of ONF.

The more I listen to Love Effect, the more I find myself falling for the track. I will admit that I wasn’t completely won over when I first heard Love Effect yesterday upon its release, simply because the track didn’t feel concentrated enough when you compare it to their previous dance tracks they promoted with. But Love Effect was clever, drawing upon elements of their previous title tracks (Complete and Beautiful Beautiful springs to mind instantly during my first listen) to form this new song. And this very much got me coming back for more. In addition to the nostalgia above, Love Effect adds in more of a funky undertone throughout the rest of the track and a jazzy backing to Wyatt’s rapping. I also enjoyed the piano flourishes that appears in the background. Other than that, the upbeat instrumentation exudes a bright and poppy energy that makes me instantly smile. Their vocals and rapping does the exact same, with the melodies and hooks all fun and lighthearted. The best part of the song, for me, has to be in the bridge and at the end of Love Effect, when the members sing together in a simple yet anthemic manner. It is lowkey and straightforward, charming in an easygoing manner. Overall, Love Effect is super positive in terms of energy and output, and a great return for the group!

Matching the brightness of the song is the music video, which was quite vibrant and colourful. I found the editing and cinematography of the video to be a super cool aspect of the video, along with the inclusion of the special effects (which takes you back to their virtual world era). Even the start had flashes of scenery from their Beautiful Beautiful and Ugly Dance videos! And the members look like they are all glad to be back, which makes the smiles and energy from the music video even more convincing.

In addition to being a fun and playful routine, I like how the choreography felt quite substantial and isn’t too lighthearted or wispy. While nothing stands out like (compared to their past performances), I would still say the whole routine is still quite robust and the energy the members put into the dance made it one to still watch.

Song – 9/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.8/10

[Review] Baila Conmigo – ONEUS

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Making their comeback last week was ONEUS, who returns with their 10th mini-album La Dolce Vita, which is Spanish for ‘The Sweet Life‘. The title of the title track (and focus of this review post) is also titled in Spanish, Baila Conmigo, which is Spanish for ‘Dance With Me‘. The new release follows on from the group’s ERASE ME and PYGMALION promotions from earlier in May of this year.

With no surprise, the Spanish titled Baila Conmigo also features Latin influences in its mix. But for the main backbone of the track, Baila Conmigo sees a contemporary pop dance sound and reggaeton beats. All of these come together to create a decent and surprisingly balanced instrumental backing. However, I do feel like the instrumental lacked an exciting element to take it to the next level. Everything in the instrumentation felt firmly in the background of the background, and I wished there was more to the forefront of the instrumentation (i.e. those exciting elements I was just talking about). The added oomph via those more defined percussion and beats was an interesting element to give Baila Conmigo a bombastic end and to fill out the instrumental so it can be more fulfilling. It serves its purpose and also surprised me, given the subdued nature of the rest of the song. But it did feel a tad late. The vocal work from ONEUS was solid, per usual. But the lack of a memorable hook or melody does make Baila Conmigo less interesting to return to. The Spanish second verse was a big surprise, but I don’t think it was as big of a weapon as ONEUS and their producers had hoped for. I wished there was much for to Baila Conmigo. But it was still a decent listen, nonetheless.

The music video for Baila Conmigo was okay, but also lacked that memorable aspect, in my opinion. The video goes down the aesthetic route with a sensual and mature concept. I did like the different sets, some of which looks to be Latin influenced and how the colours choices either gave the sets a warm or cool tone. The choreography in the pool of shallow water and glittered covered floor also felt refreshing. And adding to the aesthetics of the video, I believe the people in the background/drummers were wearing a Vejigante mask to fit in with the Latin concept influence. It all looks very pretty and neat. But asides from choreography and closeups, there wasn’t much else to the video.

The choreography for this comeback isn’t as bold as their previous works. This makes way for a sensual routine, which works well with the song. I do like the end where the beats become more dramatic and the song takes that bombastic turn. The members traditioned over without it being jarring or disruptive to the flow of the routine.

Song – 7/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] Youtiful – Stray Kids

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Finally, the final song review for the ★★★★★ (5-STAR) era. The song in question is titled Youtiful, which serves as the album’s 10th track. Including the title and this track, I have written a total of 6 reviews for this era, with the most recent being TOPLINE (ft. Tiger JK). This does not include an additional two reviews for two other tracks that were release prior to ★★★★★ (5-STAR). Following this song review, I will be posting the full album review for ★★★★★ (5-STAR) on the weekend. I do find it funny, however, that I will be doing this all over again for the next era that will occur some time in the remainder of 2023.

Youtiful blends the words ‘You’ and ‘Beautiful’ to create its title. And based on this alone, you can tell that the song is about how everyone is beautiful as they are, and that the track is directed to towards their fans and other listeners. It is extremely heartfelt and brings a smile to my face every time I listen to it. To reach an even wider audience, the entirety of Youtiful is in English. All of the members perfectly delivery their lines and sing wonderfully throughout the track. The combination of the piano and guitar backing and the members singing gives off such warm and comforting vibes. The melodies and instrumentation are very simple and straightforward, but this makes Youtiful an easy listen. Overall, I find Youtiful to be such an effective track and it does exactly what it is set out to do.

Youtiful‘s music video differs from the rest of the other music videos we got from this era, as it is more of a lyric video and it is also animated. It is also the only video to not feature Stray Kids in any form aside from their vocals. I find the animation to be cute, with the animation showing the lives of an ordinary people finding out news that space is coming closer to them. The news and the wider population sees the whole situation in a more upsetting sense, focusing on asteroids coming close to the Earth’s orbut. But a select few in the video sees the situation from a more beautiful perspective, focusing on the closer presence of the planets and stars.

Song – 9/1`0
Music Video – 8/10
Overall Rating – 8.6/10

[Album Review] Youth In The Shade (1st Mini Album) – ZEROBASEONE

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The next album on the reviewing block is ZEROBASEONE debut mini-album, Youth In The Shade. The mini-album dropped in July 2023 and is lead by the single In Bloom. ZEROBASEONE’s debut is one of the most successful debuts we have ever seen, with the group becoming the first debuting group to sell over 1 million albums with their debut album ever. They also broke the record for most sold debut album in first day of sales and in a week from dropping the mini-album.

On top of being insanely popular before even debuting (which was built during the unfolding Boy Planet survival competition), there is a particular reason as to why I really wanted to review this mini-album. ZEROBASEONE’s vocals was a recurring element that I consistently return to in each song on the mini-album. And for a debut mini-album to do that constantly speaks volumes as to where this debuting group is already at and where they can go. For more about those comments, continue reading my thoughts on Youth In The Shade down below.

Youth In The Shade Album Cover

1. Back To Zerobase – What I really liked about Back To Zerobase is how blissful the track is. The drum and bass in the instrumental felt extremely light, but the percussive background had a forward motion that propels the song towards their debut single. I also liked how the members’ vocals captures the realisation that their dreams of debuting are finally becoming true. Their tone and delivery in Back To Zerobase is just so heartening and emotional, creating a meaningful beginning to their careers. (10/10)

2. In Bloom (Title Track) – Click here to read the full review for In Bloom. (8.5/10)

3. New Kidz On The Block – New Kidz On The Block is an even brighter pop take on their determination to rise to the top, which they consistently emphasise and communicate via the English parts of the song. While I did like the upbeat and bright tone of New Kidz On the Block, I did think the song could be have been more buoyant, given that everything was already heading in that direction. The song is fantastic as it is, but I think just some additional energy would have made the song even better. (9/10)

4. And I (우주먼지) – Vocals is what speaks to be instantly in And I, and I (Ha!) am enjoying it. The rapping is also quite good. I like And I’s positive energy and bright tone that both the pop arrangement and vocals exude in the track. The melodies in the choruses are lovely and sweet. The bridge takes the song in a R&B direction and that also sounds very nice. A good song overall. (8/10)

5. Our Season – Again, ZEROBASEONE showcases their vocals in Our Season. The guitar work in the background does mellow out the energy a bit, making this a more pleasant-sounding track. I really like the vocal melodies in the chorus, which instantly won me over when I first checked out the album months ago. The rap-speak in the pre-chorus bring a nice punch to the song, and I liked the heftier rock energy that comes about in the bridge. Altogether, you have another great song on the mini-album. (9/10)

6. Always – The final song on the album is sung by Zhang Hao, who placed first on Boy Planet (and hence is the centre of the group). Always starts off in R&B territory, but the chorus infuse more of a pop energy to the track. The rhythmic beat contrasts very nicely with Zhang Hao’s sleek vocals. The song does feel a bit rushed, given that it just ticks over 2-minutes and the ending does make Always feel incomplete. But overall, a nice solo track from Zhang Hao. (8/10)

Overall Album Rating – 8.8/10

Youth In The Shade Teaser Image

[Review] LET’S DANCE – LEE CHAE YEON

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A couple of weeks back LEE CHAE YEON made her solo comeback with LET’S DANCE. At first, her comeback flew under the radar. And after I realized she made a comeback, I was posting other reviews and busy with work. But today, I will finally be getting around to review LET’s DANCE. This new release follows on from LEE CHAE YEON’s KNOCK from earlier this year.

LET’S DANCE is a super fun dance track, with its bright energy being the best thing to come out of the track. It genuinely makes me want to dance, smile and have a good time – all of which you would expect to come from a fun dance track. LEE CHAE YEON and the producers did a great job when it comes to LET’S DANCE‘s pre-chorus and chorus, where the energy mentioned is definitely quite high. The pre-choruses features a very refreshing incline to the chorus (I also like the ABBA reference ahead of the final chorus), and the chorus satisfies with its power pop motif. The final chorus also features a punchy high note, which serves as a strong peak for LET’S DANCE. LEE CHAE YEON herself sounds solid throughout the track. But while it is definitely a strong song for LEE CHAE YEON, I am disappointed by the dull “Let’s Dance” repetition that follows up the chorus. It felt pretty unimaginative and cuts into the aforementioned bright energy that makes LET’S DANCE as good as it is. We needed something more dynamic to fit in with the rest of LET’S DANCE. Overall, a strong song that is held back by a lacking hook.

The music video is bright and the people involved encompasses the fun and upbeat nature of LET’S DANCE very well. All of this works extremely well with the summery vibes (or at least, the warm weather given that they are now in Autumn) that Korea is still experiencing. I liked the camera work during the bridge of the video, which is what we saw in KNOCK‘s music video as well. The added special effects also adds to the fun of the video.

The choreography is amazing. I really like the fun energy she and the dancers put into it, especially when it comes to the footwork in the chorus. I really like the bendy moves in the bridge and how they changed up the moves in the final chorus to be punchier.

Song – 8/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.2/10

[Review] TROUBLE – EVNNE

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Time to review the debut single of a newly debuted group. EVNEE is a seven-member male group currently being managed by Jellyfish Entertainment (the home of two current members of VIXX, VERIVERY and formerly gugudan). The lineup consists of trainees who participated in Boys Planet earlier on in the year who did not make it in the final lineup of ZEROBASEONE – Keita (placed 12th in Boys Planet), Park Han-bin (11th), Lee Jeong-hyeon (15th), Ji Yun-seo (41st), Yoo Seung-eon (16th), Mun Jung-hyun (29th) and Park Ji-hoo (33rd). Originally announced as BLIT, the group ended up being renamed EVNNE and debuted last month with the single TROUBLE.

TROUBLE caught my attention thanks for its Baltimore Club style that it had going throughout the track. It made for a bold instrumentation, particularly when it came to the chorus. And with boldness comes a memorable appeal, which TROUBLE definitely had in my opinion. I liked how they allowed the synth to be standalone in the first half of the chorus, giving it time to grow on you. Then they follow it up with a rhythmic chant that adds to the appeal of TROUBLE. I would have liked the final chorus to somehow be a bit more bombastic to give TROUBLE a more satisfying end, rather than a repeat of what we got in choruses that came before. That was a missed opportunity, in my opinion. Other than the instrumentation, EVNNE does showcase a good execution of vocals and rapping. There wasn’t anything mind-blowing or grand from this department, but I did like the dragged out rap-speak delivery in the bridge of TROUBLE and the filtered rapping that leads into the final chorus. However, with the dragged out rap-speak delivery, I wished the instrumentation here was dynamic and not stripped back as it were, just so the song’s momentum (which was pretty good ahead of the bridge) wasn’t disrupted and a more dynamic backing would have made this part of TROUBLE excel further. As a track that kicks off their careers, TROUBLE makes a good case for EVNNE and I hope their subsequent releases go up and further than TROUBLE.

The music video shows the members causing trouble, fitting for the title and messaging they have behind the lyrics. First up is a series of explosion at an old building, which leads to the group becoming wanted. Secondly, they are seen driving away (which I presume they are doing to evade the authorities). Then, whilst covering the other members driving away on the news, Keita (the newsreader) stops working and steps away from his job. From there, the group hangs out and have fun with each other. The scenes in which we see the group play cards and hang out in the dark shows a more charismatic and playful side of the group, representing the side of the song that speaks to the members’ charm and innocence. I did think the group could have been more wild in the music video, but what we got is fine. However, I did think the start of the video could have started off with a breaking news type of announcement, rather than just silence.

The choreography is the best part of this debut. EVNEE really showcase their performance potential via their dynamic routine for TROUBLE. The swing of the raised legs at the start of the routine (iconic potential!), the swinging motion of their bodies towards the end of the instrumental part of the chorus and the ear muff like hand motion at the start of the chorus or end the performance were all really cool aspects of the choreography.

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

[Album Review] REALIEZ (4th Mini Album) – KANG DANIEL

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I finally wrote a review for WASTELAND, the early June pre-release single for KANG DANIEL’s REALIEZ mini-album the other week. And with that review out the way, I can now post an album review for REALIEZ. Alongside WASTELAND is the title track SOS, which was also released in June of this year. REALIEZ follows on from KANG DANIEL’s first studio album release from Summer and Autumn 2022 – The Story/The Story: Retold. As usual, links to the full review for the title and pre-release tracks and my thoughts on the side tracks are down below.

REALIEZ Album Cover

1. Wasteland (Pre-Release Single) – Click here for the review of Wasteland. (9/10)

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

3. Supernova – Later released in Japanese, Supernova is pop rock track that some really cool instrumental moments. The pop rock aspect of Supernova is already quite adequate in itself, but the producers really amped it up with some dynamic drumming kicks in the chorus that itches something within me that I didn’t know needed to be itched and a short guitar solo that is so satisfying. There is also a funky undertone to the track, which makes it a cooler track. KANG DANIEL’s vocals and rapping are superb and he turns it into an effective track. (9/10)   

4. Liar – The switch between guitars and atmospheric synths in Liar is very intriguing. But it all somehow comes together. In this track, KANG DANIEL talks about the lies he and his former partner/lover told themselves, which ultimately resulted in their breakup, and him hoping that by opening up about them will allow the pair come back to one another. It is an emotional track that KANG DANIEL does well in delivering. (8/10)  

5. Dreaming – Ending the album on a dreamy note is Dreaming. Out of all the songs on this mini-album, KANG DANIEL’s vocals fit the best in Dreaming. The instrumentation for Dreaming is layered with synths, guitars, drumming and piano – all of which does come together to feel tranquil. But there is quite a bit going on when paired with the vocals, to the point where it does feel a bit heavy handed. But somehow, KANG DANIEL’s vocals poke through the instrumentation just fine and allows the track to take you away. (8/10)

Overall Album Rating – 8.5/10

REALIEZ Teaser Image & Track List

[Album Review] Unlock My World (1st Studio Album) – fromis_9

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fromis_9 debuted back in 2018 and it has taken them one full contract over a five year period to finally release their 1st ever studio-length album. Unlock My World was released in early June this year and features the title track #menow and 9 additional side tracks. For me, fromis_9 is a group who has released multiple underappreciated gems over their half-a-decade-long careers, with tracks like DKDK, Love Bomb (still one of absolute favourite tracks of all time) and DM under their name. I found this album to be full of these gems as well! 4 of the side tracks earned a 10/10 rating from me and the rest of the tracks also earning a high rating as well. Keep on reading to find out which 4 tracks got a 10/10 rating and my thoughts on the rest of the long time coming album.

Unlock My World Album Cover

1. Attitude – fromis_9 begins their first studio album with a 180° change with a darker and mature sound in the form of Attitude, which feels miles away from what we have heard from the group thus far. I really like how this track turned out. Alluring and very sexy sounding. I enjoyed the synth work in this track, giving Attitude so much texture to work with. This is smoothed out by the members’ vocals, which glides and moves the song forward. I also enjoyed the lower notes and tones the members adopted in the track. It is a hard to forget track on this album. (10/10)

2. #menow (Title Track) – Click here for the full review for #menow. (8/10)

3. Wishlist – Jiwon and Chaeyoung come together to perform the first unit track on the album. Wishlist is a R&B all-English track. I like the messaging behind the lyrics – that you should not make yourself fit the ideals of another person (i.e., their wishlist) and that you should be yourself. The pair brings a vibrant tone to the mid-tempo R&B track, which helps makes Wishlist a bit more impactful. (8/10)

4. In the Mirror – In The Mirror is a dance pop track that features Seoyeon and Nagyung. It brings back the darker tones that the album kicked off with. The synth work is very atmospheric in In The Mirror, which helps makes it a captivating listen. The vocals were very nice, particularly during the choruses where the melodies literally felt like you were drifting along. The rapping is also a stilling moment in the track. While In The Mirror doesn’t exceed the expectations of Attitude, it definitely up there as one of my favourite side tracks from the album. (10/10)

5. Don’t Care – Don’t Care is one of tracks that really jump out with you instantly thanks to its groovy and funky synth work. It features Jiwon, Jisun, Seoyeon and Nagyung. With the tracks before it, I appreciate Don’t Care’s boldness and upbeatness, which is quite enjoyable. The beats do get bolder around the bridge (though the transition was a tad overwhelming). I like the members’ powerful tone and tenacity in Don’t Care, as well. All of this made for a strong listen. (9/10)

6. Prom Night – Saerom, Hayoung, Chaeyoung and Jiheon feature on the last unit track of the album. The pre-chorus was a very intriguing aspect of Prom Night and I liked the vividness of the bouncy aspect of the UK-garage synth-based background. But aside from that, Prom Night is the least interesting unit track to me. And it simply comes right back to the instrumentation, which I personally felt overpowered the members’ vocals in the chorus, sans that short push from Hayoung and Chaeyoung to rise above the instrumentation. (7/10)

7. Bring It On – Personally, I felt that Bring It On could have had a more vibrant pop instrumentation. I don’t think the R&B pop backing that Bring It On featured did the vocals justice. The hooks and melodies, and the vocals delivering them, were all catchy and a solid effort from the members. But the instrumentation wasn’t eventful as I wished for and turned an otherwise good showing into something bland and boring. (7/10)

8. What I Want – I will make the rating straight up. What I Want is another 10/10 track on this album. Everything in the track had me dancing along and there was never any weak moment. What I Want was a very interesting electro pop track that really caught my attention. The upbeat nature of the track was fun. The members’ vocals and delivery back it all in. I like the burst of energy in the chorus, which comes about by the combination of vocals and instrumentation, and that is my pick of highlight of the track. The hooks and melodies were all catchy and added to the fun listen. (10/10)

9. My Night Routine – My Night Routine softens and mellows out the energy that precedes it with another R&B track. I like the jazzy vibe of the instrumental, as well as the bass. The vocals are pleasant. Altogether, My Night Routine comes off as dreamy. (7.5/10)

10. Eye Contact (눈맞춤) – Unlock My World ends with a fun pop rock track that had me smiling throughout. I may have also danced along to this track as well. The energy of Eye Contact was very extremely likable and the members sound like they were having a blast. The inclusive parts where the members were singing together were my favourite and just made everything more wholesome. An easy 10/10 and great ender to this album. (10/10)

Overall Album Rating – 8.7/10

Unlock My World Teaser Image

[Review] TOPLINE – Stray Kids (ft. Tiger JK)

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It has been a week since my last Stray Kids’ side track review. And as alluded in that review, there are a few more music videos before I can finally post my thoughts on their ★★★★★ (5-STAR) studio album. Today, I am reviewing the single TOPLINE, which features the Korean hip-hop legend and royalty Tiger JK. TOPLINE is ★★★★★ (5-STAR)’s fifth track.

As I say constantly, the hip-hop/rap genre is not my personal cup of tea. But even I have to see what the likes of Stray Kids and the legendary Tiger JK sounds like. It comes as no surprise to me that TOPLINE sounds like another hype hip-hop track. It carries the energy that Stray Kids is known for, while also allowing the rappers (including Tiger JK) to show off their skills. More specifically, TOPLINE is described as a minimalistic boom bap, old-school and East-Coast hip-hop track. Naturally, the rappers shine in this song. Needlessly to say, Tiger JK’s featuring was very clear and crisp. His flow was amazing and definitely added some finesse to the track. As for Stray Kids’ themselves, I particularly enjoyed HAN’s rapid and clean delivery in this song. But Hyunjin’s slurring is quite interesting and had more impact, while Changbin’s punctuating delivery is very much in his wheelhouse. Felix’s deep voice just adds flourishes to TOPLINE that pays off and gets the track grounded when it hits energetic peaks. The rest of the members handle the vocals. They don’t have much material to work with, but they managed to mirror the energy of the rappers quite well in the chorus. TOPLINE is a successful collaboration between two generations of Korean artists and a highlight on the album.

My overwhelming initial impression of the video is that it reflects TOPLINE‘s intensity very well. The music video features the members in a very confident demeanour throughout the video. The song is about the members being at the top, and so having the money (which probably represents their net worth and successful thus far) rain down from above is definitely behaviour that one can only indulge in when they are top tier. The video also shows the members at heights (like on top of shipping containers and on the edge of the building, above everyone else) and up there in the hierarchal chain (i.e. underlings counting their money for them). Higher heights would have been cooler. The hype energy and the fire further emphasises the tone and intensity of the song, respectively. What I thought was rather interesting was the contrast between Stray Kids and Tiger JK. He too brought intensity to the video with his cameo, but does so in a more laid-back and easy-going manner, whilst Stray Kids was moving about and flailing their arms a lot more in comparison. I put it down to the fact that is his style, but it also goes to show how a legend does it.

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

[Review] Air Force One – ODD EYE CIRCLE

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LOONA had great potential to be a powerful act in KPOP, but their company ultimately failed the group, with each member filing to terminate their contracts with Blockberry Creative by the end of last year. Throughout the first half of this year, the LOONA members departed from Blockberry Creative after winning their lawsuits against the company (and the company remained bitter to the very end, threatening lawsuits and a ban the members from promoting). While group promotions have been said to be on the cards by one company, the members went in separate directions. Luckily, Kim Lip, Jinsoul and Choerry remained together, signed with Modhaus, reunited with the creative director behind LOONA’s pre-debut and debut projects and revived their LOONA unit name ODD EYE CIRCLE with their comeback single Air Force One.

Apologies for the long introduction, but there was a lot to unpack there. But now, I turn my attention to Air Force One. The song didn’t do much for me at first. But per usual with me, multiple listens have helped boost the song in my books. If you remember their previous works, Girl Front and Sweet Crazy Love, the songs were quite synth-heavy. Air Force One follows a similar direction with its Jersey club sound. But it does feel different, gearing away the retro vibes that Girl Front is known for and towards a trendier and modern motif. The multiple listens given to the song since its release has helped me realize how catchy Air Force One is, especially when it comes to the “Dara Dara Dadada Dada Dada” lines in the chorus. The pairing of this line with the more prolific instrumentation (relative to the verses) makes for a strong and intriguing central piece. The lines that come after this main line don’t really follow through as well, but they do maintain the energy that the chorus of Air Force One entails. The melodies in the song, especially in the verses, were also quite memorable. However, for me, the weakest aspect of Air Force One was the vocals. Most of it is fine. But some of the vocals were drowned out by the loudness of the synth instrumentation and some of the autotune just hadn’t grown on me. I wished the execution here was a better, as that would have helped Air Force One become more appealing in the first instance. Overall, Air Force One is a great return to the industry for ODD EYE CIRCLE and the new chapter in Kim Lip, Jinsoul and Choerry’s journey in their music careers.

I am quite surprised by the amount of references to LOONA’s and Girl Front/Sweet Crazy Love music videos. You got the eye patches, the moon imagery, the undercover carpark set and the hanging laundry set. I am all for the return of what is called the LOONAverse. But I did like the newer elements, such as the sleek black suits and the super powers that the members now have. We also got a cameo from HeeJin in the music video, who also joined Modhaus soon after ODD EYE CIRCLE did. HaSeul also joined the company much later, but did so later on. Otherwise, I think she would have also made a cameo in this video. As for the events of the video, I am not entirely sure what is going on. But ODD EYE CIRCLE seemed to crash a high-end party, knight one of the party goers in front of HeeJin. The song also features messages of the group making next steps with no worries, which complements the scenes where the members are having fun driving around the city.

The choreography for this debut/comeback is quite good. Their moves were all very interesting, drawing on that aspect of the song quite strongly. The sharpness and synchronisation is a definitely highlight and the routine at the song’s main hook looks cool.

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

[Album Review] Deadlock (3rd Mini Album) – Xdinary Heroes

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Ahead of their upcoming comeback next month in October, I am finally reviewing Xdinary Heroes’ 3rd mini-album, Deadlock, which was released in April of this year. The mini-album features 7 tracks in total, including the title track Freakin’ Bad, the side tracks Good Enough and Dear H. and four additional side tracks. Links to the named songs and my thoughts on the additional side tracks can be found below, as usual.

To me, this is their best mini-album to date. The band has really grown on me since their debut, and my thoughts on this mini-album would be evident of this. And given the trajectory of my interest in this band and the fact that they still in the early days of their career, I expect my initial comment on Deadlock will be short lived with their future releases coming our way. But until I do form a view on their future comebacks, I will continue to enjoy the likes of Deadlock.

Deadlock Album Cover

1. Come Into My Head – Starting off the mini-album is Come Into My Head. And it does so with a lot of energy from the members and the instrumentation. The track mixes the likes of EDM, hip-hop and rock into one singular track. Throw in what I know of Xdinary Heroes from their previous work, and the expectation for a dynamic track was very much fulfilled. The rapping in the second verse felt very sleek and the distorted guitars gave Come Into My Head a very intriguing element. There is a lot to like in the first track already, kicking off the mini-album positively. (8/10)

2. Freakin’ Bad (Title Track) – Click here for the full review for Freakin’ Bad. (8/10)

3. Bicycle – Going down the alternative rock path, Bicycle adds a lot of head banging to the album. The guitar work in this song is amazing, from the twangs following the first chorus to the shredding just before the final chorus. The bass guitar adds so much momentum to the song, while the drumming concentrates that head-banging energy already mentioned. The keyboard adds a level of freshness to the track, as well. The vocals/rapping was on point, and the buildup in the instrumentation was very worthwhile. A very strong side track from the group. (10/10)

4. checkmate – Toning down the instrumentation is checkmate. The rock sound does still come through, but it kind of simmers in the background. Even the instrumental break where we got the guitar solos was held back. The drums were quite consistent throughout checkmate, and the beat gave it potential to be a dance track. The vocals were also consistent, but there wasn’t any edge. Overall, checkmate is a decent track, but not the most eventful one on this mini-album. (7/10)

5. Good Enough – Click here for the full review for Good Enough. (10/10)

6. Man In The Box – Man In The Box blows my mind. I really like how playful and strong their delivery and vocals are in the song, which just gives Man In The Box so much character. The rapping adds to that feeling, with the members sounding like they are rapping/speaking to me and breaking the fourth wall. The melodies have a spooky edge to it and the rock instrumentation just adds so much dynamic energy and flair. It is also super catchy, with the “I am a man in the box, yeah” and the “Bum Bum Bum” both etched into my mind by the time the song is complete. I highly recommend this track. (10/10)

7. Dear H. – Click here for the full review of Dear H. (9/10)

Overall Album Rating – 8.9/10

Deadlock Teaser Image

[Review] ABYSS – WOODZ

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WOODZ made his comeback back in April of this year with his fifth mini-album Oo-Li. Featured on that album is the title track Journey. But way back in February, WOODZ pre-released the single ABYSS which was also featured on the mini-album. In my review for Journey, I flagged that I would return to review ABYSS and I am finally getting around to doing that today. Also, as a heads up, there will be an album review for Oo-Li in the near future!

ABYSS is a slow alternative rock song that I found myself easily captivated by. There is a lot to like in the song, from the instrumentation to the melodies. Featured in the background of ABYSS is a dominant electrical guitar that I would best describe as an instrument piece that pierces through the threshold of the song in a bold and memorable manner. The riffs complement the overall pace that is dictated by the other elements of the track (i.e., the vocals and melodies). On WOODZ’s part, I found his vocals to be emotionally charged and vulnerable, a side of the soloist in which I don’t think we have heard before. This folksy and indie approach in which he delivers ABYSS really helps make his vocals. The melodies are also extremely pleasant and swayable. Even though this does sit outside of the ballad genre, the swayable melodies are very upfront and help in my captivation. Everything mentioned above, in combination, helps ABYSS become a song that is impactful and has that “hit in the feels” result.

As mentioned in my review for Journey, the music video for ABYSS serves as the prequel to what occurs in Journey. And this video is loaded with symbolism and meaning, and doubles as a personal story from WOODZ. But here is my interpretation of the music video. The video places WOODZ in this one room in this big mansion to show us the concept of stability and how it is okay to stay in one place (figuratively, of course). WOODZ comes across multiple people in different walks of life when they drop by to collect their packages. But throughout the video, these people are shown elsewhere in that mansion, some of which were dancing about. To me, this represents that they enjoy the stability of being in one place and are content with where they are. As for WOODZ, he has the capability to leave via the door with multiple locks (all of which are locked, representing that he intentionally put himself there). This shows that during this time he also enjoys the stability and is content with where he is. Even the basement version of himself is pretty content, with no attempts to escape or leave the basement. But as the video goes on, you could see him growing tired of the same scenery. Even the lyrics of ABYSS signifies his desire to explore/move on and get to know himself more, but is scared of the unknown beyond the door. In the end, he chooses to go through the door, signifying that he is ready to move onto the next part of his life. At the same time he walks through that door, basement WOODZ gets up and leaves the basement, as well. This latter scene puts the events of Journey into motion. Aside from that quick breakdown of the video, I really liked the play of colours, with the video switching between warm and cold tones. It is extremely subtle, but it complements the idea of the known (stability) vs. the unknown (moving on).

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

[Album Review] OK Episode 2: I’m OK (6th Mini Album) – CIX

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The next album review to be reviewed on the blog is CIX’s sixth mini-album, OK Episode 2: I’m OK. As you can probably tell, this is the second instalment in the OK series that CIX began two years ago through their OK Prologue: Be OK studio album and their OK Episode 1: OK Not mini-album (lead by singles WAVE and 458, respectively). The latest instalment of the OK series sees Save me, Kill me serve as the lead single alongside 3 additional new side tracks. Overall, this latest mini-album is top-notch and feature high quality tracks throughout. For more on the songs, continue reading below.

OK Episode 2: I’m OK Album Cover

1.  Back To Life – My praises of CIX’s vocals in the title track goes one step further in Back To Life. Their vocals in the first track of this mini-album are stunningly beautiful. Again, you can feel the emotions behind their vocals. But this time, they are very captivating. To the point where if you wanted to take it all in, you cannot do anything at the exact same time. Their vocals are over a soft piano and orchestral instrumentation that very much stayed in the background and served as an accompaniment, allowing CIX’s vocals to be in the forefront and focus of Back to Life. A breath-taking start to the mini-album. (10/10)

2. Save me, Kill me (Title Track) – Click here to read the full review for Save me, Kill me. (8/10)

3. Curtain Call – Curtain Call is another ballad that focuses the limelight on the members’ vocals. I did like the more positive tone that came from the melodies (more on this in a second) and BX’s rapping in the track. Curtain Call starts off with some acoustic guitars, but it slowly builds from there with the emerging presence of band instrumentation and even light presence of synths. The lyrics of the song talks about how the end of one thing is the beginning of another, and that a curtain call is a beautiful event. (9/10)    

4. Color – In an album that features ballads and softer songs thus far, Color is quite the outlier in terms of its sound. It goes in much harder during the choruses, with a rock instrumentation taking over. The verses didn’t have that same oomph, but it did feature a consistent guitar strumming in the background that in hindsight does allude us to the rock instrumentation that was to come. In line with the rest of the album, Color features nice vocals in this song from all the members and I also enjoyed the hopeful lyrics that Color delivered. (9/10)

Overall Album Rating – 9/10

OK Episode 2: I’m OK Teaser Image

[Review] Galileo – Kep1er

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In the sphere of comebacks, Kep1er dropped their fifth mini-album, Magic Hour, yesterday. Featured on this new mini-album is the title track Galileo, which follows on from their Giddy comeback from April of this year. Other than that, it has been a fairly low key five months for the group, with the only major piece of news involving the group being a possible (but presently unsuccessful) extension in Kep1er’s promotions recently.

Galileo is another fair song this year. We do get some robust pop energy from the instrumentation and the melodies in the choruses. Plus, the members themselves feel natural in Galileo. I particularly enjoyed the brightness and punch the members give the chorus, which I feel is much needed for reasons to apparent. Yeseo’s breathy start to Galileo and Huening Bahiyyih soft start to the second verse was probably my pick for the best moments of the song. But while I do agree that Galileo is a definite improvement from their previous comeback, I do find the song to still be dull and unimaginative in some key parts. I feel this the most when I reflect upon Galileo‘s hooks, which I find to have a long shot in catching on with further listens (that is Galileo does convince me to give it further listens). For me, the rest of the verses (aside from the start, as I have already praised above) doesn’t follow through with the same appeal and ends up turning such promising beginning into generic material. I also wished there was more dynamic flair to the instrumental as Galileo feels too consistent from start to end and this ultimately plateaus the song’s appeal for me. We do get some twang and extra punchiness when it comes to the instrumental break, which I fully appreciated. But I wish there was more of that in the rest of the song. Overall, Galileo does sit on the enjoyable side for me, but time will tell whether it has enough holding power alongside its competition.

Music videos like Galileo‘s is what I describe as ‘Watch once, Watched it all’. In other words, you only need to watch it once in order to understand the gist of it. Concept-wise, the members discover a photo booth that transports them to an art gallery for the group to explore, which in turns transports the group into an art piece. The theme of discovery ties well into Galileo Galilei, who is the father of modern science who made a lot of discoveries while he was alive that changed the course of modern science and the song is titled after. The members looks good and I enjoyed the freshness of the colours in the video.

The choreography aspect of this comeback is actually quite good. The routine is rather pleasant for the most part, but I do like the energy and oomph the five members who handled the dance break put into their moves to make it the routine’s most powerful part.

Song – 7/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.2/10