V is the final member of BTS to release solo work since the announcement that the group would focus more on solo endeavours as they move towards their military enlistment. His official solo debut won’t occur until early September. But in preparation of that release, V has pre-released Love Me Again on Wednesday, alongside a music video for the single. In addition to that, V has also pre-released another single Rainy Day with its own music video just yesterday – both song and video will be the subject of its own review.
There is no doubts that Love Me Again showcases the wonderfully husky and raspy vocal tones that V is known for. The track really nails down in that department at the start and continues to bring these vocal tones as Love Me Again progresses. The R&B instrumentation is very comforting and mellow-sounding, with the atmospheric instrumental break (which doubles as the bridge of Love Me Again) being quite dreamy. But while the track is executed well, I did think it lacked a compelling element to get me back once it ended. Love Me Again is the type of track that I would listen to if it appears on my playlist or queue, but I wouldn’t necessarily go out of my way to search for the track or go back to it. I also found the track, while wispy and floaty, to be over sooner rather than late, and I felt this prevented the song a chance to show or develop that compelling element if it was in Love Me Again already.
I feel like similar comments can be made with regards to the music video. V, himself, is quite well known for his visuals. So the focus on his face in this video is warranted. V is also dressed in a sequined top, which glimmers and dazzles in the light. But aside from that and the retro-style karaoke setup during some parts of the music video, there isn’t too much else to the video. And the lack of ‘else’ in this video does make it become on of those where ‘you watch it once, you have seen it all’ videos. The only other comment I can make about the video is question why the background is cave-like.
Song – 7/10 Music Video – 6/10 Overall Rating – 6.6/10
The newly debuted seven member male group, The Wind, made their first comeback last week with the single WE GO. Usually, I go ahead and review WE GO. But have been wanting to review ISLAND for a while now. So, today, I will reviewing their debut single ISLAND and shall return to review WE DO soon. ISLAND dropped mid-May as part of the group’s first mini-album, Beginning : The Wind Page. It kicks off the careers of Shin Jae Won, Kim Hee Soo, Thanatorn, Choi Han Bin, Park Hayuchan, An Chan Won and Jang Hyoun Joon, all of whom are signed under With US Entertainment.
While ISLAND doesn’t bring anything necessarily new to the table, the debut single does offer some relief from the current sound that male groups are putting out. ISLAND is a simple yet bright and bubbly pop dance track, reminiscent of something that GFriend would have put out during earlier on in their careers. You could say some of the instrumentation could have been lifted out of GFriend’s discography, such as the synths used in the background. There is also a youthful tone of the song that just makes such songs so blissful to listen to. ISLAND is also quite melodic, which I found to be a huge driver in ISLAND sounding pleasant and enjoyable. This also helps bring a smile to my face whenever I hear the song. The melodies, however, could have been punchier in some areas, just to give that extra memorable element to the song. I did enjoy the more chanty lines you hear at the end of the choruses that all the members contribute to. This style of delivery in ISLAND just add extra oomph alongside the vocals, and makes ISLAND more than just a melodic track. With this in mind, I do think ISLAND could have incorporated a more substantial rapping department without breaking the song and ruining the pleasantness that we got. There was definite room for more in ISLAND to go that extra mile. But as it stands, ISLAND is a very strong debut track and successfully launches the group’s career by attracting attention towards the group.
Just like GFriend’s debut single, the group’s music video highlights their youthful visuals and tone by opting for a schoolboy concept. To me, this is highly expected and doesn’t come as any surprise. In the lyrics, the group sings about wanting to meet and explore the unknown with their special someone. And in the video, we see the additional elements of the group getting ready for an adventure at a train station and that curiosity to see what is beyond school. One thing that I really appreciated from the video is that it takes on that cutesy and sweet concept that tends to come with the school-aged concept. But it does so without feeling cringy or overly saturated, which I find helps makes the video much more appealing to watch, as a result. I also like the emphasis on the colour blue in the video. A bit traditional, but it does feel refreshing.
While the choreography of ISLAND doesn’t stand out, I do like how breezy and energetic it feels. It works extremely well with the song and the group’s youthful charms, without a doubt. I do also want to applaud The Wind in their efforts on pulling off a live performance with stable vocals in each performance I have watched of them. It just makes the performance more worthwhile to watch.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Also making their comeback yesterday was THE BOYZ. While the leadup to the comeback was a touch rocky, the group has pulled off another Summer comeback with the single LIP GLOSS and the first part (of three) that will constitute the group’s second studio album, PHANTASY. This part is titled PHANTASY Pt. 1 Christmas in August. It was announced by their company that the male group will be making two further comebacks this year to complete the release of the second studio album. This one serves as their second Korean comeback of 2023, following the release of ROAR in February of this year.
LIP GLOSS is a very catchy and summery title track from the group that doesn’t rely too heavily on electronic synths like their last two Summer comebacks (i.e. THRILL RIDE and WHISPER). I really like how light yet upbeat the track is (thanks to the lower synth and EDM reliance), which feels refreshing. I will admit that I did find the hook, melodies and vocal work to be weak early on in the track. But as LIP GLOSS progresses, all three elements grow immensely on me, and that impression was reduced immensely by the time I reached for a second listen. The melodies and hooks become quite playful and works extremely well in maintain that aforementioned lightness and summery vibe. Maybe punchier vocals could still help LIP GLOSS in the long run. But as a vector for the lightness and freshness, the vocals that LIP GLOSS serves is just fine. I did like the interweaving of the entire group vs. a singular member’s vocals in the second half of the chorus, which adds to the song’s playful exterior. We do get some some abrasive house synths in the bridge’s breakdown, which facilitates a stronger presence for the rappers. The lightness in the verses and choruses does hold them back, so I appreciate that they have an opportunity to show something aligned with their delivery. I did wish for a stronger return to the final chorus, but what we got still managed to work. Overall, LIP GLOSS is a strong summer return for the group, and I can’t to hear more from the first part of the album as I have heard great things about it.
The music video serves some eye candy for fans in its beach and island theme getaway, with some of the members taking off their shirts for the video. On this beach and island, the members come across a stunning woman whom they are very attracted to. They do get a bit flirty with her (and vice versa), but not in a cringy way (allowing the video to be watchable). However, it is revealed at the end that she did lead them on. But don’t worry, as they group attracts another group of ladies who are also partying at the island. While that is the main part of the video, the group does return to perform LIP GLOSS from the second verse to the end in an after credits sort of manner. I quite liked this idea and it works extremely well with the light and simplicity of the summer concept. It also contributes to the fun nature of the song.
The playful vibes come off in the robust and energetic routine that is paired with LIP GLOSS. I really like the brightness that the members give off in the routine, which helps makes the choreography enjoyable to watch. I also liked how hard hitting the performance gets during that bridge breakdown, only to then revert back to those playful vibes in a matter of seconds.
Song – 9/10 Music Video – 8.5/10 Performance – 8.5/10 Overall Rating – 8.8/10
It has been almost two years since Jeon Somi made her last comeback with XOXO (which featured the tracks Dumb Dumb, XOXO and Anymore). But fans welcomed her back on Monday with the release of her 1st ever mini-album, Game Plan, since her solo debut, which features the title track Fast Forward.
To me, Fast Forward is one of those songs where if you blink, you will miss it. Intentional or not, I think Fast Forward (like other songs spanning just over 2.5 minutes) deserves a bit more somewhere along the way. The fast tempo of the track, while contributes to a strong dance track, does drive the song towards its end sooner, rather than later. That personally is the biggest gripe I have about the song. Other than that, Fast Forward embraces a very cool rendition of 2010s deep house style that you might expect to hear in a club environment. The first verse begins and the pre-choruses shows a strong command of Jeon Somi’s vocals, before we launch into the song’s bold yet bouncy, upbeat and non-lyrical chorus. This is immediately followed up with a Madonna-Vogue-esque styled second verse (which I personally find to be the best part of Fast Forward and would have totally liked to have heard more of), before another run at the chorus. The bridge that follows doesn’t add much to the song, but does give a strong presence of keyboard, before a final run at the same chorus comes into play. Jeon Somi really did nail the song and its style, but Fast Forward could have benefited with a longer frame to give itself some thing more (potentially a strong ender that isn’t a direct repeat of what had already been heard).
The song serves as a message for a lover in the lover future and the desire to fast forward to being with that lover. We see the first high-school crush of Jeon Somi’s in the video via those scenes in the school yard where she is firstly crying and later on is shy in front of her crush (who has a terrible hair cut). These scenes may imply that she had opened her feelings to her crush, but got rejected and is thus heartbroken. But in the context of the lyrics, this heartbreak is the first of many due to come her way on the path of finding her true lover in the future. We then see Jeon Somi go through people at the club, who on screen appear glitchy (representing short-lived relationships, brief relationships, or lengthier one that she must experience before finding ‘the one’). I think the training scenes also represent that “I don’t need another person” mindset that many go through on their quest for love. Altogether, I think the video is a nice showing of the song’s lyrics. And of course, Jeon Somi looks very stunning throughout the video, particularly during the choreography and her goddess scenes.
From what we can see in the music video, the choreography is very well done. It embraces the bouncy aspect of the song and shows Jeon Somi off in an even more confident light, especially those moments where she is the centre of attention.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
Today’s album review is for NMIXX’s first mini-album, expérgo. This was released back in March of this year, and features six tracks in total including the title track Love Me Like This and the pre-release single Young, Dumb, Stupid. expérgo is the first of two releases for NMIXX this year so far, with the second being their more recent comeback with the singles Roller Coaster and Party O’Clock.
For whatever reason, expérgo is the group’s first mini-album. It proves that the group has potential, as it successfuly shows the group’s capabilities of a vaireity of different sounds and tyles that we have not heard from the group yet due to the lack of side tracks in their discography. The side tracks out-rank the pre-release and title track (though I might reconsider the latter’s rating in the future). Hopefully, their next comeback after the more recent Party O’Clock sees the group with another mini-album or a studio album. But for now, here are my thoughts on expérgo.
3. PAXXWORD – PAXXWORD is a nicely pleasant and upbeat track. I really enjoyed the balance of everything in the track, from the variety in the group’s vocal range and harmonies heard in the song, to the easy-going and gratifyingly textured instrumentation, to PAXXWORD’s very catchy hooks. All of this made for a great listen and is a strong addition to the mini-album. (10/10)
4. Just Did It – Just Did It sparks some interest from me thanks to its intriguing instrumentation. At first, the song felt familiar for NMIXX, given there are number of changes and turns within the background. But unlike their past attempts at the MIXX pop trend, the changes in Just Did It somehow feel consistent and keeps you on your feet. I put this to their vocals/rapping, which bought a steady element to the song, serving as an unchanging anchor. This doesn’t mean the members were boring or dry in anyway, as I could sense a slightly attitude and confident tone behind their vocals which complements the song’s lyrics quite well. (8.5/10)
5. My Gosh – We turn to a softer sound on the mini-album through My Gosh. This R&B track just comes together so well. The acoustic guitar and inviting synths just feel so comforting, while the members sound stunning. The “My Gosh, My Gosh, My Gosh” hook in the song was so damn catchy, and the melodies were flowy. While one of the earlier upbeat songs did appeal a lot to me, I just cannot help enjoy and love My Gosh even more. (10/10)
6. HOME– HOME has this nostalgic melody to it, which I really enjoy. Elsewhere in the track, HOME features bold instrumentation (Exhibit A: the pounding beat that kicks of the song and heard throughout the track), bold vocals (Exhibit B: the vocal work in the choruses) and bold rapping (Exhibit C: the rapping in the verses). It is quite interesting, as you don’t usually hear this level of boldness in the final track on the album. But I am all for it! (9/10)
Finishing off today is the album review for Rover, KAI’s 3rd mini-album. Rover is KAI’s last album release prior to his enlistment in the military. However, we did get to see KAI in the two EXO pre-releases for EXIST (EXO’s more recent album release). Anyway, back to Rover. The mini-album was released back in March of this year, and features the title track of the same name and five other side tracks.
To me, Rover is a mix bag of an album release. There were some really good songs on the mini-album. But other songs earned a luke-warm response from me. Find out which songs on Rover got what type of response by reading the rest of the review below, and let me know if you agree with my sentiments of Rover and the individual songs.
2. Black Mirror – Black Mirror is a solid hip-hop track that provides commentary on our dependence on social media on our phones, with the title Black Mirror making reference to what the phone becomes when it is off or not in use. I liked how the producers kept the song low, which takes advantage of KAI’s deeper tone quite well. On the flip side, however, I just found it hard to connect as there wasn’t anything memorable or catchy coming the song, especially when it came to the choruses. (7/10)
3. Slidin’ – With the R&B genre in play, Slidin’ enables KAI to bring a sensual tone to the song, which per past tracks sees KAI in familiar territory. This sensual tone allows more appealing moments to come to life, which helps makes the song more appealing and notable (when compared to the preceding track). The instrumentation, for the most part, consists of a continuous loop of a harp-like synth and trap elements. A heftier set of string comes into play at the very end of the song. Despite its late introduction in the song, it interestingly felt well-placed and (retrospectively) allows Slidin’ to finish on something that isn’t what we have heard previously in the track. (8/10)
4. Bomba– Bomba is the side track on this mini-album that caught my attention when the mini-album was released months ago. And it still continues to stand out for me. Bomba goes for a reggaeton-inspired instrumentation, whilst also bringing a pounding rhythm and some really nice synths into the mix. All of this makes Bomba into an effective track. KAI’s vocals were quite well executed and lively in this track (comparison to the other songs on the mini-album), and the melodies and repetitive hooks are all very catchy and memorable. A definite 10/10 for me. (10/10)
5. Say You Love Me – Say You Love Me returns the mini-album back to R&B and hip-hop territory. I found this track to be super easy to get into and enjoy, with a simple yet catchy chorus driving this home for me. I also really like how KAI becomes dynamic in his vocals and rapping in this track. My biggest gripe about Say You Love Me is that quivering synth we hear in the background. It just gives off an unstable vibe, which I didn’t think the song should be exuding. (7.5/10)
6. Sinner – Sinner begins with KAI’s deep yet monotonous-like vocals and a very minimalistic yet atmospheric instrumentation consisting of piano and synthesizer. I did wish the instrumentation in the beginning was a little tighter, just so KAI’s vocals felt more form-fitting. You kind of need to stick around to fully appreciate Sinner, which the start of the song might undermine. I personally felt that the producers went a touch too light on the instrumentation in the beginning, which might turn people away who gets the impression that Sinner is plain and lacking. If you do stick around, Sinner changes gears and intensifies towards the end of the song, allowing the synthesizer to take over the song and close it out in a well-rounded manner. (8/10)
Making their first comeback earlier this week was the rookie group xikers. For those who missed their debut, xikers is a 10-member male group who debuted under KQ Entertainment in March of this year with the mini-album House of Tricky: Doorbell Ringing and the title tracks TRICKY HOUSE and ROCKSTAR (the latter and mini-album have yet to be reviewed and I will get around to reviewing them). On Wednesday of this week, xikers returned with their second mini-album, House of Tricky: How To Play and double title tracks Koong and DO or DIE (the latter is the focus of this review post today).
xikers embrace a punk rock sound in DO or DIE, which I find exhilarating and thrilling to listen to. I found it to be super effective and a successful instrumental that gets right to the point and doesn’t mess around. Upon my first listen to DO or DIE, I found myself head-banging along to the music and energy, pretty much as soon as the song started. Since then, I have managed to control myself enough to write a review. But I will probably be slipping back into head-banging mode once I complete this review for subsequent listens. The electrifying concentration (yet slowed down tempo) in the bridge and the groaning-like approach to the vocals was a cool and logical progression to “switch-up” the song that has already embraced an already intense form of the rock sound. A bit confronting, but it felt right. The final chorus throws in some really cool drumming, adding to the intensified end of this punk rock dance track. The vocal parts in DO or DIE were well executed, with some parts being super clear and other parts being slightly filtered and processed. But it is done in a way that works with the punk rock sound, giving off a rough and craggy. The rapping in DO or DIE benefits from the energetic nature of the song in that it comes off as punchy and dynamic, while the filtering and autotune helps give off an edgier effect. The energy and intensity of DO or DIE unfortunately does forfeit the appeal and impact of catchy hooks and/or melodies, so I wished the song really built that department more to really stand out. But as it is, DO or DIE is super awesome in its own right.
The music video concept is a zombie video game. But instead of a survival game where one might usually run away from the zombies and shoot at them in order to survive, the members pretty much interact with the zombies in an unexpected way – by finding the ones who have music in their bodies. The right zombies then become the rock band who plays for the group. As the zombies play, more zombies come and end up forming a crowd around the group as they perform. From there, the video becomes a bit drab in that it flicks over to reality, where the members appear to look for the second half of the game from the video store. I would have liked to see that it not be reality, but more so an extension of that zombie universe.
The performance leaves me speechless (in a good way). It looks quite tiresome, but yet the members make it look so dynamic and powerful from start to end. Something I hadn’t mentioned about the song yet is the fact there is some commentary in it between the bridge and final chorus. On stage, that sequence makes everything feel so much livelier. I also liked how one of the members kick over another member during the bridge, adding to the thrill of DO or DIE.
Song – 9/10 Music Video – 7/10 Performance – 9/10 Overall Rating – 8.4/10
Earlier this year in March 2023, MAMAMOO+ made their unit comeback with the single GGBB. That was a fair comeback with an unfitting dance break that caused a flow issue. Four months on, Solar and Moonbyul are back with their first mini-album, Two Rabbits, and their latest title track dangdang. The pre-release single Save Me is also featured part of this mini-album (which I have not yet reviewed).
dangdang is an appealing track. The guitar twangs in the background, the heftier beats in the choruses, and some of the hooks, melodies and vocal delivery is all evidence of appeal in my books. But I find the track to be rather mild and light on as it opts for a more pleasant atmosphere. While I do like pleasant tracks, I do feel like dangdang could have gone a bit harder. The final chorus is a prime example of this potential. Of course, by holding back dangdang for majority of the song’s run, the final chorus is a lot impactful. But I think the song could have explored other avenues to give the song more oomph. The vocal work from both Solar and Moonbyul was very nice. Solar brought a falsetto and wispy approach to enhance the lightness of the track. However, that is kind of the only mode I remember from Solar in dangdang and I wished she had more substantial parts. Moonbyul’s vocals and rapping helps ground dangdang, but I wished her rapping was punchier to be more memorable and give dangdang something interesting to throw at us. More interesting verses could have been another option, and maybe a few strong hooks/melodies would have been nice as well. Overall, dangdang isn’t bad and I find it to be a stronger release than their past tracks. But I am left wanting more as the song progresses.
The music video appears to be quite fun, which works well with the song. There seems to be a trend in KPOP lately to use a lot of dancers in music videos. This music video doesn’t feature as much as other videos have in the past, but I feel like the start of the main portion of the video looks really cool as a result of the higher number of dancers. I liked the boldness of the blue and yellow sets in the middle of the video. And per usual, Solar and Moonbyul look amazing in the video. The music video also features the intro track, Two Rabbits, to the mini-album.
Their stage presence and smiles really makes the performance even better. While nothing really stood out for me in terms of individual moves, the playfulness of the routine, the duo and dancers comes off quite strongly and this helps makes the stage worthwhile to watch.
Song – 7.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.8/10
KWON EUNBI has been trending lately due to her stage presence at the recent Water Bomb Festivals. And her comeback today is timely to ride on this wave of new found popularity. Her new single is titled The Flash and forms part of her first single album of the same name. We last saw KWON EUNBI via her Underwater era from October of last year – a comeback from the soloist that I have yet to review.
The teaser for this comeback (which felt unexpected when it appeared on my subscription lists, as I hadn’t read any news about her comeback prior to the release of the teaser) pretty much got me on board with this comeback, and I can safely say that The Flash in its entirety did not disappoint. The Flash is a super upbeat pop dance track that catches on within a few listens. The electronic synths create a very dynamic atmosphere and I feel both KWON EUNBI’s vocals and The Flash‘s melodies build on this dynamic nature to create an exciting song. In amongst the electronic synths are some well selected synth details that adds flair and style to the song, which creates further excitement and dynamism in the song. The best part of The Flash comes as the song launches into the final chorus from the bridge. I feel like the impact here makes the ending of The Flash more satisfying to listen to. The only thing that comes to mind that could potentially make The Flash even better would probably be a sharper instrumental. But the lack of that strikingness doesn’t break the song for me whatsoever and I like The Flash very much the way it is presented to us now.
The music video has a balance mix of choreography shots and close-ups of KWON EUNBI. She is super stunning in this video, and I liked that they highlight both the dance aspect and her visuals. I also like how KWON EUNBI breaks the fourth wall during the choreography of the first chorus. If I had one request, it was for the video to explore more of the close-ups, particularly with the backstage shots of KWON EUNBI in the makeup chair. The sets also look stylish and beautiful, as well.
I really like the presence of the ribbons at the start and during the bridge segment of the routine. They add nice visual aspect to the choreography, but also boasts a level of complexity that looks impressive. I am also a fan of the routine in the second half of the chorus, which looks effortlessly sexy.
Song – 9/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.7/10
After a 4 year hiatus from the stage, INFINITE has finally made their long awaited comeback with their newest single, New Emotions, and their 7th mini-album, Begin. As it has been a while since we have heard from the group, here is a quick introduction to INFINITE. Starting out as a seven member male group under Woolim Entertainment in 2010, INFINITE is one of those groups who skyrocketed to fame from a small company with their sharp and synchronised choreography and hits after hits like BTD, Be Mine, Paradise, The Chaser and many more. Currently, the group is a 6 member group (consisting of Sungkyu, Dongwoo, Woohyun, Sungyeol, L and Sungjong) under their own company, INFINITE company. We last saw the group release the single Clock in 2019.
New Emotions is seriously groovy and funky, which is pretty much on trend with KPOP nowadays. We see the funkiness and grooviness in two different forms – the vocal-like detailing in the background of certain parts of the song and via the bass guitar in the choruses. The members’ vocals add such a sleek and smooth texture to the song, which contrasts super well with the instrumentation. The opener was very ear-catching and intriguing, while the accumulation of instrumentals in the choruses gives New Emotions drive. I would have liked to see a stronger melody or a hook to take New Emotions to the next level. Though, I have an inkling that the current melody/hook is growing on me as I review the track. My biggest disappointment with New Emotions, however, is its length and how underbaked it feels without a proper ending. It kind of leaves us hanging and doesn’t satisfy accordingly. I think I am with the majority here in saying New Emotions feels a bit lackluster when compared with their past hits which had a proper climax and ending. But nonetheless, I am glad that INFINITE is back and hope that there is more comebacks in the future for this second generation and iconic group.
The music video doesn’t have an apparent plot from what I can see (at least, I think it does). Though, the flashlights, the chase scenes and the members wearing silk red tops in a construction site says otherwise. But apart from that, I found it to be a very stylish showcase of the members. L (Kim Myungsoo, for those who don’t know his stage name) steals the show, particularly during those scenes where they wear white on a black background.
Sleek and smooth movements and engaging solo moments make up this choreography, and I am all for it! While currently we are constricted to seeing what is only in the music video, you can see INFINITE’s signature sharpness and sychronisation, which is a nice call back to their earlier works.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
One of the releases kicking off this big week of new songs and albums is ITZY with their newest single CAKE and their 7th mini-album, Kill My Doubt. Their comeback also features two pre-release tracks Bet On Me (released on July 3) and None Of My Business (released on July 24), both of which I have not reviewed just yet (but I will return to review some day in the near future). CAKE follows the group’s CHESHIRE era from November of last year.
CAKE is a solid track for ITZY. I just wish the verses weren’t such a bore (in the case of the first verse) and didn’t ‘switch it up’ (in the case of the second verse). Something more riveting and cohesive with the rest of CAKE would have better appreciated. Also, the vocals sound off to me in these segment. I don’t think it is the members’ fault for this, but rather the vocal processing just doesn’t feel right. Those were the biggest issues for me in CAKE, as they do stop the momentum that the pop melodies in the choruses and the growing CAKE repetition does create. These were the best parts of CAKE for me. Those pop melodies just bring a lovely dose of sweetness and brightness to the song that just makes it feel right for this season, while the CAKE repetition adds just the right amount of sass and attitude to the song to not fall into bubblegum territory. I wasn’t necessarily a fan of the repetition in the instance when I heard the song earlier today. But with the help of the catchy brass and the pounding beat, the CAKE repetition has really grown on me and I can see the song continuing to snowball further from here on out. It is just a pity that the verses just didn’t do it for me.
The editing at the start of the video where the members are appearing out of thin air makes for a really cool opener to the video. Other than that, I thought the music video was a fun and light-hearted accompaniment to the song. Yuna falling from that height because of another member being distracted and making impact with that vehicle, but later getting up and acting pretty was one of my favourite examples of this. I also like all of their looks in the music video, from the brighter tones to the darker outfits to the factory tracksuits. ITZY looks stunning throughout the video.
Choreography-wise, CAKE features a solid routine. Everything that we do see in the music video fits in with the music of their respective parts quite well. But my favourite part from what I can see is the CAKE repetition sequences. You know I like a bit of edge and that part of the song, music video and choreography had it all.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
ONEW’s first solo studio album since his debut back in 2009 is the focus of today’s album review. The album itself was released back in March of this year, alongside the title track O (Circle). It also features nine additional tracks. Circle follows last year’s DICE mini-album release, which earned the award of Best Album of 2022 in the 2022 KPOPREVIEWED Awards.
Based on ONEW’s past album works and his contribution to SHINee’s releases, it should be expected that this album, and any of his releases, are of a high calibre. And this was definitely the case for Circle. 9 out of the 10 songs on this album are rated super high (with that one other song still being a solid number). And this earns the album a recommended stamp, so do check out the album if you haven’t done so just yet. I am sure you will find a song that you will like (if not all of them) on it.
2. Cough (환절기) – Cough captivates with its simple acoustic guitar instrumentation, which helps bring the mid-tempo pop number to life. There isn’t much to it, with less meaning more being demonstrated in this number. ONEW’s deep vocals was stilling and gripping, and I found myself unconsciously swaying along to the soft beats when I really listen to the song. Altogether, it is a beautiful number and the first 10/10 song on the album. (10/10)
3. Rain On Me (우중산책) – Acoustic guitars continue onwards in Rain On Me and I quite like how they are the main piece at the start and ending of the song. The drum beat (and rest of the instrumentation – i.e., electric guitar, strings etc.) that kicks in later on gives the ballad some oomph, which I also appreciated. As for ONEW, I really liked how breathy he gets in the chorus, which makes for another stunning showing of delicate vocals from the soloist and SHINee leader. (9/10)
4. Caramel (ft. Giriboy) – Caramel is a jazzy pop number, bringing a beat back into the album. ONEW’s vocals shine once again in Caramel. I really enjoyed the melodies he brings to life in this song, which felt like a vibe and gave this jazzy number a reason for me to come back for more. The scat was cool and he also brings a sense of smoothness to Caramel based on the way he ends the choruses. The mouth trumpet was a really cool addition, and felt very unique. Giriboy did add in some rapping into the mix, but I think the Caramel could have done without the rapping with everything else going on in it. (9/10)
5. Anywhere – Anywhere is the one song that I have enjoyed listening to on repeat since its release and cannot get enough of it. Anywhere takes us into funky territory with a subtle undertone from the bass from a keyboard. With the synths building on this, this track has such a cool retro atmosphere. Paired with ONEW’s falsetto, Anywhere is the next 10/10 song on this album. (10/10)
6. Paradise– Paradise brings a smile to my face. I really enjoy the playfulness of the instrumentation and ONEW’s vocals in this number. While praise for ONEW’s vocals will be a constant theme in this review (just in case you haven’t noticed this just yet), his vocals at the start of the bridge and his ad-libs just come off so effortless and I like that aspect of this song. (9/10)
7. Expectations – Expectations is a mid-tempo pop track, with some unique and different synth details to it between each key segment. I did like the synth choices and the beat of the song. But together, the song felt a bit bare and empty, which I wish was not the case. (7/10)
8. No Parachute – Probably the album’s quirkiest number, No Parachute is an indie pop track that stands out for its unique instrumentation and delivery of the word ‘Parachute’. I like its mature and serious tone, the rhythmic beat, the multi-use of the acoustic guitar and ONEW’s solid vocals. (9/10)
9. Walk With You (기억을걷다) – To me, Walk With You feels like a track I would want to listen to on a nice sunny day where I am out in about. Extra points if I the song pops up when I am walking on a nature trail or somewhere that is very nature forward. Having Walk With You on the background on such a day would feel very comforting. I put this down to both the subtle tropical/summery instrumentation and ONEW’s vocals. (8/10)
10. Always (보통의 밤) – The final song on this album is Always. It ends the 10-track album with a ballad. It features a very nice piano instrumentation and ONEW sounds heavenly in this track. Once again, he manages to captivate me and this alone helps deliver a solid ending to this amazing album. (8/10)
The next album to be reviewed on the blog is OnlyOneOf’s seOul cOllectiOn, which was released back in March of this year. This is my first time reviewing an album from OnlyOneOf. They have such different music to other artists in the past, so I thought I give them an album a try and see what else they have to offer. Apologies that it has taken me a while to actually get around to reviewing on their albums.
In my opinion, there is a bit to like on this mini-album, which includes the title track seOul drift (which, spolier alert, is the lowest ranked track on the mini-album, in my opinion) and six other sides tracks (2 of which are the Korean version of previously released Japanese singles and another is the English version of a previous Korean track promoted by the group). I won’t tell you the title of those songs, so scroll on down to find out what they are and to check out my thoughts on seOul cOllectiOn.
seOul cOllectiOn Album Cover
1. chrOme hearts – Originally released a Japanese single, the Korean version of chrOme hearts kicks off this mini-album (retitled as chrOme hearts). The start of the song takes me back to their libidO era. But as chrOme hearts builds, the beat gets harder and the EDM synth choice becomes so much more metallic and unique. chrOme hearts ends up being quite an intense and powerful number. The vocals, especially in the choruses, were so sleek and I really enjoyed how fitting the gritty texture of song. a standout from the very beginning. (10/10)
3. mirage – Briefly moving away from the synths and EDM is mirage, which brings forth acoustic guitar and softer beats to the mini-album. It holds very well after all of that intensity and power. The track is detailed with some jazzy touches, which gives it a classy feel. The jazzy touches also serve as the backing for the raps, which gives mirage some oomph. I also really like how breathy the vocals are and the flowy melodies the vocalists bring to life in the song. (7.5/10)
4. candy bOmb – The synths return in candy bOmb. I really like how deep the synths go in this track, while the beat keeps the track going forward. The tempo of candy bOmb is very quick – the saying “blink and you will miss it” applies to this song. I wished the melodies and vocals were a bit more developed. There is some catchiness to them, but they really need to be more memorable to offset the tempo. The bridge of candy bOmb is a complete 180, going into a dreamy mode for a matter of seconds, before the main beat and synths come back to close out the song. (8/10)
5. blueblueseOul – blueblueseOul is the Korean version of Hidoi Otoko, a Japanese single which comes from the group’s Cunning Woman single album. I really like the atmospheric vibes that kick off the song. While the atmospheric vibes continue in the background, the beat and guitar work grounds the song. We get breathy vocals once again, which sound blissful in blueblueseOul. It was a nice listen, and paired with the instrumentation, is well produced and amazing track. (9/10)
6. nabi – The final new track is nabi, the group’s answer to the obligatory ballad for every KPOP album release. It is nice to hear the group away from the intensity that they build their image and sound upon. It is a delicate number, with the members sounding soothing and the instrumentation gives off that swaying effect I look for in balladry numbers. However, I wished there was a more memorable melody to pull me back to the song. (7/10)
7. dOra maar (English Version) – I haven’t actually reviewed dOra maar yet, even though it has been over three years since its original release in Korean. It is a slow R&B dance track which is quite engaging to listen to. The members do an amazing job with the delivery of the track, bringing a mature and sensual tone to life. I enjoyed the clanging beat, which is a bit different. I did wish there was a bit more to the song towards the end, just to give the song a bit more edge and keep it interesting. But overall, a strong reason for me to revisit some of their earlier works. (8/10)
Making their comeback two weeks ago was NMIXX, with the single Party O’Clock and the group’s third single album A Midsummer NMIXX’s Dream. Again, apologies for how long it has taken me to write this review. Party O’Clock comes after the group’s earlier 2023 comeback with Love Me Like This (which you all know I really enjoyed). Also on A Midsummer NMIXX’s Dream is the pre-release single Roller Coaster, which I will return to review in the near-future.
To me, Party O’Clock is a solid pop dance track. Nothing more, nothing less. While it does sound like something positive to say about the track, that is all I can really positively say about the track. Party O’Clock was unfortunately pretty forgettable (hence why it has taken me two weeks to turn my mind to reviewing the track). As a bit of a teaser for my review of Roller Coaster in a future post, that song had some impact, whereas I don’t feel the same way about Party O’Clock. This song felt restricted, which prevents its from going anywhere or doing anything bold. For example, while I do like the fact that Party O’Clock gives the group opportunity to show off their vocals (which are charming), I was hoping that the members buildup their vocals with some tenacity or flair. The producers rely a lot on the sing-talk motif in the verses, but it sadly didn’t deliver much of a boost to the song. I also felt the chill beat instrumental was a bit linear and didn’t provide that opportunity to go that extra mile. That being said, there were some appreciable moments and elements in the song,. Melody-wise, I thought Party O’Clock had a comforting and inviting fun nature to it. Not entirely sure if that is the intention, but that was the vibe I got from the song. Also, I continuous appreciate the step away from the mash-up territory that the group debuted with. The closest we do get is the hip-hop switch up in the bridge, but that was not as jarring as previous switch-ups we have heard from the band. Overall, Party O’Clock was a decent track, but it felt held back at the same time, which was a pity as we all know what the group is capable of.
I am going to say the same thing about the music video. It was a bit of a bore and I don’t find much reason to come back to the video. There are a few different styles within the music video, most of which do work in harmony with one another. But there were two that I felt was clashing with one another, and made that mashup concept that the group is known for come to the forefront of my mind (which isn’t the case when I listen to the song). The first look that clashed was that urban look the members had going on at the start of the video (i.e., when one of the member step into chewing gum). It was the producers/directors way of addressing that hip-hop sequence in the bridge, which I do get. But I felt it was too different to the rest of the video, particularly the fairy-like styling in the forest that was more so the dominant style of the video. I wished more thought was put in to make everything look more harmonious. Apart from that however, the members do look good elsewhere in the video, which works well with the more fresh styling you expect from a Summer concept and embraces the group’s youthfulness.
The choreography is okay. It fits well with the song, but it has a very lackluster feeling which I don’t find engaging to rewatch. It seems like the instrumentation really confines it and doesn’t give NMIXX much of an opportunity to showcase their performance capabilities.
Song – 6/10 Music Video – 6/10 Performance – 6/10 Overall Rating – 6/10
As mentioned in yesterday’s review of MOVE, I am keen on reviewing TREASURE’s newest release sooner rather than later due to the likes of the pre-release single MOVE. Well, that review comes today as TREASURE makes their official comeback for the first time in nine months (that last comeback being HELLO and The Second Step: Chapter Two) with BONA BONA and their second studio album, REBOOT. It is also the first official comeback of TREASURE as a 10-member group, following the withdrawal of Bang Yedam and Mashiho late last year.
Right off the bat, the synth selection for BONA BONA is very cool and reminds me of the 00s pop tracks. It really sets up the song super well and an opening like that is sure to attract many listeners. The verses in BONA BONA (and bridge) maintains that impression with great vocals and rapping, along with a nice nostalgic touch with the synths and the 00s direction. Then comes the choruses. They feature intense brass and marching drums, which gives BLACKPINK’s Kill This Love vibe. While I did question the change in direction from synths to marching band vibes at first and am still unsure if the intent of this was to draw us back to Kill This Love, TREASURE does manage to make it their own and create a high-octane and intensity centrepiece for BONA BONA. In true YG Entertainment fashion, the final chorus of BONA BONA is substituted out for an electrifying and anthem-vibe ending. Personally, I am into the presence of the electric guitars riffs in the background and how well it fits in with the rest of the song. The members really give it their all in terms of energy and this creates a very satisfying, strong and epic ending to BONA BONA. While I personally don’t think BONA BONA necessarily exceeds the bar that was set by MOVE, it is still a very strong comeback nonetheless, full of energy and vigor.
The music video starts off with what looked like a scene that could have been lifted out of MOVE, with the members donning suits in a blue-grey metallic set and Junghwan as the centre of focus. The sets start to expand from there with the black and white styling and blue-greys coming through, but it feels very different in this video vs. to the pre-release video. I did note that the set for the first chorus really felt similar to the Kill This Love set that was blown up (i.e. the stone walls/structure etc.). The only new set that felt original for this music video is the ship deck at the end of the video. I also like their more casual outfits for this scene and the summery vibes that feels a bit more fitting for the current season than the likes of the dark and confined sets we see at the start of the video.
The choreography, as you would expect, was intense and powerful, just like the song. The marching and air drumming just makes so much sense. Similarly, the energetic ending was just right for that part. The group also looks super focus and are very much in the zone, which helps makes the rest of the routine (from what I can see in the music video) super engaging to watch.
Song – 8.5/10 Music Video – 8.5/10 Performance – 8.5/10 Overall Rating – 8.5/10
It was announced in June by YG founder Yang Hyun Suk that TREASURE would be making their comeback with their second studio length album, REBOOT, in August. And ahead of that full group comeback, it was announced a unit of five TREASURE members would be making T5. IN that video that announced the releases, Yang Hyun Suk shared that the five members, who were unannounced at the time, were chosen after they each put their hand up in response to a question posed to the group – who thought they were the most handsome in the band. In the end, So Jung-hwan, Junkyu, Jihoon, Yoon Jae-hyuk, and Doyoung were announced as members of the unit and T5 debuted last month with the pre-release single (to REBOOT), MOVE.
MOVE has been out for a month now, and my impression of the song is pretty much the same now as it was then – that MOVE is a fantastic song. Described as a groovy and energetic (both of which are clearly and successfully delivered in MOVE) dance track by the members, MOVE still draws upon the hip-hop influence that YG Entertainment is known for. I really enjoyed their synth selection, which brings both crunchy effects and fluid momentum to the song. The beat gives MOVE oomph and punch. The brass element that forms part of the instrumental break is probably one of the most unexpected and unique twists to a song that I have ever experience and has fast become my favourite/standout moment of MOVE. The song also had some memorable hooks. The more melodic moments of MOVE, such as in the pre-choruses and bridge, showcased a strong showing of vocals. And I liked the enhancement of the final chorus with Junkyu’s higher pitched falsettos in the background. But the winning aspect of the vocals for me is the processing that occurs during the choruses. The deeper tone approach and additional processing to make said vocals fit in with the crunchy selection of synths was amazing and a smart move If I had to be critical about anything, maybe the verses could have featured something more riveting and showstopping in terms of melodies and vocals. But honestly, this is just a minor thing to me. As MOVE is of this caliber, I am definitely looking forward to reviewing BONA BONA (the title track off REBOOT) sooner rather than later.
The music video for MOVE is very much performance centric. But I will still keep the music video and performance aspect of the review separate, given there is a bit more to the video with the closeups and concept. MOVE’s video is simplistic yet stylish. I love the black and white look they were going for, with the subtle blue/grey coming through some strongly. The visual effects are awesome. But taking the video to the next level are the member’s visuals (as you expect from a group of singers who self-nominated themselves as being handsome and confident in their looks). Their closeups in suits are one aspect, showcasing their stunning and handsome looks. But a sexier concept arises during the performance scenes, with the members’ outfit styling and camera work coming together to show impact and confidence. The members’ looks here also probably serves as one of the more iconic looks of this era of KPOP in general.
Performance-wise, the unit nailed it. While their styling already makes you think sexy, the moves really goes the extra mile and emphasises this concept with the body waves and the drag of the finger down their bodies. But it also serves well with the groovy and energetic aspects of the song, as well. The best part, hands down, is the routine during the saxophone instrumental break.
Song – 9/10 Music Video – 10/10 Performance – 10/10 Overall Rating – 9.5/10
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