Category: KPOP

[Review] Kick It 4 Now – The New Six (TNX)

Posted in KPOP, ReviewsTagged 5 Comments

It is now time to turn our attention to The New Six’s latest comeback. Wait, don’t recognise the group name? Well, that was because TNX underwent an unexpected change to the way they style their group name overnight. For some reason, The New Six adopted their full name that has been with them since their debut and dropped the acronym TNX (though I think said acronym is still. While no statement was made for this change, it is speculated that this change would help avoid confusion with other group names. Anyhow, that is the big piece of news involving the group out the way. Now, here is my review for Kick it 4 Now, the lead single off their 3rd mini-album BOYHOOD.

Kick It 4 Now swings back to the 80s/90s with The New Six’s take on the new jack swing genre. Even their promotional material and concept was inspired from that era! There is no meddling or alteration to the idea of the new jack swing genre, as Kick It 4 Now is very much a straight forward copy of songs from the genre from that era. You can hear the sound the most during the main chorus, which serves as a great uptick in energy, in comparison to the verses (more on this in a second). I also liked the part that follows the choruses (i.e., the “Nostalgia, Déjà vu, I am coming back to you”). There is something about stripping that part back to not have a new jack swing influence that feels aesthetic and subtly groovy. Altogether, the whole chorus package of Kick It 4 Now was super catchy and addictive, drawing me back into the song each time it wraps up its 3 minutes run is up. On the other end of the spectrum are the verses, which are the lacking element in Kick It 4 Now. This is mainly because the verses feel empty and lack drive. They do make the choruses more impactful and defined, which I appreciate. But I wished there was more to the verses. But that is honestly the only major problem I see in Kick It 4 Now. The vocal work was super nice, and did a good job of giving a modern side to the retro genre. The rapping was also successful, though I felt like it could have used some oomph so it doesn’t appear to be an underplayed section of the song. Altogether, Kick It 4 Now is a great comeback and, hopefully, a strong attraction for new listeners and fans of the group.

While the promotional material does have a clear 90s influence, I would have liked to see more of this in the music video. I can see a sense of it in the group’s outfits, that white spaceship-like set and the way the music video opens up with the analogue TVs. But I think it would have fitting for their concept for that older style to come through in a more profound manner. That being said, the music video that we do get does feel fresh and crisp. It also does a great job of showing their youthful side as well.

The New Six definitely show energy and liveliness with their performance, which is fitting for the new jack swing genre. A lot of the moves in the choreography feels reminiscent of the 90s era as well. I particularly like the chorus move, where one of their arms is behind their heads and they end with a few shoulder bops. It is such a smooth and suave move to have in the performance.

Song – 8.5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.5/10

[Review] seOul drift – OnlyOneOf

Posted in KPOP, ReviewsTagged 2 Comments

OnlyOneOf has been busy for the latter half of 2022 and early 2023. They completed their undergrOund idOl series, where each member released a solo song (i.e. Yoojung’s begin, KB’s be free, Junji’s be mine, Rie’s because, Mill’s beat and Nine’s beyOnd). The group also made their Japanese comeback with Cunning Woman in 2022 and chrOme arts earlier this year. They are also been on tour lately. But today’s focus is on the group’s return as a full group to the Korean stage in March of this year, with their fifth mini-album titled seOul cOllectiOn and the title track seOul drift.

Following on from the undergrOund idOl series, I had high hopes for this comeback. But seOul drift leans towards the more typical “noisy” sound (as some might call it) that many male groups have released (and will release) in this era. There are some good aspects of seOul drift, which I want to start off with. seOul drift is aligned with their past tracks, which have also been synth heavy singles. I appreciate that seOul drift is grungier than ever, which does give off a slightly different vibe to their competition. I also liked the idea of the high-octane energy that the members put into the song with their shoutier approach to the choruses. The drifting car sounds that are built into the instrumentation also makes the track unique. But compared with other releases, seOul drift does not have anything that I would consider unique to OnlyOneOf. I also found it hard to get into the track (part of the reason to why it has taken me a while to sit down and review the song), simply because the instrumentation for seOul drift was just overwhelming and overpowering at times. This masks the rapping and hides the vocals of seOul drift, in my opinion. The song also lacks the charm of a memorable melody or hook that would have helped it stay in my mind after the song finishes up. However, what seOul drift does create for a great performance piece (more on this in the final section of the review).

While it appears like this is a separate video from their undergrOund idOl series, there are nods towards the series in this video. The two that screams the loudest is probably the presence of telephone box (which was a recurring object in their solo series) and the fact the members are paired off in the same manner. The music video does feature less of the LGBTQIA+ themes that have previously attracted attention. But there some subtle nods towards those as well, such as the chemistry between the members and Rie holding a rainbow shopping bag. The lighting, dynamic nature of the camera work and the background of the Seoul lights (which the description of the video points out) were also positive aspects of the video, as well.

As mentioned earlier, the high-octane energy from the song lends well towards the performance element of the comeback. And this very true for seOul drift. The performance is one powerful and intense piece, and a relentless routine in which the members kept on moving without any breaks.

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

[Album Review] Second Wind (1st Single Album) – BSS (SEVENTEEN)

Posted in Album Reviews, KPOPTagged , 1 Comment

BSS (Boo Seungkwan, Lee Seokim aka. DK and Kwon Sooyoung aka. Hoshi of SEVENTEEN) made their highly successful and popular comeback back in February of this year with Fighting (ft. Lee Young Ji). It is also one my favourite singles of the year thus far for its encouraging and positive message and exciting energy. Released alongside Fighting are two other singles, which forms BSS’ first single album Second Wind. This comeback also marked the trio’s first release since their debut back in 2018 with Just Do It. My overall comment on Second Wind is that the single album is fairly consistent, but a good listen nonetheless.

Second Wind Album Cover

1. Fighting (ft. Lee Young Ji) (Title Track) – Click here to read the full review for Fighting. (8.5/10)

2. LUNCH – LUNCH tones down the single album with a neo-soul R&B track, going with a much less “in-your-face” approach compared to the title track. The instrumental was a groove, and super enjoyable. The vocals here are much more soothing and delicate, which I very much appreciate following the likes of Fighting. The melodies are also pleasant. While all the of the above is good, LUNCH faces a bit of a repetition issue. I do feel like my interest of the song wanes as the song progresses. But overall, a good listen. (8/10)

3. 7PM (ft. Peder Elias) – Rounding out the single album is 7PM. It is a soft pop ballad, half in Korean and the other half is in English. This was a lovely pleasant listen, with melodies that is bound to make you smile. 7PM also features Peder Elias (who leads the English half of the song). Peder’s vocals meld extremely well with BSS, creating a harmonious and inviting atmosphere in the final song. (8/10)

Overall Album Rating – 8.2/10

Second Wind Teaser Image

[Album Review] The Name Chapter: Temptation (5th Mini Album) – TXT

Posted in Album Reviews, KPOPTagged 1 Comment

Ahead of the release of TXT’s new collaborative single with the Jonas Brothers next month, I am finally getting around to reviewing TXT’s fifth mini-album, The Name Chapter: Temptation. This mini-album was released earlier this year and features the title track Sugar Rush Ride alongside four other songs. Once again, this mini-album is a great release from the group, proving the group’s music appeal. Throw in their unique concept for this mini-album and amazing visuals (as seen in the feature and teaser image at the end of the video), TXT definitely knows how to appeal to their audience!

The Name Chapter: Temptation Album Cover

1. Devil By The Window (자정의 창가에서 만난 악마의 목소리는 달콤했다) – Despite having a Korean title, the lyrics of Devil By The Window is completely in English. It is a super ear-catching opener to the album, with the mix of pop rock and pounding bass being quite a drawing factor. I also enjoyed the underlay of funky and groovy undertones in the choruses. The vocals were amazing, with each member adopting a very low and breathy tone which comes off as sensual and intriguing. The pre-choruses were so melodically driven and brought on an undeniable swaying motion state. The vocal only ending to the song felt like you were drifting out of conscious (like falling asleep), while the abrupt ending/final breath leaves you hanging for me. There is a lot to like in Devil By The Window, and opens the mini-album in spectacular and alluring fashion that you would expect from TXT. (10/10)

2. Sugar Rush Ride (Title Track) – Click here to read the full review for Sugar Rush Ride. (7.5/10)

3. Happy Fools (ft. Coi Leray) – Happy Fools is a peppy pop track that feels refreshing. To be honest, the track pop-centric approach is pretty standard and feels relatively safe, compared to the other songs on this mini-album. But it is still a number that is fun and playful. The hooks were catchy and the bossa nova intro was a great intro. Coi Leray’s featuring brought an extra buoyant feeling, driving up that upbeat factor of the song. (7.5/10)

4.Tinnitus (Wanna Be A Rock) (돌멩이가 되고 싶어) – Afro-beats come into play in Tinnitus, which gives the song a groove and a vibe that you just want to move your body to. There honestly isn’t much to the instrumentation, but it is what the producers and TXT do with the beats that are present that makes Tinnitus a standout. The rhythm and flow of the song (thanks to the afro-beats) complements the melodic direction of the song and the members do a fantastic job of expressing themselves without doing too much and overbalancing the song. They too also contribute to the groove in Tinnitus. (9/10)

5. Farewell, Neverland (네버랜드를 떠나며) – Latin influences find itself effortlessly weaved into this pop rock song. This alone gives Farewell, Neverland so much character. On top of that, the pounding beat and bass we hear in Farewell, Neverland adds definition, while the members give off a vivid tone with their vocals. There are also falsettos and breathy tones in the song, which were on point. I really liked the melodic approach taken in Farewell, Neverland overall, which smooths you out of the mini-album. (8/10)

Overall Album Rating – 8.4/10

The Name Chapter: Temptation Teaser Image

[Review] LUCKY! – KIM JAE HWAN ft. BOBBY (iKON)

Posted in KPOP, ReviewsTagged Leave a comment

Another male soloist made his comeback this week – KIM JAE HWAN. He returns with LUCKY! – the title of his latest title track and the lead single off his sixth mini-album, JAM (Journey Above Music). Both LUCKY! and JAM follows KIM JAE HWAN’s earlier 2023 comeback, Spring Breeze.

If you want something funky, then LUCKY! is the song for you! I am totally digging and loving the track. Upbeat numbers like this are so welcomed in this current climate which calls for vibrant sounds (if you are in the Northern Hemisphere) and if you miss the sunshine and warmth (if you live where I live where it is currently freezing cold). I just love how it is fun and colourful LUCKY! is. In addition to the funky backing, you have the usual suspects in terms of instrumentation, such as brass that bring so much energy to the mix and playful whistles at the midpoint and end of the song. Altogether, you have the start of an infectious and boogie worthy single. Adding to that infection and boogie is KIM JAE HWAN himself, who gets to show off his vocals in LUCKY! in a much more vivid and lively manner. He shows so much character and profile in LUCKY!, with the route he took to get to the powerful high note at the end being a great example of this. Plus it helps to have catchy hooks like in LUCKY!, which pretty much seals the deals for me. Featuring alongside KIM JAE HWAN is BOBBY from iKON, who brings a rapping element to LUCKY!. While I do appreciate his featuring and how it attempts to bring a fresh element to the song, BOBBY’s featuring is my pick for the weakest point of LUCKY!. It felt like the rap lacked oomph, which was present in all other parts of the song, and didn’t carry the same momentum as the rest of the song. And it made KIM JAE HWAN a lot of work to make up for in the rest of the second verse. But he does get there in the end once we return to the second chorus. Overall, LUCKY! is definitely a bold and fun return for KIM JAE HWAN, who nails it very well!

Music video wise, we just get a 3:23 minutes worth of KIM JAE HWAN having fun and enjoying life. The video does show a few scenes where KIM JAE HWAN gets lucky, such as when he breaks the egg to find a double yolk, he throws the plastic cup out without looking and it somehow deconstruct itself and each part lands on an angle perfectly balancing on top of one another and is rewarded with money from a rich older lady when he returns her shoe. I also think he wins the race he participates in. Just like the song, the video is playful and a vibe. KIM JAE HWAN successfully conveys this through his acting and facial expressions, which altogether made for a fun watch. It was also great to see BOBBY feature in the video, as well.

The playful vibes continue into the choreography, which was highly expected from the song. It was a fun and lighthearted routine, and at times looks hilarious. And based on what I can see from the music video, his facial expressions is going to be an important part of selling the choreography (which he does in the music video, as previously mentioned).

Song – 9/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 8.6/10

[Review] SOS – KANG DANIEL

Posted in KPOP, ReviewsTagged 3 Comments

Also making his comeback yesterday was KANG DANIEL with the song SOS and his fifth mini-album REALIEZ. It follows the release of his all-English pre-release single Wasteland, another single from REALIEZ mini-album. This KANG DANIEL’s first Korean comeback since the release of his repackaged version of his first studio length album last year, The Story: Retold, which was lead by the singles Upside Down and Nirvana.

SOS is an interesting mix of grungy rock (when it comes to the choruses), and trippy and unconventional trap elements (when it comes to the verses). The former brings a dramatic flair to the song via its drumming and the electric guitar work we hear is continues the momentum with ease. The bridge of SOS is a great showcase of the grungy rock influence – my personal favourite segment of SOS. I did want a bit more to this side of the song, however. As the song returns to the choruses, I wished the backing became more electrifying, just to give SOS something more and this would have cohesively bind the song further with the trap elements. Nothing too wild is required, just something to make the grungy rock pop out a bit more and give some more flair to the choruses. As for those trap elements, they are a bit more untraditional compared to other trap based songs and KANG DANIEL’s past work that has a similar combination (i.e. PARANOIA). Based on how they sound, I would say they are more of an experimental touch to the song, but they give off such a unique vibe that I really enjoyed. KANG DANIEL’s vocals are quite nice. I like how they are sound muted, but retrospectively they somehow give off a lot of character at the same time. The repetition of the hook was also quite catchy. Altogether, I thought SOS was a strong piece that showcases KANG DANIEL’s niche and sound quite well. SOS could have done more in some areas, just to give it more edge. But the final product is great as it is.

The music video for SOS had a Mad Max type of concept to it and this was quite cool. The production value of this music video is definitely up there and it made the whole video amazing to watch. The song has conveys the message “of not giving in to the chaotic situation and fighting firmly against it” (taken from Soompi), and we see KANG DANIEL never backing down and fighting against the chaos around him. I am not entirely sure what the game and later scenes of the music video were about, but they do show how KANG DANIEL is unfazed around the figures that represent death and the hell setting we see him in. Even as the sky starts disintegrating at the end with the credits, KANG DANIEL continues on his journey forward.

As for the choreography, KANG DANIEL and the dancers showcase their talent in this department in the performance for SOS. There is a definitely cool factor to it and I liked the intensity he brings with his presence to the choreography. Nothing stands out individually, but the whole performance was riveting to watch, as always.

Song – 8.5/10
Music Video – 9.5/10
Performance – 9/10
Overall Rating – 8.9/1`0

[Review] Broken Melodies – NCT DREAM

Posted in KPOP, ReviewsTagged , 2 Comments

Ahead of their upcoming comeback ISTJ scheduled for release next month, NCT DREAM has released a pre-release single titled Broken Melodies. This is the group’s first release since their Korean comeback with their remake of the single Candy and their Japanese comeback Best Friend Ever (review to come). The group is also in the midst of their The Dream Show 2: In A Dream world tour.

Broken Melodies successfully eases us into their upcoming comeback and easily excites fans and casual listeners of the group for what is to come. Personally, the song is fairly simple with its straight forward pop rock influences. While the simplicity side of things can be problematic in some cases, that was not a concern for NCT DREAM here. The group managed to make Broken Melodies dynamic and stunning. The two main elements that really jumps out at me in Broken Melodies is actually the pop melodies of the song and the vocals that bring said melodies to life. We all know how capable the vocal line of NCT DREAM are their vocal abilities and they did not disappoint. But the rappers really surprised me with how stunning their vocals were during the solo moments in the verses and choruses. However, that doesn’t stop the rappers from being incorporated later on in the song, delivering a powerful rap line which hurls Broken Melodies upwards towards its peak. The pop rock instrumentation in Broken Melodies felt refreshing and nostalgic at the same time, reminding me of similar releases that I grew up on in the 00s. But the best parts of Broken Melodies has to be when the instrumental doubles down and intensifies via dynamic and cool drumming in the bridge. This adds to the memorable factor of Broken Melodies. I also like it was paired with the shouted “Broken Melodies” at the end of the choruses, which was a successful last ditched effort to get me back into the song right as it wraps up. As mentioned above, everything in Broken Melodies works wonderfully in setting us up to the next release from the group, which will come out mid-July (i.e. a little under a months time).

One of the vibes that I got from the song that I didn’t mention above was that there was a pleasant and warming tone to the vocals, which complements the song’s message of wanting to protect a love no matter what, expressing that they will overcome the numerous emotions they feel while being separated a great distance from the person they love (taken from Soompi). That’s why we see a bunch of scenes of the members talking on the phone with a smile, or sending messages to their partners with a smile. I also liked how the members were dressed up in school uniform and the location of the music video was predominately at a school or college field. I prefer to think of a college setting, which aligns with the group’s more mature image. But the potential to take us back to slightly younger years doesn’t hurt the group, and complements their youthful concept that they began and built their image with.

The choreography that we do see in the music video looks great. But I won’t factor it in the final rating until we get a live performance of Broken Melodies, as what we do see is quite limited.

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

[Review] BOUNCY (K-HOT CHILLI PEPPERS) – ATEEZ

Posted in KPOP, ReviewsTagged 4 Comments

ATEEZ is back and they are supercharged with their latest song BOUNCY (K-HOT CHILLI PEPPERS) and their 10th mini-album, The World EP.2: Outlaw. This comeback follows the group’s December 2022 release HALAZIA and Spin Off: From the Witness single album, and their March 2023 Limitless comeback in Japan (which I have yet to review and will get around to in the future). The group is also in the midst of their Fellowship: Break The Wall world tour.

Going back to my opening comments for this review, “supercharged” is how I would describe BOUNCY. However, at the same time, if someone was to say BOUNCY was “overloaded”, I wouldn’t actually disagree with them. Each listen that I have given the song since its release, just over 24 hours ago, has given me the impression that BOUNCY is a high-octane release. There was barely a moment of rest anywhere in the song. The group just relentlessly pursued us with their powerfulness and abrasive ‘noise’ as some people might call it. The ending really emphasises this with its intensity and rush towards the end of the song. The only moment of rest that we get in BOUNCY was during the choruses, where there is a slight slowdown that coincides with the lyrics, which in turn pushes for a more playful and flirty vibe. It is an interesting move, but Hongjoong did a good job of selling that part, and so it catches on. The questionable part of BOUNCY follows right after Hongjoong’s part – the higher-pitched repeat of the chorus. It does give BOUNCY something different to play with and ultimately does add to the aforementioned playful vibe, but adds a screechiness that I personally did not enjoy. On a more positive note, the rapping in BOUNCY is impressive, which is what you expect from ATEEZ and their dynamic releases. Seonghwa’s part in the second verse is super cool and definitely serves as the song’s highlight for me. On the flip side, however, the vocals are pretty much underplayed in BOUNCY and are in the backseat of this song. However, Wooyoung’s slower and sensual take of the chorus following the bridge was a standout moment from the vocal line. Overall, BOUNCY has its charms and is another powerful and high-energy track added to ATEEZ’s repertoire.

The music video is action-packed, taking on the concept of outlaws. There is a fair bit going on in the video. Based on the teaser videos that dropped before the comeback, the group are sleeper agents who are activated to participate in a heist of green chili peppers, which seem to be the underground traffic item in this dystopian world that we saw previously in Guerrilla. Makes sense, given that world suppressed all emotions and expression, and hot green chili peppers will definitely elicit an emotion or expression from those who consume it. The goal of the group is to steal a batch of the the green chili peppers that are being transported into the city. Seonghwa and Yeosang are agents who are undercover in the team that is transporting the green chili peppers. Hongjoong and Mingi are cowboys gangsters that are wanted by the law, and well versed with the weapons. Wooyoung and San appear detached from the main story as they are part of some underground boxing ring, but maybe they fund the cause with their earnings. And Yunho and Jongho play cops, but I guess they are corrupt as they don’t do anything and join the rest of the team at the end. But in the end, they are successful with their heist, though we don’t see the green chili anymore. Interesting concept and a cool video overall, though I wished the characters the members are playing are a bit more teased out.

I do like how they bring the playful vibes to the performance. But it isn’t upfront or the centre of the performance. It is more so in the background or on the sides of the performance. As for the choreography itself, the knee-breaking move in the chorus and the snake formation was all very cool and super impressive. The ending with the high-energy rush was also well executed. Without a doubt, a performance that is worth the watch.

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

[Review] Movie Star – MIJOO (LOVELYZ)

Posted in KPOP, ReviewsTagged , Leave a comment

MIJOO can easily be referred to as a rising star in the Korean variety show scene lately. But she is also a member of the female group LOVELYZ that debuted back in 2012 under Woolim Entertainment. Unfortunately, the group is currently on hiatus after the departure of all but one LOVELYZ member from Woolim Entertainment in 2021. Since then, many of the members have made their debut as solo artists under their new respective companies. MIJOO signed on with Antenna following her departure from Woolim Entertainment, and in May 2023, it was MIJOO turn to make her solo debut with the single Movie Star.

Movie Star is not spectacular, nor is it ground-breaking as a dance track. But it has its shining moments. I appreciate the track for its pleasant and easy-on-the-ears moments. They do hinder Movie Star in a way. The more pleasant moments (i.e., the verses and bridge) does make Movie Star feel like it is held back and the reversion back to pleasantness in the second verse does result in a loss of momentum that ultimately feels like a lost opportunity for Movie Star. On the flip side, these pleasant moments do highlight MIJOO’s airy and delicate vocals, which adds smoothness to the song. But if I had to preference one positive over the another, I would have picked momentum over vocals, simply because we still manage to hear MIJOO and her breathy vocals in latter parts of the song that were more upbeat. I did like the use of the percussive synths and xylophone-like metallic sounds in the song – both of which gave off a twinkling-like effect which goes well with the idea of a star. The guitar in the pre-chorus was also a nice touch. As the song gets to the choruses, Movie Star does pick up considerably and the momentum here was top-notch, exactly what the song needed. I like how it does embodies the idea of a dance track in a plain and simple way – no fuss, no frills. The replacement of the second half of the chorus during the chorus’ second run was a smart way of keeping the song dynamic and giving a unique structure to the song. Overall, MIJOO handles Movie Star quite well and it is a solid debut track altogether.

At the start of the music video, we see two cameos. The first is Lee Yi Kyung, who is usually playfully associated in the media as a potential romantic partner for MIJOO. We see him play a celebrity currently at a film or drama shoot and takes notice in MIJOO, who is an assistant in the production side of the shoot. The second cameo is by MIJOO’s fellow labelmate and senior, Lee Hyori, who dazzles on the red carpet just before the cameras unexpectedly switch over to MIJOO. The rest of the video shows MIJOO imagining herself to be a “movie star” (which matches the lyrics of the song). However, it is revealed at the end that she is, in fact, a movie star. So maybe we are looking at a Korean drama cliché here. I really liked all of MIJOO’s looks in the video – all very stunning. Even her casual part-timer worker look was pretty. My favourite part has to be the montage of all MIJOO’s looks in the video during the bridge. It was a nice, simple and seamless montage of the upper half of the choreography that just consolidated everything in the video in a matter of seconds.  

I enjoyed the smooth curves that the choreography has to offer in the choruses. They made the performance feel elegant and pretty. MIJOO handles the dance break wells, but I kind of wished it was stepped up a bit, just to fit the energy of the music a bit more neatly. Finally, I enjoyed the use of the flashlight on the mobile phones which individually looked like stars from afar. A pretty and smart touch to the choreography.

Song – 7.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.8/10

[Review] Freedom – JOOHONEY (MONSTA X)

Posted in KPOPTagged , 2 Comments

JOOHONEY, one of two rappers from the male group MONSTA X, made his return to the stage a few weeks back in May 2023 as a solo artist with the single FREEDOM and the mini-album Lights. JOOHONEY has previously release solo music before in a form of five mixtapes since 2015, but this new release is being dubbed as his official ‘solo debut’. This makes JOOHONEY as MONSTA X’s third member to release ‘solo music ‘debut’ as a solo artist, following the likes of fellow MONSTA X rapper I.M in 2021 (with God Damn) and main vocalist KIHYUN in 2022 (with VOYAGER).

FREEDOM unexpectedly embraces multiple sides of JOOHONEY and it a stunning display of what JOOHONEY has to offer. Given his main position in MONSTA X is a rapper, I kind of expected him to gear towards that typical hip-hop genre with the title track. But I am all for surprises, as FREEDOM is definitely one in itself and definitely is full of them. Opening up FREEDOM is a spectacular showing of honey-like vocals from the rapper over a beautiful piano backing. A minute or so of this beautiful vocal/piano piece, FREEDOM diverts itself to that expected territory of rap and hip-hop. During this segment, JOOHONEY takes on an angsty persona that contrasts heavily with the preceding vocals. But this was short-lived, as vocals take over during the pre-chorus, returning us to a glimpse of the start of the song. For FREEDOM‘s choruses, the song keeps itself on its toes by blending together JOOHONEY’s vocals and with the harshness of rock elements, which highlights a more dynamic side of JOOHONEY. To me, the choruses highlights the blend of the intensity we get from JOOHONEY’s rap/hip-hop side with the mellow side that comes from his vocal. For the second verse, FREEDOM keeps us on our toes, with the vocal centric start before a dramatic and super intense instrumental break in place of the rapping/hip-hop side we heard earlier in the first verse. Obviously, such a break would allow JOOHONEY to highlight another side of his career – his dancing abilities in the performance and serves as another twist to FREEDOM. The song then closes with the rock-infused/vocal centerpiece, but with an extra layer of electric guitar riffs and intensity to signal that end. FREEDOM is designed to be a cool song and to highlight the best sides of JOOHONEY. That brief is, without a doubt, met. At times, FREEDOM does feel a bit much, but multiple listens and time have helped combat this feeling. Potentially, the song could have been dialed back and explore just one or two of the sides that FREEDOM had explored. But that could have limited FREEDOM to be rather one-dimension and would have meant we would missed out on a unique and personal song from JOOHONEY.

The music video for FREEDOM was pretty cool. Along the vocals and piano at the start of the song, we see JOOHONEY climb up the stairs to seek the freedom he mentions in the lyrics. That and the end with the ending poses/lights gave off a religious undertone, which I thought was interesting. I am sure those moments were symbolic rather than religious though, but that this is all speculation from my end. When we get to the more angsty rap/hip-hop, the video shows a more confronting and intense side of the artist with the use of fluorescence effects, which gave off a cool yet mildly unsettling moment. And everything else in between seemed to give off a more urban and casual vibe based on the outfits of JOOHONEY, the dancers and the sets. Overall, a pretty good music video.

As for the performance, the live vocals made it a captivating performance to watch. As for the rest of the performance, it all looked good and works well with the music. I really enjoyed the dance break enabled by the dramatic instrumental break mentioned before. The stomping moves and intensity both JOOHONEY and the dancers showed gave off a super powerful impression and made it an awesome watch.

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

[Review] Hidden Sides – HWANG MINHYUN

Posted in KPOP, ReviewsTagged 1 Comment

Minhyun has become quite the recognizable figure in KPOP. He began in KPOP by debuting as part of NU’EST and remained with said group until their disbandment early last year. Minhyun also participated in Produce 101 Season 2 as a trainee, where he ranked in the 9th position overall on the show, which earned him a spot in the highly successful project group WANNA ONE. Despite such a big career in the music industry, Minhyun only made his solo debut earlier this year (11 years after his debut) with the single Hidden Sides and the mini-album Truth and Lie.

I really looked forward to Minhyun’s solo debut, given that I have enjoyed majority of NU’EST releases. I found there was potential behind Hidden Sides, but the track fell short of being that track that pulls everyone in. It did have that trouble for me, as well. One of the reasons to why the song review for Hidden Sides has taken a while is because I don’t feel the urgency in the song to really motivate me to review the song. There are a few things I did appreciate in Hidden Sides. A subtle groove is present in Hidden Sides through its use of house influences and bass in the instrumentation. Minhyun himself does a decent job, showcasing his smooth vocals in the song. All of which made Hidden Sides a solid listen in the moment. But when you think of the song after it wraps up, nothing really springs to mind. The hooks do exist in the song, but just didn’t have that punchy or catchy aspect to them. Hidden Sides also felt stagnant in the energy department, which is always a major element in making a song appealing. This is particularly the case when you get to the final chorus, and it sounded like every other moment earlier in the song. Hidden Sides should have really concentrated at the end to give it some oomph and gone that extra mile to be a knockout track for Minhyun.

Minhyun’s handsome face and sensuous appeal makes up for a lot in this comeback. He has always been known for his looks even during his debut days and this music video reiterates that. Personally, even after 11 years, I am still blown away by his visuals. In the music video, he uses his handsome features to his advantage to attract the attention of ladies at the club and later to distract one of the people interrogating him – to get them to choose the ‘hidden side’ of him they want to believe in. I do find the storyline intriguing, but some of the elements (such as disappearing act with flying sparks and the magic tricks to be somewhat cheesy. But it was all a good watch, overall.

His charisma (in combination with his good looks) makes the performance aspect of the comeback quite a watch, as well. I do like the energy he puts behind his moves, and the effort the dancers gave to the performance to make the bridge pop by each sequentially flying into the air as Minhyun waves his arms around himself. I also liked how punchy and sexy the moves were.

Song – 7/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.4/10

[Review] Let Me In – EXO

Posted in KPOP, ReviewsTagged 5 Comments

For the first time in over two years, EXO is finally making their long awaited comeback with their seventh studio album, EXIST. But we just got to wait a little longer, as the album release is not until July. Instead, the group has pre-released the single Let Me In ahead of the comeback today, which they previously performed at their fanmeet earlier in the year. However, the long awaited comeback isn’t without its issues, with SM Entertainment mishandling Kai’s sudden military enlistment which prevents him from promoting the new release alongside the rest of EXO (but he will still be featured in the comeback), and Baekhyun, Chen and Xiumin filing a lawsuit against SM Entertainment to terminate their contracts (but they are still part of the comeback plans/promotions). Phew, hopefully, nothing more happens between now and the comeback. Though, it should be noted that this comeback looks like it will not feature Lay.

Let Me In falls into ballad territory. And this one is an emotional one, as Let Me In talks about wanting to remain together and likening their lovers to the blue ocean. The instrumentation was nice, but there was nothing too spectacular with it. I did like how it had a beat to it and felt almost R&B-like, compared to the more traditional classical instrumentation that we hear with most other ballads. I guess this was done deliberately to allow Chanyeol and Sehun to fit into the ballad with their rapping. But the main drawing point, as per EXO’s past ballads, are the vocalists themselves. Each vocalists put a lot of emotions into their delivery, and the resultant product that is Let Me In also oozes a lot of emotions, as well. The two members that stood out to me in Let Me In is pairing of Chen and Baekhyun in this song. Both are amazing on their own, but the pair take the song to the next level. They shines brightest in Let Me In at the start of the final chorus with Baekhyun’s high note and Chen’s vocals, and during the outro of the song with that falsetto harmony. Overall, Let Me In a nice reintroduction to EXO and reminds me of their past ballads, which have been quite up there in amazing works in the KPOP industry in the past.

The music video depicts the members apart, separated and alone. There could be multiple reasons for this, such as still being in that emotional state following a breakup, moving out, moving on etc. A lot of speculation and theorizing can be done, but that isn’t the point of the video. At a certain point in the video, something pulls the members back together. Each member undergoes a time reversal where everything around them goes before the point in time a decision was made that led to the point of being apart, separated or being alone. This leads the reuniting of members (and Kai plus dog), new friendships and a return to that emotional state that gives the affected members a chance to redo. Concept wise, it is an emotional and heavy twist on their separation due to military enlistment and solo activities, but it is a clever one.

Song – 8/10
Music Video – 9/10
Overall Rating – 8.4/10

[Album Review] Chapter 0: WITH (1st Mini Album) – Jinyoung (GOT7)

Posted in Album Reviews, KPOPTagged 1 Comment

Jinyoung released his solo debut mini-album, Chapter 0: WITH, back in January of this year, prior to his military enlistment last month. It is lead by the single Cotton Candy and features an additional four songs (including the side track Letter, which also got the music video treatment). Jinyoung is the final member of GOT7 to make his solo debut, who I noted continued to focus on his acting career following GOT7’s departure from JYP Entertainment back in 2021 in the Cotton Candy review. Despite that, Jinyoung is not the final member of GOT7 to be reviewed on my blog. So, once again, an apology to Yugyeom. Hopefully, I will actually review one of his solo singles soon.

As for Jinyoung, he leaves us for the next two year or so with a really beautiful mini-album, which focuses more on his softer side and vocal tones. Ballads were the main feature of this mini-album, but there were some artistic ones that just sound so good. So, if you like ballads, definitely explore this mini-album. More on the individual songs below.

Chapter 0: WITH Album Cover

1. Animal – Chapter 0: WITH starts off with Animal, a beautiful and stunning ballad. The classically traditional balladry instrumentation of Animal stands out for its super captivating properties and being a stilling backing piece. Without even consideration of the vocals/lyrics, the instrumental adds a layer of emotions and complements Jinyoung’s vocals wonderfully. Whilst on the topic of vocals, Animal shows Jinyoung’s vulnerable side, as he expresses his feelings and emotions around loneliness and heartbreak following an unsuccessful relationship. But even without the context or translations of the lyrics, Animal manages to still hit hard – confirming Jinyoung’s skill of captivating the audience. (9/10)

2. Cotton Candy (Title Track) – Click here to read the full review for Cotton Candy. (8/10)

3. Our Miracle (너를 만남이란 기적) – Following the title track is Our Miracle which feels like a callback to JJ Project’s second mini-album era (Verse #2). Our Miracle features some riveting instrumentation through the use of electric guitars and synths. The guitar work was particularly intriguing and gives the track so much uniqueness. The combination gives the song texture, but yet Our Miracle manages to also come off as consistently smooth. Jinyoung’s vocals are the main driver of this (but the instrumentation manages to contribute to this as well) and he oozes so much personality in this song from his vocals. Overall, a favourite of mine from this mini-album. (10/10)

4. Sleep Well – We re-enter balladry territory with Sleep Well. But rather than having a repeat of the classical instrumentation we heard in the opening track, Sleep Well continues the use of electric guitars from the previous track and incorporates some trap elements as well. Despite these elements usually lending well to more upbeat numbers, Sleep Well comes off as soothing and peaceful for the most part. When it comes to the choruses, however, Sleep Well pulls off a soft yet impactful punch that helps give Sleep Well a moment of memorability. Once again, Jinyoung sounds really nice in the track, but his vocals are lesser compared to the above tracks. (8/10)

5. Letter (편지) – Acoustics and classical instrumentation close out Jinyoung’s first mini-album. Again, the instrumental diverts the song back into balladry territory, but the combination of Jinyoung’s vocals in the verses and the resultant combination of acoustics and classical instrumental gives Letter a folksy tinge. This is interesting and stunning in its own way. It is a beautiful ender to the mini-album and leaves us with a beautiful song whilst Jinyoung is away on his military enlistment duties. (8/10)

Overall Album Rating – 8.6/10

Chapter 0: WITH Teaser Image

[Review] The Feeling – SHINee

Posted in KPOP, ReviewsTagged 5 Comments

To kick off the celebrations for their 15th anniversary celebration today, SHINee dropped a pre-release single ahead of their 8th studio album’s, Hard, release later this month. The new single is titled The Feeling as was previously performed at their fan meeting held at the end of last month. Both the upcoming album and The Feeling follows on from the group’s last comeback – Don’t Call Me and Atlantis (combined album review here), from 2021.

One listen in and I can definitely say that I liking the song. I have definitely been coming back for more throughout today, as The Feeling just has this wholesome and lovely feel that speaks volumes. The Feeling is a refreshing listen that just comes at the right time as the Northern Hemisphere just enters Summer (and for the likes of me who lives in Australia – it brings me back to the nicer and pleasant periods that I love in Summer). The instrumental is quite upbeat thanks to the percussive elements and drum beats, while the members do an amazing job at keeping The Feeling breezy and flowy with their vocals. That being said, however, there some moments where the members broke away from that breezy and flowy motif, but it all felt just right in the bigger picture that is The Feeling. The instrumentation also features a side of brass in the post-chorus moments and more subtly during the bridge, which gives the song an extra vibrant element that helps prevent the track from falling into an overly consistent state (if that was ever the concern). For me, the best part of the song is when the members sing together, with their harmonies creating a very comforting and warm atmosphere that feels pleasant and satisfying. The Feeling is a great pre-release overall, and definitely has me excited for their upcoming comeback due at the end of the month.

Just like the song, the music video has this breezy feel to it. It might be due to the seaside setting/summery vibes or the floating plastic bags in the sky. Either way, the video complements the song quite well. The colourful trash that rains down around the members is an odd concept to feature in such a video, but the message of The Feeling is about moving forward and hope. So, you can already imagine the bursting of the bigger bag is all about letting go to move forward and that there is hope to do so. I am not entirely sure of the rest of the imagery in the video, but I am sure they are symbolic for similar reasons. Overall, a neat concept.

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

[Review] JUMP – P1Harmony

Posted in KPOP, ReviewsTagged 1 Comment

P1Harmony made their comeback yesterday with their latest mini-album, HARMONY: ALL IN (their sixth to date), and their latest title track JUMP. They also released the English version of JUMP today. All of these releases follows on from their November 2022 release HARMONY: SET IN and Back Down and July 2022’s HARMONY: ZERO IN and Doom Du Doom.

There is a lot of potential behind JUMP. A subtle yet groovy underlay makes the instrumental lively, while the choruses employs a playful set of synths to sound fun. This all conforms to the alternative pop genre, with a clear feature of hip-hop influences infused into the song – all of which can be heard most vividly during the song’s final instrumental sequence at the very end of JUMP. For majority of the song, the members adopted a deep or low tone in their vocals and rapping, which aligns quite well with the instrumental and gives JUMP a consistent vibe throughout its 2:43 minute run. My favourite showing of this is KEEHO’s vocals in the first verse, where he drags out the ends of certain lines in such a intriguing and sensual fashion. The hooks of the song were quite catchy and worked well with the rest of the song. My biggest gripe with JUMP is that it fails to go that next mile, which ultimately made JUMP feel “held back”. Personally, I felt JUMP needed a more profound peak or moment of concentration towards the end to really take it to the next level. This could have lead to an explosive final chorus that would have amped up the song. Alternatively, the song could taken on a vibrant element throughout it run to give JUMP a bit more zing. We get a teaser of what this could have looked like through THEO’s vocals in the bridge (though this is quite brief). While I do think something extra is needed, it must be carefully crafted to fit in with the pre-existing elements of JUMP, as everything that we do get in JUMP already definitely shows promise.

The music video was pretty good. The song speaks of the message of enjoying the moment, which we see the members do whilst performing on stage and in the midst of the crowd. I did like the idea of a boombox flooring and walls, which both looked quite cool. The “jumping in the water” scenes were also looked awesome, especially as the camera captures the falling water droplets/splashes. The stage set was a good set-up, but I think the crowd element around the stage would have been more interesting. I also think the actual stage could have also been more bombastic and dynamic through some cooler lighting or a stronger background on a screen (think of a screen like in TREASURE’s I LOVE YOU music video). I am not entirely sure of the scenes where the members are in a bubble in space. Feels a bit random to me.

The performance was super great. Not much jumping happening in the choreography, as that would have been a massive undertaking whilst also performing live. Instead, the performance focuses more on a subtle approach to things, which works well with the song. I did like the footwork that could be seen in the performance, especially in the final chorus. Also at the end was the presence of a skipping rope. This would have been an interesting element to the performance (and quite relevant, given that it involves the idea of jumping). But it was such a brief moment at the end of the performance that just doesn’t feel like it could have been appreciated fully.

Song – 7.5/10
Music Video – 7.5/10
Performance – 8/10
Overall Rating – 7.6/10

[Review] SHALALA – TAEYONG (NCT)

Posted in KPOP, ReviewsTagged , Leave a comment

Making his solo return on Monday was TAEYONG from NCT, with the shared title single and mini-album, SHALALA. While this is promoted as his solo debut, this isn’t TAEYONG”s first solo single. We previously got singles from TAEYONG through the release from the SM Station series, with the last being Long Flight from 2019.

With hip-hop influences and a very synth heavy production, SHALALA definitely heads in the direction that I had expected for a TAEYONG solo release. But we aren’t talking about the same combination of the two that (majority of the time) works for NCT 127 or U’s releases. SHALALA ends up bring a lot weaker, with TAEYONG’s delivery failing to evoke much of a reaction from me. I find his delivery in SHALALA to be quite monotonous. He essentially keeps to a low tone throughout the song and he never really picks up from where he begins. His flow is good, but there was room for TAEYONG to potentially be more expressive and to have driven more energy into the song. This potentially could have made SHALALA more ‘dynamic’. It is a pity that we never get there. Subsequently, this causes other parts of SHALALA to fall short, such as the lack of a memorable hook. Energy would have gone a long way, and this was a department of the song that would have benefited from this. If I had to point out a positive, I would say there were some decent vocal moments during the choruses (i.e., the “Shalala Lala“) and the second verses. They were brief and had a decent ring. But nothing long-lasting. As for the instrumentation and production, I am on the fence. There is a fair bit going on, but I liked the focus on percussive elements to give SHALALA a unique tinge. I think it does complement TAEYONG’s good flow in the song, but it definitely felt grating at certain moments. Overall, SHALALA is not a song that I would be going back to that much.

I can definitely say that the music video faired much better than the song. I really liked the idea of a God controlling everything (as you would expect), but on a computer system. But he ended up being hacked (how modern), resulting in a number of characters (all played by TAEYONG) being placed into different and incorrect metaverses (how trendy). Despite being misplaced, each character somehow excelled, reflecting the song’s message of shining wherever you are. We see Gamerboy TAEYONG introduce gaming to other yetis during the Ice Age, Knight TAEYONG from the 1800s excelling in a 1980s office job and yeti TAEYONG excel at bowling in 2023. In the end, God ends up resetting everything, by deleting all the metaverses (and effectively the world) but dragging all of it to the recycle bin on his computer. At the end, we see God close the clapperboard, effectively restarting life again. It is a weird concept, but funny and made for a good viewing.

Like the music video, the performance for this comeback also fairs better than the song. His moves were super clean, he had really great command of his body (which makes complete sense, given that he is known for his choreography skills) and that he shows off his personality and sense of style in the hip-hop centric performance. I also like the playful side to the choreography, which he pulls off effortlessly.

Song – 5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 6.7/10