Category: KPOP

[Album Review] Strange World (7th Mini Album) – Ha Sung Woon

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Ha Sung Woon made his comeback in August 2022 with the mini-album Strange World and the title track FOCUS (my personal pick for Best Solo Choreography (Male) of 2022 in the 2022 KPOPREVIEWED Awards). 8 months on, I am finally reviewing the album. It was on the list of albums that I wanted to review from 2022, but was forgotten on my list (until this past weekend when I finally sat down and took another listen to write the review). Strange World and FOCUS is also Ha Sung Woon’s last comeback prior to his mandatory enlistment in the South Korean military, which he will finish up in 2024. This does mean it is unlikely we will be hearing new music from the soloist soon, so let’s have another listen to the album in the meanwhile.

Strange World Album Cover

1. FOCUS (Title Track) – Click here to read the full review of FOCUS. (8/10)

2. Say Yes (어떻게 생각해?) – Say Yes is a cheerfully bright pop track that brings a smile to your face. I liked the subtle piano in the background, which helps adds a peppy vibe Say Yes. I also really liked how Ha Sung Woon presented himself in this track, especially following the more mature tone of the title track. It is no doubt that the contrast between this song and the title track is literally day and night. Maybe if it wasn’t placed behind the title track, the contrast wouldn’t be such a major thought whilst listening to the track. (8/10)

3. Baby Blue (바다) – We enter R&B territory for Baby Blue. It is a smooth track and Ha Sung Woon’s falsettos are really captivating in this track. Unfortunately, I don’t really see much else to Baby Blue that is worth commenting on. But it is still a decent listen, overall. (7/10)

4. Too Little Too Late (with JAMIE) – Too Little Too Late is another R&B track, and this one has more to talk about. The talk is all good news, as I quite enjoyed this track. The instrumental had some great character. There is also a vibrancy coming both Ha Sung Woon and JAMIE’s vocals (who both sound wonderful together and throughout the song). Their harmonies are also quite great and definitely strengthen the song. The brass in the background also helps out with making the song extra vibrant, as well. (9/10)

5. Daylight – The final song on the mini-album is Daylight, which is a really nice and pleasant ballad track. The acoustic guitar centric instrumental brings a wholesome vibe, which Ha Sung Woon reflects really well throughout the vocals. Interestingly, Ha Sung Woon employs a low and huskier tone during certain parts of the song. An interesting delivery choice, but it works tremendously well to bring that wholesome effect to life. (8.5/10)

Overall Album Rating – 8.1/10

Strange World Teaser Image

[Album Review] Villain: The End (1st Studio Album) – DRIPPIN

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DRIPPIN just made a comeback with the single SEVEN SINS. But before I get around to reviewing that release, I thought I should quickly push out the album review for DRIPPIN’s Villain: The End, the group’s first studio length album. It was released back in November of last year and features the single The One as the title track (and 9 other side tracks). It serves as the final part of their Villain trilogy, which features their VILLAIN and ZERO eras/comebacks, also from 2022. Overall, Villain: The End is a very strong album that once again shows the potential of DRIPPIN.

Villain: The End Album Cover

1. I.N.O – I.N.O serves as the introduction to the studio-length album. To me, this track was quite eerie. It starts off stormy, building to orchestral elements. Towards the end, I.N.O becomes more electronic based, with the final moments of the track reminding me of electric guitars, hinting a rock influence, which the title track The One and other tracks on the album ends up serving to us.

2. The One – Click here to read the full review for The One. (9/10)

3. Silence –Silence was chosen as the follow-up track for promotions, and I think it was an excellent choice. There are a few elements that I really liked, which helps the track standout to me. Firstly, the pop rock gave Silence a very upbeat feel, whilst also packing a powerful punch. Secondly, there was also electronic synths mixed into Silence alongside the pop rock influences, which gave the track groovy undertones. Thirdly, the members did extremely well in the song, showcasing a vibrant tone in the song. Silence also has a memorable yet simple melody. I did wish for more memorable rapping in the song, which could have taken Silence to the next level. (9/10)

4. MONSTER – We enter grungier territory with MONSTER. The start of the track has so much character, and the rock influence in MONSTER has so much head-banging territory. The standout member in this song is without a doubt Alex, whose raspy/hoarsely shouts just prior to the choruses and brief rapping in the second verse is so impactful and leaves a strong impression. Together, this track definitely is an exceptional sidetrack that I really enjoyed. (10/10)

5. HOME – Taking down the album by a few notches is HOME, which serves as the album’s ballad. It isn’t one of those super emotional and tear-jerking ones, nor is it slow and stilling. Instead, HOME does feature a relatively strong chorus, which occurs due to the accumulation of piano, strings and vocals. Speaking about vocals, HOME definitely showcases strong delivery from the entire group and is definitely the showstopping element of the song. There were also some great harmonies. (8/10)

6. UTOPIA – I personally felt that UPTOPIA could have been more bombastic with a heavier presence of bass. This would have really upgraded the song for me. But as it is, UPTOPIA was still a solid track. I really liked the house style of the instrumental, and the vocals and rapping was displayed in a very consistent manner. There was a memorable yet simple melody to the song, that helped boost up its appeal. The zippy/high pitch whistle-like synth was also another memorable element of UPTOPIA. (8/10)

7. DEJA VU – Going for a sleeker vibe is DEJA VU, which I am totally digging. I liked the darker atmosphere that comes about from the instrumental. The bass does wonders to the song, while the beat brings that funky undertone to the song. The strings in the pre-choruses was a nice touch as well. The rapping adds to that sleekness, with the low and slow delivery also coming off as sensual. The vocals also elicit a mature energy, which goes hand-in-hand with the other elements in the song. Altogether, DEJA VU becomes my pick for the album’s hidden gem. (10/10)

8. ESCAPE – A funky beat and whistles make ESCAPE feel quite classy. The song had me unconsciously head bopping along as it progressed, and the whistles were hard to get out of head. The vocal work was a strong aspect of the track, with Hyeop’s clean high note and ad-libs being a highlight. The weakest aspect of the song, for me, was the second verse rap sequence. It didn’t fit in well and disrupted the flow of the song. I also wished the transition between the second chorus and bridge was a lot smoother. (8/10)

9. Champion – The very calming and atmospheric backing to the verses was a stunner in Champion. This ends up building into an atmospheric band piece for the choruses, while the rappers take the bridge into a heavy rock territory. It was a ride through different styles, but it feels cohesive. I liked the consistent and balanced approached the vocals took. Also, we heard the return of Alex’s deeper tone for his segment in the bridge, and Dongyun’s uptick in tempo for his rapping felt fitting. (8.5/10)

10. When I’m With You – The studio album ends with a pop track that sounds sweet and lovely. I liked the combination of guitar and synths in the choruses, coming together to create a very interesting but fun texture. The cheerful tone the members bring via their vocals makes me want to smile and this helps ends the 10-track album on a very positive note. (8/10)

Overall Album Rating – 8.7/10

[Review] Tantara – iKON

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At the end of 2022, news broke that iKON was parting ways with YG Entertainment (whom they have been with since debut for 7 years) following the conclusion of their contract with the Big 3 company. It was quickly revealed that the group, as a whole, signed with 143 Entertainment, and subsequently announced plans for a comeback later this year. Fast forward 5 months, the group is officially returning with their third studio album Take Off next month. But ahead of the official comeback, iKON has begun teasing us with their first release since BUT YOU – the pre-release single titled Tantara, which dropped on Tuesday of this week.

Tantara comes out swinging from the very first second and never lets up for the 3 minute duration it goes for. And that just makes Tantara super appealing. Past title of iKON’s that I can remember from the top of my head are more of a serious tone. However, this new song shows off a more energetic and dynamic side of the group, which is undoubtedly refreshing. The group does stick true to their roots, with Tantara falling squarely into the hip-hop genre. Bobby has the honour of kicking off Tantara, and does so with his energy-packed and attention grabbing rapping. His hoarse voice just gives his rap sequence so much character. Jay and JUNE follow up with a nice vocal centric pre-chorus. This leads into the chorus, which emphasises the hip-hop roots of the song and gears it towards a 90s influence. The hype energy that comes off this is bold, and the chant-like delivery is memorable. From there. however, I do feel like Tantara fizzles out slightly with less memorable segments. Song and DK takes the helm of the second verse, but I didn’t not find anything interesting in this section. Chanwoo makes his appearance in the bridge (alongside DK), but again, nothing stands out here. The good news is that Tantara has one more surprise in store for us – an instrumental break with a very intriguing and jarring set of synths that works quite well and drives up the dynamic factor of Tantara. There is also a textural element to the instrumental break that leans into a rock influence, which I thought was super cool. The ending brings everyone together for a final outro that reiterates who iKON are. It was decent, but I wished it was more energy packed and substantial in line with the rest of Tantara. Overall, Tantara is a strong and powerful track that shows us who iKON is. It definitely hyped me up, leaving me wanting the 5th of May to come quicker (as that is when their official comeback is scheduled for).

The music video carries the label of a “performance video”. While the performance, which I will be commenting on separately in the next paragraph, does make up a bulk of the video, the addition and presence of various different shots of the group and the members themselves makes the video for Tantara feel very much like a music video. I liked how the energy and flair of the song was carried from the song over to the video. That is thanks to both the effort of the members and dancers, who showed great dynamism in the video. Their chemistry was great with one another, creating an atmosphere that also hypes up the viewer as well.

On the topic of the performance, the same comments above can be applied here. I liked how the hip-hop energy and flair comes so easily to the performance from the song, and the members/dancers make it so dynamic and fun in the music video. The chorus looks quite good, but the iconic bit for me has to be the dance break (which occurs at the instrumental break). From the way it was set up, to the wavy arm movements, to the jerky steps that follow, all of it was a highlight.

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

[Review] Journey – WOODZ

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WOODZ made his official comeback yesterday with his new single Journey and his fifth mini-album, OO-LI. This new release comes after WOODZ teased this comeback by pre-releasing the side track ABYSS back in February (which I yet to review – will do so some time in the future). This comeback follows WOODZ’s I HATE YOU and Colorful Trauma era from last year.

WOODZ continues to explore the pop rock genre with Journey, this time opting for what felt like a ballad. While his past pop rock styled songs have been more energetic and upbeat, Journey still has a lot of appeal in its own way. My suggestion is that you do not underestimate this song. What particular draws me to Journey is the amount of passion WOODZ delivers in the song, which comes about from the combination of instrumental and vocals. The song starts off rather calm, but it slowly injects some slight punk-like energy during the pre-chorus, before leading us to a full blown realization of pop rock energy in the chorus. But we aren’t talking about upbeat and bright territory of pop rock, which is what I commonly think of when it comes to this style of music. Instead, the choruses for Journey intensifies and amplifies into that pop rock motif, yet gives us a more restrained and subdued atmosphere that still manages to pack a punch. As the choruses does all of this, WOODZ’s vocals soars, blowing me away with his strong and impactful vocals. I do want to point out that the melodies were rather simple, and a more developed melody would have raised the bar for Journey. The second verse is a lot shorter, and I wished there was a bit more to it. I liked the idea of a quite return to the chorus (which is no doubt my favourite part of Journey). But I think the second verse could have been more thrashed out. The bridge returns Journey to the calm start, but does so quite briefly, before returning us to the chorus. For the final run at Journey‘s centrepiece, backing vocals come in to create an even more melodic touch and allows WOODZ to throw in some amazing ad-libs to close out the song. Despite its minor imperfections, it does not change the fact that Journey is still a passionate and impactful song that I will continue to replay.

The music video leads on from the events of the ABYSS music video. At the end of that video, we see WOODZ open up the door, allowing the version of himself he has kept locked away in the dark confines of the building to come out. We even see the ABYSS version of WOODZ walk past briefly at the start of this video. Anyway, the Journey version of WOODZ ends up venturing out and exploring the world, taking himself on a journey and discovering oneself, which is the message behind the video. The outdoor scenery looks stunning. I would like to know more about the tree that looks like it made out of glass. I think this is another link to the ABYSS music video, as we do see the passing of glass spheres from other people to WOODZ in the earlier video, and WOODZ’s own glass spheres ends up going through the ground in this music video, presumably to build the mentioned tree as WOODZ discover himself.

As this is a more vocally centric song, WOODZ doesn’t participate as much in the choreography. Instead, he focuses his energy on performing the stage live, which was the right move and make his performance even more amazing. He does participate during the moments in which he doesn’t sing, and I quite liked the artistic touch the dancer bring to the stage, creating an interesting stage to watch.

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

[Review] Shining Bright – CSR

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CSR made a splash with their debut last year with their bright Pop? Pop! single and their subsequent comeback in November 2022 with ♡Ticon (which I have yet to review – will do so in the future). Just over four months on, CSR made their return with their second comeback, Shining Bright, and second mini-album Delight.

To me, the opening of Shining Bright took me right back to their Pop? Pop! debut. The super engaging electronic thumps just had such a nostalgic feel to them, which was pretty much the major drawing point of their debut single. A nostalgic feeling also comes through again later in Shining Bright via the melodies in the choruses, as well. However, we don’t hear much more of electronic thumps in the song. Instead, Shining Bright‘s verses take on more of a pleasant pop appeal, with the occasion hints of the true form of Shining Bright, which is later revealed to be a pop rock motif in the choruses. But CSR, via their delivery of Shining Bright, gives the pop rock more of a sugary sweet vibe. The combination of the two creates a highly sweetened and upbeat tempo, which I quite enjoyed. The vocals do push the boundary a bit with how sweet they are, but never did I think CSR went overboard. We do get close, as there were times in Shining Bright where I thought it might have been a better move to tone down the cutesy energy, such as the shoutier moments of the choruses and at the end of the second verse raps. But it didn’t necessarily ruin the song for me, so I don’t feel as strongly about this compared if it had disrupted the flow or been overwhelming. Some good moves in Shining Bright include toning down the pre-choruses ever so slightly to help accentuate the choruses, the presence of electric guitars towards the end of the song to tie everything together and the piano ending (which just gave Shining Bright a pretty ending). Overall, Shining Bright works extremely well for CSR and is a great addition to their discography.

The music video for Shining Bright was a pretty one. Just like the song’s title, there was a brightness to the video, which in combination with the post-production, helped make the abundance of colours throughout quite vivid. The members’ visuals were also highlighted in the video. I did wish there was more to the music video, as I felt I have summed up the video in just the couple of lines above quite succinctly, which sometimes is a good thing. But other times, it is not such a good thing. I am unsure on where this video lies on the spectrum.

I quite enjoyed the choreography for this comeback. It looks super expressive and energetic, which matches well with the song. The members do an awesome job on stage with delivering the lively choreography and also live vocals at the same time. It is wholesome and fun routine to watch altogether.

Song – 8/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.7/10

[Review] Seed – TAEYANG (BIGBANG)

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Earlier this year, TAEYANG made his long awaited solo comeback with the single VIBE (which featured JIMIN from BTS). Fast forward a quick three months, TAEYANG makes a speedy return (relative to his comeback prior to VIBE) with the title track Seed. Alongside Seed, TAEYANG also released a performance video for the side track Shoong! (which features LISA from BLACKPINK), which I will review later on. Both tracks are featured on his new second mini-album, Down to Earth.

Seed is a stunning ballad, instrumented beautifully by piano. As the song progresses, we hear the emergence of guitars, orchestral strings and even band instrumental as part of the final chorus. But throughout the length of Seed, the piano has a constant presence in the song, which keeps the song consistent and allows the same feelings that you get from beginnings of Seed to come through the latter parts of the song. Now, you might think that what I have described thus far is pretty generic. And to a degree, you are right – the instrumental doesn’t really deviate much from a standard ballad. But what really makes Seed standout from other ballads is the heavy amount of emotions and sincerity that you can tell TAEYANG poured into the song, and that also pours out of the song. The few listens I have given Seed tonight required me to stop with whatever I was doing to take it all in (even as I am writing this review!). And it is these type of ballads that really captivate you are the good ones. The choruses in particular were the most captivating sequences of the song. Obviously, the emotions could not have been as heartfelt had it not been for TAEYANG’s vocals, which were outstanding and also nostalgic for me. His tone was just so comforting and warming. Overall, Seed is an amazing ballad that showcases TAEYANG’s artistic abilities.

The music video felt quite fitting for the song. While I am not exactly sure of the connection between the different scenes or cinematography used with the song, the overall vibes of both were in tandem with one another. And paired with the song, the video ends up becoming quite captivating, as well. There was one scene in the video that stood out to me. That was the scene with the five kids playing at the beach (and I believe there was another shot with Taeyang in the foreground and four figures in the background). I wonder if this is a hint towards BIGBANG, which used to be a five member group.

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

[Review] Super – SEVENTEEN

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Starting off this new week is SEVENTEEN, who returns with their 10th mini-album FML and two new title tracks, one sharing the same title as the mini-album (but styled as F*ck My Life) and the other is titled Super. This review will focus on the latter track as that is the only title track that has a music video at this stage. FML follows the group’s HOT and _WORLD era, their Japanese Dream comeback (which I have yet to review) in November 2022 and the successful return of the group’s BSS subunit in the earlier months of 2023.

Super is, with very little doubt, a very strong and intense single, joining the likes of past SEVENTEEN songs of a similar nature such as HIT and Getting Closer. However, those songs were more electronic and abrasive in terms of texture. While Super does head in that direction, I do find the newer song to be a bit more rounded with its beats and the synths used are a bit more intriguing and unique. That high pitch scratchy voice actually works really nicely in the background, almost harmonizing with the vocals in the song at certain points. That main instrumental centre piece in the foreground of the first half of the chorus was really cool. I can’t tell if it is percussive piece or a plucked string instrumental, but its presence in Super quite a scene setter. The drumming throughout Super was definitely a a constant highlight, but the faster tempo drumming in the second half of the chorus (which almost feels like the song is lurching out at you) drives up the energy incredibly well, creating a very invigorating peak and is my favourite part of the entire song. I did wish Super developed a bit more towards the end. What we got felt pretty neutral at best, and I felt a more explosive ender would have been a more captivating way to the end Super. The distant horns at the end were a nice touch, but more could have been done. As for the vocals and rapping, I liked how both felt balanced and didn’t overshadow one another. Super had an abundance of hooks and melodies that helped the vocals and raps make the song memorable and appealing to me, whilst also giving the members enough to work with it ensure Super was interesting. I also felt the balanced nature also helped bring everything together in Super, allowing for the instrumental to stand out and creating a very compelling listen.

This music video is epic. Conceptually, it might have been simple. But its execution was literally bold and intense, making it worth watching. The scale of the set was massive, but this allowed the producers and director to really showcase some amazing shots that helped make the video feel and look epic. The presence of so many dancers in the background added to this. The dominating red colour gave the video a mature and serious feel, but it also allowed the members to really pop out (in the case of the first set outfits) and a regal feel (in the case of the second set of outfits). Both sets of outfits looked awesome and showed off different profiles of the members.

As for the choreography, SEVENTEEN has done it again. There was a lot to take in and a lot to enjoy. The wavy sequence that opens up the choruses, the intensity of the second half of the choruses where the energy rises by many bars, how S.Coups was passed forward by the dancers and thrown forward by the last set (probably the most memorable aspect of the choreography to me), and the ripple effect at the end. Even the simple action of standing in the background and walking towards the end of the performance was felt artistic in the grand scheme of Super.

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

[Review] Giddy – Kep1er

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Making their comeback last week was Kep1er, who returned to the music scene with their new single Giddy and fourth mini-album, Lovestruck!. Due to poor planning on my end, I was unable to write a review for Giddy when it was released at the start of last week. But it is the focus for today! Giddy and Lovestruck! follows the release of We Fresh and their third mini-album release Troubleshooter in October of last year. It also follows Kep1er’s second Japanese single from earlier on in the year, I do! Do You?, which I will review in a future International Song Reviews post (probably at some point this year).

Despite it being a week old and I have checked out the track on numerous occasions since its release, Giddy hasn’t really grown on me at all. It still leaves the exact same lackluster and mild impression I got from the track when I first checked out the song on the day of its release. Usually, time (and multiple replays) do its job in making a song more appealing to me. But in the case of Giddy, I find it interesting that time didn’t have much of an effect on this song. My guess is that Giddy comes down to an ‘alright’ descriptor. Nothing more, nothing less. ‘Neutral, overall’ is another way to put it. The disco-funk styled instrumental was pretty standard, and Giddy‘s repetitive hook wasn’t as memorable as it could have been. The way it was delivered had charm, but it lacks the opportunity to add some much needed definition to the song and fails to really capture a centric feel. The choruses, thanks to the main hook, just didn’t deliver, which was a bit of a disappointment given the pretty profile of the pre-choruses (which is my pick for the Giddy‘s most likeable part). In the vocals and rap department, no members stood out in Giddy. A unique aspect of Giiddy is the presence of an interlude just after the first chorus that comes in a form of a breakdown. That was quite a shocker for me, as it just does not fit in with the overall smooth tempo that the song was channeling. Overall, I felt like the producers were trying to infuse a mature approach to a youthful sound, which in theory would be an ideal combination for a group like Kep1er. Unfortunately, Giddy doesn’t offer anything innovative and plays it safe, the latter ultimately serving as Giddy’s biggest weakness.

Similar to the song, I didn’t get too much out of the music video as well. It was pretty, and everything from the visuals to the sets was built with this visual style in mind. This does help give the music video component of the comeback a bit of an edge over the song itself. The ending was a bit weird, when one of the members picked up the miniature version of another and ate them. I am assuming there is a reason for all of this. But as a non-Korean speaking listener to KPOP who doesn’t have subtitles on to understand the song in the first instance, it is an questionable ending.

Personally, the choreography aspect of this comeback was probably the strongest of all. I really liked the “Giddy” move they did for the choruses, and I liked the touch of cuteness that the routine brings to the comeback.

Song – 5.5/10
Music Video – 7/10
Performance – 7/10
Overall Rating – 6.3/10

[Review] Perfume – NCT DOJAEJUNG

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Yesterday, NCT unveiled their newest unit, NCT DOJUNGJAE, which consists of members Doyoung, Jaehyun and Jungwoo. While the focus of the units in the past has been on global expansion (i.e. the debut of WayV and the upcoming debut of NCT Tokyo), age (i.e., the basis of NCT Dream’s debut in 2016), and genre (i.e., NCT 127, who has a hold on experimental hip-hop), I am not entirely sure of the basis of NCT DOJAEJUNG’s debut just yet. Kicking off this new unit’s discography is the shared titled mini-album and title track, Perfume. In other relevant news, SM Entertainment has announced that with the debut of NCT Tokyo this year, the lineup of NCT will become fixed and no further units will debut to expand the group. However, I don’t think we will stop seeing units being formed from the final lineup of the group, such as NCT DOJAEJUNG. Of course, time will tell if that is the case. But for now, let’s focus on NCT DOJAEJUNG and Perfume.

When I first heard Doyoung, Jaehyun and Jungwoo were joining forces in this unit, I honestly thought the unit will be geared towards ballads (as is the case with most vocally geared tracks). But consider me genuinely surprised with the more upbeat and groovy nature of Perfume. And this unexpected twist in sound has me coming back for more. Perfume‘s combination of the R&B influences and funky electro groove calls back to the 90s, which is an era in which KPOP does not seem to get enough of. The trio steps the song up with a more sensual vibe coming from their vocals, which I vote as Perfume‘s best aspect. While all the members do shine in this department, I must commend Doyoung in particular, who effortlessly brings a consistent level of smoothness to the song. The bridge does make make me go ‘Ooh~’, which is the best reaction you can get from me. I also enjoy the harmonised shoutier approach the second half of the choruses takes, which gives Perfume a bit of oomph that pays off tremendously. While the smoothness is also another strong aspect of Perfume, I did feel the same element may have hurled Perfume forward to make it feel like it ends quite soon after it starts. I wish there was something to ground Perfume just a bit. Also, the “Woo” and whistle in the second verse was a tad cringy for my liking. But these are honestly minor criticisms from me. Apart from them, Perfume is such a strong showing from the three members and is super well-done.

Based on the opening of the music video and the loose clothing that the trio don throughout the music video, it is clear to me that the concept is of a sensual nature. And I find this super fitting for a song title Perfume, given that scent can be a turn on for many people and the message behind the lyrics of the song. The members were flirty throughout the video, which speaks to their chemistry with the camera. I also enjoyed the fact the members got to film outside in the open for once. I know we have seen some NCT music videos in an outside location before (i.e. NCT Dream’s Beatbox as an example). But more often then not, we see NCT music videos filmed in the confines of a studio.

Complementing the strong song is an equally strong performance. I really liked the combination of sensual and powerful moments in the routine. Sensual during the slower moments where smoothness prevails. Powerful in the choruses, when the song is at its peak with the beat and chest pumps are the main move. I also like the incorporation of pulse points in the choreography for the first half of the choruses, which is where you are supposed to apply perfume and cologne to ensure you exude the strongest scent.

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

[Review] Without You – KARD

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Next up on the blog is a song review for KARD’s latest release, Without You. The new song dropped earlier this week in the midst of the multiple comebacks we have seen this week. Without You follows the release of Ring The Alarm, which was released in June last year to mark the return of KARD following a two year hiatus in which member J.Seph carried out his mandatory military enlistment.

Without You is a change to what the group usually puts out. While I do like change, I do feel like this one does not result in much for KARD. The best way to think about Without You is that it is a pretty bare song. All bones and no meat. It lacks anything substantial to make it a standout track. Without You is more vocally driven compared to past title tracks. This moves the female members (Jiwoo and Somin) to the front of the song. I quite liked the driving power they add to Without You through the verses and Somin’s high note towards the end of the song. The choruses were striking thanks to the melody and rhythm, and there was a potential cool factor to it. But without much definition to it (in terms of instrumentation – more on this later) and anything to really build upon it, the choruses come off as empty instead. However, with a more vocally driven song, this does mean the male members (BM and J.Seph), who handle the raps in their tracks, take more of a back seat in Without You. While there is nothing wrong with this, their parts are quite limited in Without You and I wished they had more to do in the song than their small confined rap segments. I also admit that there is a lack of cohesion between their parts and the rest of the song. Their parts felt more standalone and this makes Without You a somewhat awkward listen, in my opinion. The instrumentation throws it back to their bright tropical sounds they are pretty much known for from their early days. But it stays quite flat and doesn’t build/go anywhere. I do think Without You has enough to serve as a foundation as a cool track, but it is in need of more cohesion and substance.

Just like the song, the music video is also quite empty. Aside from the one garden set that they film inside of and in front of, there is literally nothing much else to the music video. I did think the colours in the garden, lighting and the outfits the members donned throughout the video worked well with one another to create an aesthetic.

Unfortunately, it doesn’t look like KARD is promoting Without You due to their lack of appearance on the music shows this week. From what I can see in the music video, the choreography looks good, but nothing stands out exactly. However, we only see the routine for the choruses, so there is probably more to see for the performance aspect.

Song – 6/10
Music Video – 7/10
Performance – 7/10
Overall Rating – 6.5/10

[Review] I AM – IVE

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After that Easter long weekend and another unscheduled mini-break the last two days. I am officially back with new song and album reviews. And starting it all off is a review for what seems to be the biggest release of the week – IVE’s first studio length album I’ve IVE and their latest title track I AM. This follows a big year from the female group who rose to the top of the charts with hits like ELEVEN, LOVE DIVE and After LIKE. And so far, they are definitely replicating a similar amount of success with their pre-release single Kitsch which was released at the end of March ahead of I’ve IVE and I AM.

I AM now carries the torch of being the next IVE hit, and it is definitely shaping up to be just that. I AM is a grand track, bringing a very satisfying dose of powerful pop to the table. I like how the production of the song and the members themselves don’t hold back, and this really helps make I AM even more compelling listen. I enjoyed the dynamic nature of the pop instrumental. The consistency of it and the very upbeat tempo also kept I AM exciting from the get-go. The vocals were consistently strong throughout the length of I AM. From the softer and lower tones opted for in the pre-choruses to the higher pitch high notes in the chorus, everything pretty much impressed me. The “I am on my way~” line in the verses was the catchiest (and my most favourite part of the song), ringing in my mind even after the song had finished playing. The other hooks and melodies present in the chorus were also super addictive – all of which had kept me coming back for more. As for the rapping, I think Gaeul’s efforts in I AM shows redemption. I didn’t enjoy the rapping as much in Kitsch. But in I AM, the rapping felt lively and carried the momentum from the chorus preceding super well. The energy that comes off the final chorus was just the icing on the cake. Overall, I am definitely singing praises for I AM.

I wondered how the producers would top the music video. After LIKE featured a firework display as its final surprise to end the video. That seems hard to top off. But I AM surprised us with a jet taking off, followed by the members walking a catwalk on the runway. It definitely channeled the peak and energy of the song/final chorus super well and made it a very wowing moment in the video. Another OMG moment in the video is when Wonyoung backflipped off the plane. That was super cool, but not advisable in real life. The video definitely does a great job of showing boldness and confidence, the latter is essentially what the song is about. My only tweak would be to remove the golden elegant room setting where they performed the second chorus in. I think it was a very soft element to the video, whilst everything else was bold and striking.

Choreography-wise, I AM showcases a strong routine from the group. No move stands out by itself, but that doesn’t affect the impression I get from the watching the performance. It just consistent throughout. I did like how the choreography does amp up in the bridge and final choruses, carrying out the energy that I discussed with regards to the final chorus in a super fulfilling manner to watch. I do hope Rei recovers from her health issue soon and rejoin the rest of the group on the stage during the promotions (But definitely health first!).

Song – 10/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 9.3/10

[Album Review] CHASE (1st Mini Album) – MINHO (SHINee)

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At the end of 2022, MINHO made his long awaited solo comeback with his first mini-album ever, CHASE. This is led by the single of the exact same name, along with four additional side tracks and the single Heartbreak (which was released a year prior to this mini-album release – link in the review below). MINHO becomes the final member of SHINee to release a solo mini-album, nine years on since fellow member Taemin made his solo debut – the first SHINee member to do so. But this review is all about MINHO, so let’s see what I thought about MINHO’s solo debut mini-album.

CHASE Album Cover

1. Chase (놓아줘) (Title Track) – Click here to read the full review for Chase. (6/10)

2. Runaway (ft. Gemini) – Runaway is the song with the most substantial hip-hop influence of all on the mini-album. I really liked the smoothness of the instrumentation, which translates well to the melodies and both MINHO and Gemini’s flow in Runaway. I enjoyed the oriental influences that came off the instrumental as well. It creates a really intriguing atmosphere in the song, and the combination with the hip-hop made was a very interesting vibe. (8/10)

3. Prove It – Next up on the mini-album is Prove It. It is more of a R&B track, with a bit of groovy vibe thanks to the guitar riffs. This is further emphasized by the presence of some brass, which brings a splash to colour to the instrumental yet also maintaining Prove It’s mature exterior. Minho himself brings a lower and breathy tone to the song, which I quite enjoyed. I just wished the melodies and hooks were more memorable. (7/10)

4. Waterfall (ft. Lim Kim) – Waterfall, to me, was the mini-album’s most interesting side track. I really liked the wobble-like sound effect in the background, which mimics the idea of how water wobbles. You might also stretch out and describe as the sound of what a ripple effect in water might sound like. Either way, it is definitely a scene setter. Lim Kim’s unique vocals really bring some freshness to the song, while Minho’s showcases a higher tone in this song. Both harmonise extremely well with one another, and this creates such a harmonious yet atmospheric track to listen to. (9/10)

5. Choice – Choice brings a breezier vibe to the mini album. It is also a lot brighter, thanks to the pop direction that the R&B song takes in the chorus with the retro video game-like synths. MINHO also supplements this, by bringing a more expressive delivery through both vocals and raps present in the song. I also enjoyed the keyboard present in the song, especially during that outro, which just gives Choice a bit more colour and character. (8/10)

6. Heartbreak – Click here to read the full review for Heartbreak. (8/10)

Overall Album Rating – 7.7/10

CHASE Teaser Image

[Album Review] HARMONY: SET IN (5th Mini Album) – P1Harmony

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The next album review on the blog belongs to P1Harmony’s 5th mini-album, HARMONY: SET IN. The new mini-album was released in November and features the title track Back Down and 5 additional side tracks to round out the mini-album. This release is also the group’s 3rd release of 2022, following DISHARMONY: FIND OUT (led by Do It Like This) and HARMONY: ZERO IN (led by Doom Du Doom). So let’s see how HARMONY: SET IN stacks up against the other two mini-albums that P1Harmony has released in 2022 whilst we await news for their first comeback in 2023.

HARMONY: SET IN Album Cover

1. Back Down (Title Track) – Click here to read the full review for Back Down. (8/10)

2. BFF (Best Friends Forever) – BFF comes off as a fun and bright pop dance track, all about wanting to be best friends forever (hence the title). The guitar in the background is the showstopping element in BFF that gets my attention. It brings such a funky element to the song. Paired with the brightness that the members bring via their vocals and raps, BFF is a massive hit and an enjoyable listen to me. (10/10)

3. Secret Sauce – Secret Sauce is a hybrid hip-hop track that is an interesting listen. Even until this day, I am not sure if I am a fan of the song. It is bold and different, which I am all for. But the synths in the choruses give off a screechy effect, which I find very discomforting. Vocals and rapping wise, Secret Sauce is a solid effort from the group, and I can totally hear character and profile. The synths elsewhere were quite, like in the instrumental break, an appealing aspect. It is just the background to the chorus that irks me. (7/10)

4. One and Only – The appealing aspect of One and Only, in my opinion, is the perky and powerful energy that is exuded in the choruses. It packs a punch and definitely is something I enjoy. The rest of the song follows a fun refrain, which helps make the choruses more impactful. I also commend the instrumental of the track. Trap is a sound that we often get in KPOP, but it is usually quite dry and typical. But here in One and Only, the trap elements were a fun application, and I liked the tropical vibes that were coming from the song’s melodies. (9/10)

5. Look At Me Now (태양을 삼킨 아이) – Rock takes over the mini-album in Look At Me Now. From the 808 bass and the electric guitar riffs, Look At Me Now is such a sexy application of the rock genre and P1Harmony nails this track. They really carried themselves well in this song and I can see a future for the group in the genre. Overall, Look At me Now satisfies my cravings for the rock genre, giving me exactly what I want when I hear the genre. Now if more rock songs in KPOP apply this style, but also innovating it in a way that keeps it fresh and unique, then I will be a very happy listener. (10/10)

6. Better Together (배낭여행) – Closing out the mini-album is the mid-tempo ballad. I find the song to be a nice way to ease out of the mini-album, given that is was quite a full-on listen. I like the presence of the violins and guitar riffs in Better Together, in addition to the pop vibes that come from the rest of the instrumental. Vocals and melody-wise, Better Together was very pleasant and comforting to listen to. (8/10)

Overall Album Rating – 8.7/10

HARMONY: SET IN Teaser Image

[Album Review] MOVE AGAIN (15th Anniversary Special Mini Album) – KARA

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KARA definitely made a splash with their reunion at the end of last year with group promotions to celebrate their 15th anniversary. MOVE AGAIN was the mini-album released at the end of November to celebrate the milestone, which features the title track WHEN I MOVE. It is also the first KARA release since 2016, following the group’s departure from DSP Media, their company at the time. In addition to the title track, the mini-album featured an additional 3 sidetracks. As KARA used to have a strong hold in the JPOP market as well, a Japanese version of the title track was also released, alongside with an additional side track that I have included in this album review, as well to celebrate KARA’s latest mini-album. Keep on reading to find out my thoughts on MOVE AGAIN and co.

MOVE AGAIN Album Cover

1. Happy Hour – Easing us into their grand return is Happy Hour. And this is a stunning mid-tempo pop track. There is a very comforting and warm feeling to Happy Hour that paints a smile on my face every time I listen to the song. This is, without any doubt, an effect of KARA’s vocals, who makes the song sound nostalgic for old fans and so so inviting for new fans. If anything, more harmonies would have strengthened this track. But as it is, it is already too good. (10/10)

2. WHEN I MOVE (Title Track) – Click here to read the full review for WHEN I MOVE. (8/10)

3. Shout It Out – As you would expect from the title of Shout It Out, the song brings a celebratory anthem to the mini-album that keeps the energy at an incline. And this attracts me to the track. The instrumental features dance pop vibe that feels unapologetic KARA. And just like the first song on this mini-album, Shout It Out brings a smile to my face – though this is slightly different smile as I enjoy the energy and upbeatness to the track. The instrumental also keeps the song from slipping into cringy territory (which the vocals were heading in) and brings certain elements (i.e. cymbals) in at just the right times to heighten the song further. (9.5/10).

4. Oxygen – Emotions take over the mini-album through the sidetrack Oxygen. It is a ballad that you really need to stop and listen to take it all in. And I cannot help myself but do that each time I hear it. So, my thoughts will be very short. The vocals in this song are stunning and you can hear the emotional heft behind their vocals. The members are backed up with the dominant presence of acoustic guitar that I found to be soothing and captivating alongside the vocals. (9/10)

5. Queens (Japanese Album Only) – As mentioned in the introduction to this album review, Queens is featured only on the Japanese single album which WHEN I MOVE (the Japanese version) was also released on. Queens has a bit of a quirky yet fun instrumental to it. For the most part, the instrumental keeps the playful track alive alongside the presence of the subdued vocals that didn’t offer much to the song in terms of memorability. But following the second and final choruses, there are these shoutier moments that really helped liven up the track and insert some much needed energy to make Queens appealing. (7/10)

Overall Album Review – 8.7/10

MOVE AGAIN Teaser Image

[Album Review] The ReVe Festival 2022 – Birthday (6th Special Mini Album) – Red Velvet

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Red Velvet is the next group up for an album review over this Easter long weekend. In November 2022, the group returned the next installment of The ReVe Festival 2022 series, The ReVe Festival 2022 – Birthday. The new mini-album release features the title track Birthday and four additional side tracks. The Birthday era follows the release of Feel My Rhythm and The ReVe Festival 2022 – Feel My Rhythm, which was released back in March 2022. Again, this new mini-album is a great addition to Red Velvet’s discography and has a number of standout tracks on the mini-album, which I highly recommend you listen to. To find out which ones in particular, continue on reading my album review.

The ReVe Festival 2022 – Birthday Album Cover

1. Birthday (Title Track) – Click here to read the full review for Birthday. (7/10)

2. BYE BYE – BYE BYE is without a doubt one of the strongest standouts on this mini-album. It is a R&B single, but the instrumental elements (in the form of groovy bass and a heavy beat) give it boldness which attracts attention. I know it attracted mine! The vocals are equally as good, with Wendy’s vocals in the second verse getting a massive thumbs up from me. The harmonies are to die for. There is also something very intriguing by the dragged-out delivery of the song’s title in the chorus to fit in with the infamous Für Elise melody. BYE BYE definitely is a cool listen. (10/10)

3. On A Ride (롤러코스터) – On A Ride plays into the group’s Red side with such a playful and fun instrumental. It is definitely a strong point of On A Ride. Again, solid vocals from the group. These vocals do help ground the song in my opinion, preventing the song from spiraling out of control from its instrumental. I did wish the vocal hooks were a little more impactful and memorable, just to take On A Ride to the next level. (8/10)

4. ZOOM – Red Velvet putting ZOOM on this mini-album tells me they are all about business. ZOOM is such a dramatic and memorable song. I remember falling for the song the first time listening to it, and I have enjoyed every time I have listened to the song since then. It tackles R&B, but with a very trendy groovy instrumental. ZOOM has the best showcase of the group’s vocals. I like how they play with high and low tones in the song. The prolific and plentiful hooks are also undeniably catchy. There is a lot to like in ZOOM! (10/10)

5. Celebrate – When I listen to the song and read the lyrics to Celebrate, I feel like the mini-album has come full-circle. Celebrate is a warm and inviting R&B song. Just like everywhere else on this mini-album, Red Velvet’s vocals were so strong here, especially when it came to the harmonies. The melodies were quite dreamy and flowy. The instrumentation was soft, allowing the vocals to do most of the speaking. (8/10)

Overall Album Rating – 8.6/10

The ReVe Festival 2022 – Birthday Teaser Image

[Album Review] CHESHIRE (6th Mini Album) – ITZY

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ITZY also made their comeback in November 2022 with CHESHIRE, the title of both their latest title track and mini-album release. Alongside CHESHIRE, there is three side tracks on the mini-album, including the pre-release Boys Like You. Unfortunately, I have decided to not review Boys Like You in the usual spot of an International Song Reviews post due to time constraints (otherwise at the rate I am going, I might not get this particular album review for another few months). But I will definitely me sharing my thoughts on the group’s first all-English track, just like the other songs on the mini-album. CHESHIRE follows the group’s SNEAKERS and CHECKMATE mini-album release.

On a quick side note, but has JYP Entertainment given up on ITZY’s album art? The album cover below is just so plain and boring. This follows the revised album art that was release for the CHECKMATE mini-album, which I thought was rather low standard for album art.

CHESHIRE Album Cover

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

2. Snowy – Snowy has a certain sinister vibe that comes and goes, which is thanks to the Für Elise sample that is present in Snowy’s chorus. This is further emphasized by the piano that follows the sample and the vocal tones that the members adopt. To be honest, the chorus (which contains the sample) feels more like the pre-chorus, and the “Na Na Na” segment that follows feels more like the chorus. I wished there were more obvious segmentation of the song, so that it does not feel like a blur and make the different parts more clear-cut. The sample and hooks do make the song catchy enough for me to be intrigued and like it. (8/10)

3. Freaky – I did like their vocal work in Freaky. It felt very clean and showcases their vocal capabilities. The instrumental, whilst does fall into the R&B genre, was pretty forgettable. The detailing we hear in the background was very subtle and faint, but they do have their place in making the song more interesting. Without them, Freaky would have been extremely plain and very empty/lacking. (7/10)

4. Boys Like You (Pre-Release Single) – I found Boys Like You to be a very catchy track. It feels very juvenile, almost childish. But this expected with a teen-pop song. To the point that it feels unfitting for this mini-album. But there is a bit of charm to it. I really liked the post-chorus shouty affair that follows the second and final choruses. It felt bold and showed some good control from the members part. (7.5/10)

Overall Album Rating – 7.1/10

CHESHIRE Teaser Image