Category: KPOP

[Album Review] UNFORGIVEN (1st Studio Album) – LE SSERAFIM

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The next album to be reviewed on the blog is LE SSERAFIM’s UNFORGIVEN, the group’s first studio album since their debut last year. UNFORGIVEN was released back in May of this year and features the title track of the same name, six new songs (including the follow-up promotional song Eve, Psyche & The Bluebeard’s Wife), and 3 songs each from their first and second mini-albums released last year (including FEARLESS and ANTIFRAGILE).

Now, to include previous released songs (albeit the first three from the FEARLESS mini-album do have a ‘2023 version’ next to them) and call it a full studio album is a bit of a leap. But that was done here for UNFORGIVEN, so it is something that we have to live with. And for this album review, I have included two album ratings – the first rating is only for the new songs released and the second rating includes all 13 songs that formed part of UNFORGIVEN. The latter is the official album rating, given it consists the entire track list. If I had to make a comment on the based on the new songs alone, I would definitely say this is a very strong album release. However, the older tracks do weigh it down. For more of my thoughts, see the links and text below.

UNFORGIVEN Album Cover

The World Is My Oyster, FEARLESS and Blue Flame were all songs from LE SSERAFIM’s debut mini-album, FEARLESS. I have previously reviewed both the title track and mini-album in separate posts. For the title track Fearless, click here for the full song review, and for the mini-album, click here for the album review.

The Hydra, ANTIFRAGILE and Impurities were all songs for LE SSERAFIM’s second mini-album, ANTIFRAGILE. Again, I have previously reviewed both the title track and the side track Impurities in separate song review posts. I have also reviewed the entire mini-album, as well. For the title track ANTIFRAGILE, click here for the full song review. For the side-track Impurities, click here for the full song review. And for the mini-album, click here for the album review.

7. Burn The Bridge – Burn The Bridge serves as the official introduction to the newer side of the album. Like The World Is My Oyster and The Hydra, Burn The Bridge features the members narrating a message of moving forward in Korean, English and Japanese over a repetitive acoustic guitar riff and a drum line. The former fades out, while the latter fades in. In the end, Burn The Bridge embodies more of a rhythmic drum beat and lovely harmonies. (8/10)

8. UNFORGIVEN (ft. Nile Rogers) (Title Track) – Click here for the full review of UNFORGIVEN. (8/10)

9. No-Return (Into The Unknown) – Injecting a super vibrant and energetic sound into the album is No-Return. I really enjoyed the upbeat energy that this song and the brightness that the melodies and vocals brought. The brass elements add to and enhances all of the above to make it an even better song. No-Return has made me get up and dance to it on many occasions making it super effective side track. (10/10)

10. Eve, Psyche & The Bluebeard’s Wife (이브, 프시케 그리고 푸른 수염의) – Click here for the full review for Eve, Psyche & The Bluebeard’s Wife. (9/10)

11. Between You, Me and the Lamppost (피어나) – There is only one word that springs to mind when I listen to Beautiful You, Me and the Lamppost – beautiful. LE SSERAFIM sounds wonderful in this song, captivating me from the very first second and throughout the rest of the song. The delicate touch they give just makes the song more meaningful and impactful. The soft rock instrumentation gives the ballad some body and drive, amplifying the aforementioned captivation and making this track a gem so worth listening to. (10/10)

12. Flash Forward – Flash Forward is a sweet pop track from the group. Everything sounds nice in the song and was an enjoyable listen. The hooks were catchy and I also enjoyed the upbeat energy in this one, as well. Compared to the other side tracks, however, Flash Forward feels elementary and doesn’t really exceed the bar set by those songs. (8/10)

13. Fire in the Belly – Closing out the entire studio album is Fire In The Belly. It visits the all too familiar Latin pop influence that KPOP has explored continuously in the past. What makes Fire In The Belly somewhat more unique is that the song goes in harder than other examples of Latin pop influenced KPOP tracks. I appreciate it that, as it comes off bolder and riskier (and this pays off). The vocals and rapping are very strong in the song. I also really enjoyed the inclusion of the infamous Spanish chant of “Olé, Olé, Olé” towards the end, ending the song and album on a wholesome and exciting note. (9/10)

Overall Album Rating (New Songs) – 9/10
Overall Album Rating (All Songs) – 8.5/10

UNFORGIVEN Teaser Image

[Review] Shoong! – TAEYANG (BIGBANG) ft. LISA (BLACKPINK)

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TAEYANG made his long awaited solo comeback earlier this year with his second mini-album since his debut as part of BIGBANG way back in 2006. As part of the comeback, TAEYANG has released VIBE (which features JIMIN from BTS), the title track Seed and a performance vide for the side track Shoong! (which features LISA from BLACKPINK). As flagged in Seed‘s review, a review for Shoong! was on the cards and I will finally be getting around to doing that today.

Of the songs that was released in April as part of TAEYANG’s second mini-album (Down To Earth), Shoong! is the one that comes to mind most readily (more so than the title track). It recurred in my recommendations quite a bit in the weeks following its release and the track also boasts the featuring of LISA from BLACKPINK (which probably helped widen the audience of the song, and so it was shared further). But despite it boasting two big names in the KPOP industry and was shared around quite a bit on my social media, I oddly don’t remember much of Shoong! months on from its release. Listening back to Shoong! now, I find it uneventful. On Wikipedia, Shoong! described to be a mid-tempo dance track, described as an R&B and trap song. That is pretty accurate. But Shoong! is also is described as having “addictive melodies and trendy hip-hop beats”. This I disagree with. I find the melodies to be a bit of a drag (even though there is a ring to it, but not enough for me to categorise it as memorable or addictive) and the trendiness to be absent. Also, for a song titled after the sound of cars passing by, the way that the title is delivered throughout Shoong! makes it seem like everyone is going below the speed limit and passing by. The vocal work in Shoong! is reasonable for a mid-tempo song, with TAEYANG’s being quite solid and LISA adding a tinge of brightness to the song with her higher pitched vocals. I also liked LISA’s that flirty delivery, which adds a bit of character to the song. However, I think more could have been done in pretty much all areas of Shoong! to make it even better. As it is, Shoong! is an okay song, but it doesn’t live up to the expectations that I had expected with the two artists.

For this review, I am combining the music video and performance aspects of the release into one paragraph, given the video we do get is a performance video. I did appreciate the crispness and quality of the video, which is an expectation of a YG product. For those who are wondering, The Black Label (the company which TAEYANG is now signed to following his departure from YG Entertainment is actually a subsidiary under YG Entertainment). With the song in mind, the simplicity of the T set made a lot of sense. But I also enjoyed the “outdoor scenes” in the alleyway and cityscape roof. It was also definitely nice to see LISA in the video alongside TAEYANG. As for the choreography, it works. It was by far the most memorable aspect of the release. The key moves were smooth and I liked their chemistry. LISA’s flirty tone makes it into the choreography, while TAEYANG does a great job towards the end in adding a bit more intensity to the routine.

Song – 7/10
Music Video/Performance – 8/10
Overall Rating – 7.4/10

[Review] Slow Dancing – V (BTS)

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The big release of the day is V’s debut solo mini-album, Layover, which is lead the single Slow Dancing. This release makes V the final member of the group to debut as a solo artist officially. But interestingly, he is not the last member to release an album. Slow Dancing joins V’s pre-release single from last month – Love Me Again and Rainy Day (the latter is yet to be reviewed) as the songs from the album that have an accompanying music video.

Lo-fi R&B takes reign in Slow Dancing. Instrumentally, it is not my cup of tea. I never find much to talk about in lo-fi songs (and my shorter than usual paragraph on the song is a clear indication of that). But I must admit that Slow Dancing is extremely pleasant and easy-on-the-ears for a number of reasons. It has a slow yet flowy melody and brings on a swayable effect (something you know I like). I also like how charismatic V’s voice sounds in Slow Dancing, with his huskier vocals tones being showcased in the song. His vocal tone is also quite comforting and warming, as well. The prolonged instrumental ending of Slow Dancing is probably the most interesting aspect of the song. I did like the jazzier energy and flute work it gave Slow Dancing, which does end up being the song’s memorable element. But this instrumental end accounts for approximately 47% of the song, which I am a bit disappointed in. I was lowkey expecting V to start singing again somewhere along the way, but that never became fruitful. I wished he returned (even a one liner could have sufficed) to close out Slow Dancing and bring closure to the song.

In the music video, we see V developing what looks a virtual world in which he can enjoy the company of friends on the beach, and per the lyrics, potentially slow dance and romance with someone. But while that sounds like it explores the lack of privacy KPOP idols have to undergo (which is definitely what V goes through a lot per many news articles we see surface about the idol and whom he hangs out with), V did make a comment about wanting to relax, use and share this song to relax and this video is probably his way of showing this relaxation – an escape away from reality. Either way, it was a nice video that still has a connection to the Summer season that had just past, but also help eases to a more Autumn mindset.

Song – 7/10
Music Video – 8.5/10
Overall Rating – 7.6/10

[Album Review] Wind and Wish (12th Mini Album) – BTOB

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Ahead of the weekend, the final pre-drafted album review is for BTOB’s May 2023 album release, Wind & Wish. This is the group’s 12th mini-album and features a total of five songs including the title track that shares the same name of the album. Wind and Wish serves as the group’s first comeback in over 15 months, following on from The Song and their third studio album, Be Together. Overall, this mini-album was a decently sound album release. It did expect more from the group (knowing what they are capable of) and I don’t think they delivered it in Wind and Wish. But it was still a decent listen nonetheless.

Wind and Wish Album Cover

1. Wind and Wish (Title Track) – Click here to read the full review for Wind and Wish. (8/10)

2. Heaven – If you are looking for a song to get whisked away with, Heaven is the song for you. The melodies and vocals are just extremely stunning and captivating from the get-go. I was in awe at my first listen, and even months after its release, I still feel myself being carried away with this song. The instrumentation is a beautiful mix of acoustics/traditionally instruments in the verses and a light yet noticeable dose of synths in the chorus. The switch between the two is barely noticeable and the flow between the two is impeccable. (9/10)

3. Day & Night – When you compare this song to the rest of the mini-album, it feels like there isn’t much to it. But Day & Night is a number that makes me want to get up and dance to. Nothing fancy or crazy is required for my dance, small movements with suffice. I just find Day & Night to be a song to get lost in and just boogie to. The groovy pop instrumentation is the biggest driver, while the rapping and vocals are just pleasantly enjoyable. (8/10)

4. Moon Ride – 90s retro synths come into play in this groovy and funky number. I was going to say how pleasant this number was, as this was the main thing I remember about the song when I checked out the album months ago. But I completely forgot about the rapping and the electric guitar, particularly in the second verse. That just knocks my socks off and takes Moon Ride to a whole new level. The electric guitar solo at the end was also amazing, as are the ad-libs and vocals throughout Moon Ride. (8.5/10)

5. Your Love – We stay in groovy territory for final track, which gears towards pop ballad territory. The melodies and slight drag of the note at the end of each line in the chorus was truly riveting. The rappers still their skills in more refined and polished rap sequences in the song that fit well in the pop ballad. They don’t disrupt the flow whatsoever or ruin the balladry notion Your Love explores. It is a beautiful number, overall. (8/10)

Overall Album Rating – 8.3/10

Wind and Wish Teaser Image

[Review] I Love My Body – HWASA (MAMAMOO)

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Following the expiration of her contract with RBW Entertainment earlier this year, HWASA went on to sign with P NATION (live on stage as a matter of fact!)- the company founded by PSY and houses Crush, Heize, TNX, Penomeco & Swings. She appears to still remain as part of MAMAMOO, however. And yesterday, she released her first solo single under the new company – I Love My Body. Her last solo single was I’m a B in 2021.

I Love My Body has a lot of potential, but unfortunately is let down by the song’s most vital sequence – it’s chorus. More on the latter in a moment. I Love My Body takes on a retro pop, very much Megan Trainor style. The very start of I Love My Body, the brass and retro-prevalent instrumental and vocals throughout its verses and the backing vocals in the chorus pretty much embodies this style quite well. And we are lead to believe the chorus would follow suit with I Love My Body‘s incline towards the central piece and the classic piano that is synonymous with retro-pop numbers. But then the chorus takes an unexpected turn, with the retro instrumentation being substituted out for a bubble-synth backing piece and HWASA delivering the chorus in a monotonous spoken (almost mumbling-like) manner with a descending melody. I am not too bothered by the bubble-synth backing (I actually liked it as part of the backing for the instrumental/dance break I Love My Body ended with), but it does make for an odd drop in terms of I Love My Body‘s trajectory. With the spoken delivery, I am not a fan, even though I do find it memorable, unique and somewhat catchy retrospectively (just not for the right reasons). The combination of both terminally disrupts the flow of the song, making I Love My Body restart its momentum and appeal from scratch. It is a pity, because we do get a few good moments of vocal work from HWASA in I Love My Body, particularly the second half of the second chorus (or is it the bridge?). That sequence blew me away, but it (and the song’s verses) did not compensate for the chorus we got. I Love My Body and HWASA unfortunately disappoints.

From the music video and the title of the song alone, you can tell that this song is about self-confidence. And in this video, HWASA shows off her body throughout the video with no hesitations. The ending of the video with the dance break between the two police cars felt like a homage to the classic KPOP hit Bubble Pop, which was released back in 2011 by HyunA (a former P Nation artist). And I thought that was a fitting video to pay homage to in the summery period that is just ending. I also enjoyed the choreography scenes with the many dancers (definitely a 2023 trend to me) in the car park. It looked cool and epic without doing too much.

I actually quite enjoyed the choreography. It actually looks like a refined routine that show confidence in those who perform without needlessly flaunting their body and doing too much in the routine. It also fits the retro-pop song well. I don’t think I would ever associate retro pop with a flaunting performance. Per usual with HWASA’s performance style, she and the dancers do give bit more intensity to make the routine a bit more enticing.

Song – 6.5/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.4/10

[Album Review] FML (10th Mini Album) – SEVENTEEN

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The next album review on this blog belongs to SEVENTEEN, who made a comeback with their 10th mini-album, FML, back in April of this year. From the start, the mini-album had received over 4.6 million pre-orders and it has since become the top selling album of the year, selling over 6.2 million copies to July 2023. That is a lot of albums indeed! The mini-album boasts a total of 6 tracks – double title tracks Super and F*ck My Life and 4 addition side tracks (3 of which are unit tracks from their hip-hop, performance and vocal teams).

Firstly, congratulations to SEVENTEEN on achieving the amazing feat of over 6 million sales. I believe that no other KPOP album has ever exceeded that amount, so it will be interesting to see whether their upcoming October comeback will break the already high record set by themselves. Secondly, FML is a fair album with some nice tracks on there. I don’t think it is their strongest album release ever, but it was still of a high quality and standard as I expect from SEVENTEEN. Read more on my thoughts on the individual songs below.

FML Album Cover

1. F*ck My Life (Title Track) – Click here to read the full review for F*ck My Life. (8/10)

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

3. Fire – The first unit track sees the return of the Hip-hop team. And just like the title suggest, this song is indeed fire. The rapping was very intense and powerful, and I really liked how punchy the ‘Fi Fi Fi Fire’ hook was in the song. Even though many KPOP songs have featured afrobeat in the past, the use of the afrobeat in Fire felt quite unique, as it gives off both a minimalistic and dynamic feel. This allows the members to be the focus of the song, but it also drives the energy forward, at the same time alongside the members. (8/10)

4. I Don’t Understand But I Luv U – The Performance unit takes on R&B in I Don’t Understand But I Luv U. What I really liked about the song is its instrumentation, which features a sultry flow, dramatic beats and moody electric guitar riffs. All of this makes I Don’t Understand But I Luv U so much more impactful and emotionally charged. The quartet brings very interesting vocal melodies to life in the song and conveys the emotions of confusion and love behind the lyrics quite well. (9/10)

5. Dust (먼지) – Following on from the previous song, I was expecting a ballad from the vocal team. But instead, we get a pop rock number in the form of Dust. I like how the pop rock influence was on the light side and that the vocal team members approach Dust in a softer and delicate manner with their vocals. The synths added to the song gave it a retro touch. While the song sounds nice, Dust is my least favourite unit track. This simply because there wasn’t much to remember the song by once it ended and I didn’t find much to pull me back for additional listens. (7/10)

6. April Shower – The final track on this mini-album returns all of the members to the microphone in the one song. April Shower features a very appreciable and easy-going groovy pop instrumentation. The melodies and vocals were all very easy-on-the-ears, with the former having such a beautiful ring. The dynamic rapping featured prior to the bridge infuses some punchiness to the song, while Mingyu and Wonwoo’s deep tones were stunning in the bridge. I really enjoyed how everything melded together in April Shower and how palatable the song is without it ever going over the top or needing to utilise anything hefty to get itself across. A nice and memorable listen at the end of the mini-album. (10/10)

Overall Album Rating – 8.4/10

FML Teaser Image

[Review] But Sometimes – BOYNEXTDOOR

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I know I have not yet finished reviewing all of BOYNEXTDOOR debut/pre-debut singles. I have already reviewed One & Only and But I Like You, but not yet Serenade (I will get to that). However, should that stop me from reviewing their first comeback single, which dropped yesterday? I think not. BOYNEXTDOOR has returned with their first mini-album, Why.., which features all of their debut/pre-debut singles mentioned above and three new tracks – one of which is the title track But Sometimes.

But Sometimes departs from the more innocent sound that they started off with a few months back and goes for a punkish rock sound. It is definitely an on-trend change in direction for the rookie group and I do like how they sound in But Sometimes (more on this in a moment). To be fair, I had expected the group to have debuted with an edgier sound, particular since the group boasts Zico as their producer. And the edgier tone in But Sometimes seems to satisfy that expectation. It also sounds on brand for Zico. I am glad that they do explore an edgier sound, as BOYNEXTDOOR sounds much more engaging in this form. I really like how straightforward the punk rock instrumentation was. The guitar riffs and drumming were very expressive in delivering the punk rock sound, but also they keeps the energy upbeat enough to form But Sometimes into a dance track. The melodies in But Sometimes were memorable, particularly in the chorus. There is something about those melodies and the group’s shouty delivery that just clicks and works tremendously well. Elsewhere, there was some other strong delivery from the members. For example, the second verse rapping sequence was top notch and well-executed. I also liked how clean the final moments of the bridge were, in both instrumental and vocal departments. It made for a really nice incline towards the final chorus. Overall, But Sometimes gets my tick of approval.

Compared to the music videos and songs released for their debut (which were all about falling in love), the music video and But Sometimes deals with the heartbreak associated with one’s first love. I really like how the video has tie-ins to their previous videos, such as the replicas of the burger joint sign and the house of their first love/crush. But instead of the sunny blue skies and lovely neighbourhood, the video depicts these settings on fire and the sky around them is a hell-ish red tone. I also like how the members are dressed in black whilst everything around them was burning, as if they are mourning and grieving. Elsewhere in the video, we see a teddy bear become decapitated and the members struggle through the heartbreak. It was a well-shot video that really sums up the meaning of the track quite well. I also like the recurring presence of doors, which I had pointed out to likely be a recurring element in their One & Only review.

The edgier sound mentioned above allows the performance to show a different range and energy in the choreography. And BOYNEXTDOOR pulls off the performance quite well. Nothing really stood out for me, but given it is their first edgy routine and that they pull it off well, I think the performance is a success. Their stage presence is also a positive, with the members having great chemistry with the camera.

Song – 8/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.2/10

[Review] Get A Guitar – RIIZE

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Officially making their debut yesterday was RIIZE, the latest addition to SM Entertainment’s lineup. RIIZE is a seven-member male group consisting of Shotaro, Eunseok, Sungchan, Wonbin, Seunghan, Sohhee and Anton. They pre-released the single Memories two weeks back ahead of their debut yesterday with the single Get A Guitar.

Get A Guitar moves away from SM Entertainment’s venture into the world of synths with the debut and ongoing discography of NCT and aespa. Instead, RIIZE begins their career with a pop centric song that has a lot of funk and energy. Right off the bat, Get A Guitar makes for a fun listen. With the title making reference to the guitars, Get A Guitar features a recurring guitar riffs, some of which located in the chorus reminds me of Queen’s Another One Bites The Dust. These recurring guitar riffs felt like jabs throughout the instrumental and it made for a unique setup that pulls me in. Alongside the guitar, there is some old-school synthesizer in play in Get A Guitar, adding a retro flair to the song. This latter is present in the background of the entire song, but it is heard most prominently alongside the guitar solo that, in combination with one another, serves as the instrumental break in Get A Guitar. The vocals were quite refreshing to hear. While there isn’t much of a standout from this department, I did enjoy the simple melodies and the light approach the members took. Nothing felt too heavy and this made their vocals charming. The repetition and hooks were all very catchy and this helps makes Get A Guitar a memorable piece. Oh, also the absence of rapping in this song is notable, but felt just right. Overall, to my ears, Get A Guitar is a refreshing and successful debut track. Looking forward to RIIZE’s next release already!

The song is about coming together around the sound of a guitar and enjoying each other’s company. And we see this with the members hanging out with each other throughout the video. Of course, guitars make a presence in the video, just not as much as I had expected initially. While everything in the video is pretty sound and it does a nice job of showcasing the members as young teenagers, some of the members’ styling is questionable. I am not a fashion guru, but I feel like their mismatched styling here feels a bit too loose (some of the baggy pants were too baggy) and clashes with one another. Their hair styles, which I agreed with the general public looked dated in their Memories music video, have improved. But I guess that came at the expense of the fashion.

I quite liked the choreography. It really showcased the energy and funkiness of the song quite well. I like how some of the choreography had the members holding their arms to resemble them holding a guitar. We unfortunately don’t see any air guitar playing however (which feels like a missed opportunity). The funk was show clearly during the dance break and was a highlight to the performance for me.

Song – 9/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 8.4/10

[Album Review] PERFUME (1st Mini Album) – NCT DOJAEJUNG

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NCT DOJAEJUNG is the latest unit to debut under the NCT group and consists of Doyoung, Jaehyun and Jungwoo. They released PERFUME back in April of this year, the shared title of both the title track and mini-album. Alongside the title track, the mini-album also features an additional five side tracks. Following this unit debut, the trio rejoined the rest of NCT for their 2023 full group comeback with Golden Age/Baggy Jeans (in the case of Doyoung) and the trio are also set to join the rest of NCT 127 in another comeback later this year.

PERFUME is a R&B centric mini-album, with the trio exploring the genre in all but one track. And their exploration of the genre is super engaging. I enjoyed all the tracks on this mini-album and each track got a high rating from me. This, overall, contributed to the higher end rating for an album release on my blog. I would recommend it to you if you are into the R&B genre or like the songs with the same effect or aspects of the R&B genre. Or if you are an NCT fan, especially if you find yourself overwhelmed with their more synth-heavy releases.

PERFUME Album Cover

1. Perfume (Title Track) – Click here to read the full review for Perfume. (9/10)

2. Kiss – The unit’s exploration of R&B continues in Kiss. This track has such a cool layered and rhythmic instrumentation that pulls you in. I liked the brass and jazzy elements that features in this song. The vocal work from the trio is on point and encapsulates what you expect from the R&B genre. The harmonies in the chorus also work extremely well. I particularly enjoyed the more jaggered approach Doyoung and Jaehyun took in the post-chorus sections that follows the first and last choruses. It was an interesting texture in this otherwise smooth number. (8/10)

3. Dive – Dive slows down the mini-album with a paced and atmospheric number. The instrumentation features short, sharp yet hefty beats, and a dotty but prevalent synth line. The trio takes a softer approach with their vocals, with Jungwoo and Doyoung really standing out in this song. Altogether, it is a very interesting mix. But it somehow works cohesively and is an extremely palatable track. (8/10) 

4. Strawberry Sunday – Just as sweet as the title suggests, Strawberry Sunday is a sweet track. It is also the most upbeat number of the mini-album and I appreciate this infusion of energy. I really like the funkiness the instrumental had and the synthesizer was a really nice touch. The dreamy instrumentation to the bridge was also a highlight. The chanty moments in Strawberry Sunday gives some punch to the song. I also enjoyed Jungwoo’s part in the second chorus, where he breaks up the title (by syllables) between the beats. It made for a cool ad-lib in the track. Doyoung and Jaehyun also provide some ad-libs and these sounded amazing, as well. As you can tell by my long breakdown of Strawberry Sunday, there is a lot to like. And it all enough to earn it a 10/10 rating. (10/10)

5. Can We Go Back (후유증) – Signs of the trio forming a unit emerged many months ahead of this album release, with Can We Go Back being previously performed at the MBC Gayo Daejejeon. Can We Go Back features some smooth melodies, guitar riffs and rhythmic beat – all of which feels synonymous to the R&B genre. The vocal work from the trio is impeccable, especially in those memorable “Oooh, Oooh, Oooh” melodies. Each member had standout moments, with Jungwoo standing out in the second verse, and Doyoung and Jaehyun shining the most in the bridge of the song. (9/10)

6. Ordinary (안녕) – The final track on the mini-album is Ordinary and it departs from the R&B centric exploration. Instead, the final track is a ballad, which was expected somewhere along the way from the trio, given vocals is what comes to mind first when you put together the names Doyoung, Jaehyun, Jungwoo. The vocals are showcased well in the song, with the trio given another opportunity to convey emotions to the audience (which they do successfully). The piano centric instrumental does seem to have a tinge of R&B to it, which does help make it relevant and fit in with the rest of the mini-album. (8/10)

Overall Album Rating – 8.7/10

Perfume Teaser Image

[Review] Eve, Psyche & The Bluebeard’s Wife – LE SSERAFIM

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Following on from LE SSERAFIM’s UNFORGIVEN comeback earlier this year, LE SSERAFIM followed up promotions with a side track from their UNFORGIVEN studio album promotions with Eve, Psyche & The Bluebeard’s Wife. This follow-up single has proven to be quite popular, going on to win a weekly music show award (Inkigayo) which is rare for a side track. I also feel like multiple official remixes were released for this song. With the release of a music video a couple of weeks after promotions, it is eligible for a review on my blog. And so today, I will be reviewing the track.

Eve, Psyche & The Bluebeard’s Wife is a super catchy and striking side-track. The up-tempo Jersey club instrumental is very stylish and its consistent rhythmic approach sounded unique. The pounding beat and bass combination makes for a very driven foundation, while the synths pairs well as a more upfront layer in the mix. Some of the synths can also be described as atmospheric in a way. For the most part, the more monotonous vocals are actually the more memorable form of delivery in Eve, Psyche & The Bluebeard’s Wife. We did get some proper vocals with melodies in the song, but they are barely noticeable amongst the rest of the song. I personally like this approach in Eve, Psyche & The Bluebeard’s Wife, as they do complement the instrumentation quite well and contribute to the song’s appeal/uniqueness. But on the flip side, I understand why some people might dislike the idea of this tone and how it dulls out Eve, Psyche & The Bluebeard’s Wife. Similarly, I find the hooks of the song to be an appealing aspect of the song, but I also understand if someone was to say that the song is too repetitive (as we do get to that point). But overall, I enjoyed Eve, Psyche & The Bluebeard’s Wife, and think it is a strong side track.

The official explanation of the song is that Eve, Psyche & The Bluebeard’s Wife is about themes of girl power, self-empowerment, and breaking taboos. However, I understand that the title makes references to three mythological/folktale characters. It would have been cool to visit those stories in some form in the music video. However, based on what we got, I do see the aforementioned themes in the song in some degree, such as through the children games we see the members play in the video. For example, Eunchae draws scissors in their their rock-paper-scissors match, Sakura breaking the link in their game of Red Light, Green Light and with the quintet evading the rollerblade group in that hide-and-seek-like game. I also do like their edgier look that they don in this music video, which complements the song quite well.

The choreography is fantastic. To me, it is the standout element of this release. My particular favourite part of the routine is the entire bridge sequence, with how they get into that single line lineup and the fall-forward type of move. Though, the “Boom Boom Boom” and “I’m a mess, mess mess” moves are also equally as memorable. Their stage presence is made known whilst performing the song and they made super good use of the stage.

Song – 9/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.9/10

[Review] Dangerous – TEMPEST

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TEMPEST has announced they are making a comeback later in September. But I have yet to review their April 2023 comeback – Dangerous, which is featured on their fourth mini-album, The Calm Before the Storm. Well, I am finally going to review the track today ahead of that comeback. This was TEMPEST’s first release of 2023, following last year’s debut with Bad News and their two subsequent comebacks with Can’t Stop Shining and DRAGON.

Dangerous is unequivocally a fun and upbeat pop dance track that makes up for the likes for DRAGON, which was a let down in terms of TEMPEST’s discography. The energy that comes from the song leaves quite the impression, which is line with their more likeable tracks like Can’t Stop Shining. Not only does the instrumentation make the song upbeat, but the brightness the members bring to Dangerous via their vocals gives the song a playful and entertaining flair that brings a smile to your face. The ever-so-light descending tinny-like synth line in the background is something that I noticed and cannot seem to forget. Dangerous also features a catchy chorus that easily gets the song keyed into your mind within a few listens. That being said, I did wish (and still do) there was bit more to the chorus, especially as the song progresses. I think this could have made Dangerous more dynamic and appealing, and prevents the song from relying too heavily on repetition. The danger (ha!) of repetition, to me, is that it overdoes the hooks and dulls out the catchy effect. Dangerous didn’t step over that threshold, but it could potentially have. The members vocals and rapping were solid, though I think Dangerous could have benefited from a more powerful and harder rap sequence than what we got. This too could have played towards that more dynamic and appealing wishes I had for Dangerous. Overall, Dangerous is a strong return to form for TEMPEST and I hope their upcoming comeback shares a similar upbeat and exciting style.

Dangerous‘ video is another one where I am not entirely sure of what is going on. We can see from the start that school in which the video is set at is frozen (along with the members). I really like how the video from the get-go really plays into the playful side of the song. It makes it quirky and intriguing to watch. Slowly, the school thaws out and the group ends up having fun performing the track with no hesitations. But at the end, all their dancing causes ice to fall back onto the school, which might lead the school back into its ice age (but we don’t see it eventuate to that). I think there is a bit of a mismatch with the lyrics, as it mentions villains and being dangerous. But there isn’t much of a connection to that in the video.

To me, the performance was the part of the comeback that got the least positive response from me. It is more so that the choreography didn’t really do much justice for the song. There was intensity and there was energy – everything that the song calls for. But nothing stood out and I was waiting for that something to appear.

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

[Review] Shhh – KISS OF LIFE

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Another newly debuted artist that I haven’t written a review for is KISS OF LIFE, a four member female group under S2 Entertainment featuring JULIE, NATTY, BELLE and HANEUL. You may recognize NATTY as she was a contender on SIXTEEN (the trainee survival show that formed TWICE) and Idol School (the trainee survival show that formed fromis_9). She also debuted as a solo artist in 2020 with the single NINETEEN. KISS OF LIFE debuted in early July with the single Shhh and their self-titled first mini-album, KISS OF LIFE. Prior to the debut, the group did release music videos for the four solo tracks and a group track that also make up the rest of the mini-album.

Shhh was quite a debut song, giving off Ariana Grande vibes. For a newly debut group/artist to be liken to one of the biggest pop stars currently who is also known for her unique style, that is quite a feat. Shhh still manages to showcase KISS OF LIFE’s musical ability, with a strong showing of vocal and rapping styles in the verses of the song. I really enjoyed this playful side of Shhh and it keeps the upbeat R&B pop number interesting. The energy that the group throws at us make it feel like they are seasoned professional, and not rookies. I particularly liked the falsetto part in the verses (you know I am a sucker for those). The rapping in the second verse was also commendable, along with those powerful vocals that soon followed the rapping. The ad-libs we get at the end were also super cool. The anti-drop chorus does pull the song down. Shhh had an opportunity to be taken up a notch with some central piece that could have gone further than the verses, and I am not entirely sure if an anti-drop and chanty motif was the right way to go about it. Also, the ‘What you really want‘ autotune repetition that serves as cornerstones in the song doesn’t exactly fit in well with the rest of Shhh. Overall, Shhh still has a lot of offer as a debut track and it does put KISS OF LIFE on the map for me.

The music video for Shhh follows on from the other music videos released alongside the solo tracks and another pre-release single of the group’s – Bye My Neverland. I will do a super quick recap for that, as I should keep thoughts on that music video for that review whenever I do get around to it. But essentially, NATTY screws up her audition, runs from the stage embarrassed and ends up getting hit by JULIE’s car. In Shhh, NATTY ends up being taken in by JULIE and becomes friends with both JULIE and BELLE who live together. They go out one night and notice that HANEUL was being followed by the same guy who took notice in HANEUL in her solo video, but they end up stopping him from doing anything bad to HANEUL. The four ends up being a tight knit group of friends, sharing their troubles with each another. In the end. the group comes together to audition at the same place that NATTY had run away from at the end of the Bye My Neverland video. The entire universe that is shared amongst the 6 videos explores their passion to be themselves on stage and gives a story to their formation, and I quite like that side of this debut. The end of the music video sees the video extended out to show part of Shhh‘s performance, presumably what they went on stage to audition with.

The energy they bring to the stage was amazing and I liked how they captivated me on stage despite only being just four members. That wide and well-timed swing in the first verse was impeccable, while the routine of the instrumental break brought a bounce to the choreography. I also enjoyed the confidence and attitude that was infused in the performance. But what I like the most is the four members had fun on stage and you can see it on their smiles towards each other and the audience.

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

[Review] DLC – Stray Kids

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Stray Kids made their comeback two-months ago with ★★★★★ (otherwise known as 5-STARS) and the title track S-Class. But like many of their recent comebacks and labelmates (ITZY, Xdinary Heroes etc.), additional music videos for other tracks from the album. So per usual, I will be covering the songs with the music videos in a separate song review post and collate them to form part of the album review that I will be posting in the future. Today’s focus is on the first music video released following S-Class – DLC (Dance Like Crazy).

On the album, DLC serves as the sixth track and it brings a brightness to the album that wasn’t heard in the songs preceding it. For me, DLC stands out for being simple, relative to much of their single discography. If you consider DLC‘s instrumentation, it doesn’t feel as simple as I make it out to be. In text, DLC features a wide range of influences, such as moombahton, deep house, tropical house and Eurodance in its instrumentation. It does sound like an overload of noise (which people might say is Stray Kids’ forte), but DLC‘s instrumentation actually feels quite spacious and is not potentially overwhelming or overpacked like some of their other songs. It is this spacious feel that, relatively to their other songs, feels simple. DLC also features striking delivery from the members. From the vocals to the rapping, the members stood out quite strongly over the instrumentation. Some of the vocals are pitched quite high, particularly Seungmin’s part in the bridge of DLC. The melodies were very easy to get into and the hooks were also on the simple yet memorable side. That screechiness of the ‘La La La‘ towards the end tends to be off-putting, but it somehow finds a place in DLC (and this I find to be memorable). The saying ‘more is less’ is very applicable to the likes of DLC despite the breakdown I have made about the song.

DLC is song about leaving your worries behind and letting loose by dancing like crazy. And this messaging was well represented in this video. We see I.N in stagnant job, Changbin is depleted of energy and Seungmin is distracted from reality. But the other members bring the trio back and convinces them through song and dance to shake off those worries and distractions. Incorporated into the video are dancers on the street, which was another neat and artistic way to bring more dance into the video. The greyness the video opted for and kept up with until the very end was interesting. I guess it represents the worries, distractions and tiredness in the world, and that it still exists. But seeing the members having fun and dancing with one another suggests that this greyness should not hold you back from leaving those feelings behind once in a while.

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

[Review] Smooth Sailing – cignature

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After how much I enjoyed AURORA from earlier this year, I had to check out cignature’s next release much closer to the release date then what I did with AURORA. Dropped two days ago, cignature’s latest song is titled Smooth Sailing and is featured as part of the group’s fourth mini-album, Us In The Summer. This comeback does not feature member Belle, who is currently participating on the SBS survival show Universe Ticket.

The best way I can describe Smooth Sailing is that the new song has that cutesy tinge that AURORA had, but the sound profile also felt very OH MY GIRL. This combination feel very natural, especially for cignature, and this helps makes Smooth Sailing a very appreciable song. The song does lack the catchiness and memorable hooks that AURORA had, but what we do get is pretty decent. And I can only imagine them growing on me as I listen to the song more in the future (which is usually the effect on me). Their vocals and rapping was pretty good. I like the definition behind some of the vocals and chanting they had in Smooth Sailing, which gives everything a nice boost. Also, the cutesy tone that I mentioned before keeps the song buoyant and bright. But it is the instrumental that ultimately speaks the most to me. Smooth Sailing‘s pop instrumental features a large dose of brass that always makes any song feel upbeat and fun, and that effect is definitely felt across the broad in Smooth Sailing. It also gives the track a nice warm glow, which makes it feel even more suitable for the summery weather. And in combination with the vocals and hooks the song has to offer, Smooth Sailing feels very satisfying.

The music video features the members as school friends who discover a music competition. The majority of the rest of the video shows the members preparing for the music competition and having fun at the same time. I really liked the choice of having the video outside, which the light and weather that we see in the video contributing to a refreshing and breezy feeling. The natural aspect was also equally as refreshing. I did wish the video saw a crowd at the end, which would have been better than having cignature perform on stage without an audience. The lack of a crowd, as we see in the video, just felt weird.

The choreography was great. Again, nothing fancy. But it looks fun and likeable. Also, a simple routine feels just right in order to pair it with the song, and that is exactly what we got.

Song – 8/10
Music Video – 8/10
Performance – 7.5/10
Overall Rating – 7.9/10

[Review] Baggy Jeans – NCT U

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This week kicked off with the return of NCT U and its familiar lineup of members for the release of the single Baggy Jeans, which also serves as the second title track off the NCT 2023 studio album Golden Age. For those who may not know, within NCT, NCT U is a rotational unit that changes its lineup depending on the single. For Baggy Jeans, we see the return of the lineup of The 7th Sense (the single in which launched NCT U back in 2016) – Taeyong, Mark, Jaehyun, Doyoung, and Ten. Last week, I reviewed the first title track from the album, which shares the same name as the album and features all the members in NCT currently active.

My review of The 7th Sense was pretty harsh in retrospect. While it came from a time where my thinking and writing wasn’t as mature as now, the review is truthful (and I still do not understand why so many people rave about it till this day). Maybe if I had a chance to rewrite the review, I would say it in a less harsher manner and think of the finer points to discuss in the review. But I am not here to discuss the initial single of NCT’s career. I am hear to discuss Baggy Jeans. But let me just say that when I first read the reference to The 7th Sense (which was in relation to the lineup, but I actually thought of the song in the first instance as I couldn’t remember who was part of the lineup then) when reading into the details of the comeback, it didn’t raise the bar of expectations for me. And that stands true to even after listening to Baggy Jeans. The hip-hop dance track does catch on thanks to the power of repetition (even though the repetition of the song title in a dull manner) and I enjoyed the whispery, descending, spoken vocals just before the choruses. I also thought the tinny instrumental break adds some dynamic flair to Baggy Jeans (though I could have done without the ‘Baggy/Baggy Jeans‘ repeats) and Mark’s ‘Yeah Boy‘ line just after the 2-minute mark was memorable. Unfortunately, that is all I personally enjoyed from the song. Baggy Jeans‘ verses were a bore due to the lack of attractive melodies from both the rappers and vocalists. The choruses was largely plain and the instrumentation in the central part lacked creativity. Talking about the instrumentation, the backing for some reasons gets scratchy and jarring within itself in the final run of the chorus. I am not entirely sure why this was a necessary development, but it made the already unappealing instrumentation even more unappealing. Unfortunately, Baggy Jeans doesn’t do it for me, just like how The 7th Sense never did as well.

Glad to see the members in baggy jeans for the video. Relevant and they look good. I also like how it wasn’t just denim central, with the stylist putting in some thought about how the members could blend in more cohesively with the plain yet simple backgrounds the video had and the hip-hop sound. The video could have been saturated in blue denim and I think that would been cliché and a bore to watch. I did like the choreography scene where it was just Mark and the four baggy jeans dancing along. That looked cool and emphasised the title of the song quite well.

The choreography was also quite good. I really liked how the routine captured the hip-hop side of the song and the members really took on that ‘swag’. My favourite bits were the formation around Doyoung, the striking start of having Taeyong on the floor between the other member’s legs and the dance break during the instrumental break.

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

[Album Review] ICKY (6th Mini Album) – KARD

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The next album to be reviewed on my blog is KARD’s ICKY, which was released in May of this year. The mini-album features the pre-release single Without You, the title track ICKY, a remixed version of the pre-release track and three side tracks – a total of 6 tracks. The release of ICKY follows the news that the group had renewed their contract with DSP Media and begins the group’s world tour that is currently ongoing. It also follows the release of Re:, last year’s mini-album release.

ICKY Album Cover

1. ICKY (Title Track) – Click here to read the full review for ICKY. (7.5/10)

2. Without You (Pre-Release Track) – Click here to read the full review for Without You. (6/10)

3. Fxxk You – Fxxk You is one of two unit tracks on this mini-album. This one features Jiwoo and Somin, who both gracefully drop f-bombs in the song with their sexy yet smooth vocals. Obviously, the song is much more than just f-bombs (even though it is the most memorable line of the song), with the pair expressing their love to their partner. The melodies were so flowy and the Latin influence on the instrumentation was super effective. I really liked the how the electric guitar plays into that Latin influence. Fxxk You was such a charismatic and captivating listen. (9/10)

4. Been That Boy – BM and J.Seph are the two other members of the quartet and they bring us the second unit track. Been That Boy is a rap song that features trap and moombahton elements in its background. This combination brought a serious and subtly intense atmosphere that heightens the suspense and tension of the track. The two members each brough something different in Been That Boy. J.Seph brought power and speed which I would love to hear more of in future songs, while BM brought impact with his lines and delivery. (8/10)

5. CAKE – One of the things I don’t understand from this mini-album is why CAKE was not chosen to be the title track. The intensity and the sexiness that both the male and female members exuded from just their vocals and rapping alone was a highlight for me. The instrumental was dark and edgy, but also refreshing at the same time. And when I first heard this song months ago, I felt like it would have rivalled the likes of their more bombastic tracks like Bomb Bomb (which is my personal favourite of theirs). I also highly recommend that you check out the dance performance that was released for CAKE, as that pretty much captures all of the sentiments above I had for CAKE. (10/10)

6. Without You (Alok Remix) – Refer to the link to the full review of Without You above.

Overall Album Rating – 8.1/10

ICKY Teaser Image