Category: KPOP

[Review] U – iKON

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Last week, iKON pre-released the single Tantara from their 3rd studio album, Take Off – the first post-YG Entertainment release since the group decided to not renew their contracts with the company in December 2022. Since December, the entire group (yes, all current 6 members of iKON) signed on with 143 Entertainment, announcing plans for an April comeback. Well, the group is now officially back with the unvielling of the entire Take Off studio album and the title track U – both dropping on Thursday of this week.

U shows a completely different side of iKON. Most of their past singles have been heavily influenced and centred around the hip-hop genre. It was only until recently (i.e., Why Why Why and BUT YOU) did the group put something else out that was not primarily hip-hop centric. U continues exploring other genres, this time opting for a fun and vibrant disco party number that I am totally digging. The energy is fantastic and the rhythmic funky guitar riffs are super infectious, bringing a smile to my face (at the very least) each time I have heard the song since its release on Thursday. It is also highly suitable for the Summer season that is fast approaching for Korea. If there is one thing I want to be critical about in terms of the instrumental, U needed more electric guitar riffs at the end to drive up the energy. Cliché as it sounds, but it will give the ending some additional flair. Bobby’s raspy vocals stands out quite a bit, which made the pre-choruses feel the most memorable part of the song. JAY’s first verse was also a nice standout. Unfortunately, the rest of U wasn’t as compelling and the other members didn’t have their moment to shine, They all sounded great, but no other parts struck me as memorable or stood out to me. It might have been that the super bright and upbeat energy just took over as the most striking aspect of the song, following the parts that I have pointed out. Still, I am glad that iKON has managed to push out new music and that U is fun and enjoyable.

The music video shows the members getting ready and going on a road trip to their next concert/live performance destination. Whilst getting ready and along the way, the members experience some hiccups. Given the bright and vibrant tone of the song, the members approach these moments with their sense of humour and fun energy – i.e., JAY riding his bicycle whilst the other members are trying to push their out-of-petrol van along and unknowingly leaving JUNE behind who has to run after them. In the end, all the members arrive at the final destination just fine and put on an amazing performance to close out the video. I liked their casual and light-hearted approach, no doubt fitting in well with the song.

As for the choreography, it is upbeat and light – just as you would have expected it to be. I really liked the “Only For U” circle the members formed in the first half of the post-chorus hook. It was a fun formation.

Song – 7.5/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 7.9/10

[Review] Wind and Wish – BTOB

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BTOB made their long awaited comeback earlier this week with their 12th mini-album and their newest single, both sharing the same title Wind And Wish. For BTOB, this is their first release since The Song and Be Together in February 2022. For certain members, they had more recent releases, such as HUTA’s (otherwise known as Lee Minhyuk) BOOM and Lee Changsub’s SURRENDER (which I have yet to review – apologies).

For the most part, Wind And Wish is designed to be a pleasant track. And that is exactly the impression I get from Wind And Wish. It is a mid-tempo pop ballad track that is nicely instrumented with tropical touches and a breezy atmosphere that feels appropriate for the Spring season that Korea is currently in. I liked that the mid-tempo side of the instrumental gives the members a chance to show something other than a ballad, which is ultimately what they are known for. Per the standard with BTOB’s track and given Wind And Wish has some balladry roots, the song does manage to incorporate the usual well-known vocals of the group. We get a few really nice high notes throughout the song and strong vocals across the board. The harmony between Eunkwang, Sungjae and Hyunsik in the bridge was super well done. However, nothing is riveting as it could have been, given that pleasant effect of Wind and Wish. Similar comments can be said about the rapping in Wind And Wish. They feel pretty much toned down and don’t have much of a bite to them. We all know what Peniel and Minhyuk can bring to the table. And whilst this create balance, it does feel lacking. If the raps had a bit more of a punch to them, this would have made Wind And Wish a bit trendier. There were some promising hooks and I did like how the song took it up a notch with the chanty and lively choruses. This felt this was pretty refreshing, and a nice breather from the pleasanter side of the song, without overdoing it and disrupting the song. Overall, I feel that Wind And Wish plays it safe. In some parts of the song, this worked, while it lacked substance in other areas.

The music video for Wind And Wish pretty much has a similar Spring time and breezy atmosphere, going hand-in-hand with what the song sounded like. The flowery field scenes, the warmer lighting and the looser casual outfits feels ideal for the concept that they were going for. Even the rising sun and the red glow from this was an indication that the weather is heating up – but not to the extent of a Summer release. A nicely done video.

The mid-tempo pop nature of the song allows for some light choreography, which works really well with the song, to occur. It is enjoyable to watch, and allows a bit more for an expressive style to show (rather than melancholy vibe, which BTOB has excelled with through their more balladry releases). The latter means BTOB can show a bit more of a playful nature, which they also delivered.

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

[Album Review] Candy (6th Mini Album) – NCT DREAM

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NCT DREAM’s Candy (the mini-album) was one of the last major releases of 2022. Featuring the remake of H.O.T’s Candy as the title track, Candy also featured 5 additional side tracks for the festive season. For me, this mini-album never had a dull moment and rounded out their super successful and massive year which featured the releases of Glitch Mode and Beatbox. Due to my personal lag with publishing album reviews in 2022, I ended up posting a singular album review for the entire album featuring both title tracks.

As a quick side note, despite how I started off this review above, this is not the final album review for a 2022 release which I will be posting. The final three album reviews for 2022 releases will be posted next weekend and into next week. This will mean that I will be starting album reviews for 2023 releases some time later this month.

Candy Album Cover

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

2. Graduation – Graduation sparked concerns of the group disbanding, as the song is all about graduating to the next stage of one’s life. And I can completely understand where the concerns were coming when I read the English translation of the lyrics. However, there is no disbandment news in sight and I think NCT DREAM was gearing up for a comeback later this year. Anyhow, Graduation is a beautiful song of lovely vocals and nice rapping to express the message aforementioned. I liked how it wasn’t strictly a ballad (instead, it falls into the R&B genre), with the rapping taking over a decent portion of the song. But it doesn’t undermine the vocals, which each member contributed towards. Even some of the rappers dabbled with falsettos in the song. Overall, Graduation is the song that sticks in your mind thanks to its message and is hard to get out thanks to its execution. (10/10)

3. Tangerine Love (Favorite) – Tangerine Love (Favorite) returns to upbeat and funky vibes with its retro synthpop sound. I really like the super catchy chorus in this song, and the rapping was definitely a highlight. But again, the vocals excelled, with Haechan to member that we need to commend thanks to his high note. The synthesizer at the end was a really cool touch. (9/10)

4. Take My Breath (입김) – The choruses for Take My Breath were super striking thanks to the pounding effect of the instrumental. Similarly, I thought the way the rapping started off the song and how cool the rapping was throughout the song was another striking element of the song. Other than that, the other parts of Take My Breath made for a standard yet pleasant pop track. (8/10)

5. Moon (문) – We arrive at the ballad of this mini-album. Given that this is a Christmas theme album, this ballad is the first song to truly elicit the dreamy side of the festive scene through its instrumentation. The piano melody makes for a stunning background, while the vocals are both superb and captivating (as expected). The harmonies are amazing, as are the ad-libs. (8/10)

6. Walk With You (발자국) – We end the special mini-album on a very upbeat note. I liked the textures in this dance track and the brightness that the members bring to the song. I like how the production stayed fun and enjoyable. NCT DREAM nails the song with their usual high-quality delivery in both the vocal/rapping styles. (8/10)

Overall Album Rating – 8.7/10

Candy Teaser Image

[Album Review] Overload (2nd Mini Album) – Xdinary Heroes

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Another mini-album I reviewed over the weekend was Xdinary Heroes’ second mini-album, Overload. This one features the title track Hair Cut and five other side tracks, with each track exploring the rock genre in a unique and different manner from what other Korean bands have been putting out. With their discography thus far, it is definitely looks and sounds like Xdinary Heroes is carving a niche for themselves. Released in November 2022, this is the second album review I have written for the band, the first being Hello, World (which was released in July 2022 and features the title track Test Me). And as of this week, Xdinary Heroes released their third mini-album Deadlock and the title track Freakin’ Bad. But before I review the new single, here is my take on Overload.

Overload Album Cover

1. Zzz.. (잠꼬대) – Zzz.. starts off the mini-album, with a track that goes in multiple directions (more so than the title track). But the multiple directions all give Zzz.. an intriguingness to it. There is a mix of pop rock, electronic synths and groovy undertones to this track that somehow gets glued together to create an interesting track. Xdinary Heroes delivers some pleasant and others colourful and playful vocals, which I find to be super cool and characteristic. We do finish with the same laugh that is present in the title track, bridging the first and main track on the album together. (8.5/10)

2. Hair Cut (Title Track) – Click here to read the full review for Hair Cut. (6/10)

3. LUNATIC – Playful eerie vibes begin the track, before LUNATIC goes down the powerful rock route. There is head nodding potential behind this track. What I appreciate with LUNATIC is that it doesn’t go in different directions, keeping a consistency that feels refreshing following the first two songs on the mini-album. I also appreciate the charisma that the members bring to the song via their vocals, which makes LUNATIC a great listen. (8/10)

4. Crack In The Mirror – The drumming in Crack in the Mirror was amazing and definitely was my favourite element of the song. For me, it took the song places that the other instrumentation just couldn’t. Aside from that, more head nodding potential and some great vocals moments round out this song. (8/10)

5. Ghost – I found the vocals in Ghost to be really interesting. The way they dragged out the ending of each line in the chorus was quite unique and gives Ghost so much creepy character. There was also some decent rapping in this song, which I enjoyed. The instrumentals were good, but were toned down to give off a more creepy vibe, complimenting the vocal style chosen. (7/10)

6. X-MAS – X-MAS is not Christmas carol or jingle. With Xdinary Heroes at the helm, powerful rock takes over pretty quickly. The pre-choruses and bridge was a bit dreamy, and I think the band plays into the idea of a music box at the end of the choruses. But apart from that, Xdinary Heroes completely smash out the song in a non-festive way. Parts of the song felt more so like a hype song, while the guitar work stands out. Catchy melodies and hooks make the song memorable, though I wished they were a bit more colouful with their delivery, as they have been in their other songs. (8/10)

Overall Album Rating – 7.6/10

[Review] UNFORGIVEN – LE SSERAFIM (ft. Nile Rodgers)

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Kicking off the week is LE SSERAFIM, who returns to the stage with their shared titled latest single and 1st studio album – UNFORGIVEN. It is the group’s comeback since the release of ANTIFRAGILE (also a shared title between their single and mini-album release) in October of last year. This release also marks the return of LE SSERAFIM in the very intense competition of female groups from last year, joining the likes of NewJeans and IVE who have already made successful comebacks this year.

UNFORGIVEN felt very LE SSERAFIM to me, but there was a major sequence in the song that I am not exactly keen on. I will explore this a bit more later on. But let’s focus on the strongest and most characteristic aspects of UNFORGIVEN. The first has to be the instrumentation, which samples the theme of The Good, The Bad and the Ugly. While I don’t think this is the first time we heard this particular piece of iconic music in KPOP, I did like how it aids in making UNFORGIVEN appealing and fun. The iconic western cowboy whistle also features in the song, adding to the western theme of the song. There are also additional guitar work and a few extra twangs added into the instrumental, which I take is Nile Rodgers’ contribution to UNFORGIVEN. These felt cool, and builds on the concept the producers of UNFORGIVEN have forged. The second characteristic element of UNFORGIVEN is its repetitive hook. I liked the simple yet subtly expressive delivery of the song’s main hook, and how addictive it has become in the subsequent listens I have given UNFORGIVEN. Now, while it is all very solid, the part that I am most unsure about in UNFORGIVEN is the chorus itself. While I do like the melodic touches to the song and the ring it gives UNFORGIVEN, I did think that the main chorus felt a bit juvenile and felt a bit cutesy. The sing-song delivery doesn’t go well with the rest of the UNFORGIVEN, which felt sassy and attitude-heavy. I think there was a miss opportunity to do something more fitting. But at the same time, I guess the producers didn’t want a continuous churn of the same style for the 3 and a half minute length of the song. But apart from that, UNFORGIVEN is another strong and empowering song from the group, who is unafraid of showing a more confident side of themselves.

The song was all about being themselves whilst also breaking away from social norms. And the video shows this quite well. For me, the most impactful scene was the angel Kahuza, who probably represents the innocent and pure social norm, ripping off her other damaged wing and throwing it aside. Similarly, Yunjin’s scene with her pink dress tearing in the elevator was probably the second most impactful and memorable scene. There are a few other references such as dancing on tables and bright coloured wigs. In addition to all of that, LE SSERAFIM’s visual game is very strong in this comeback, showing off a very confident side to themselves. I also liked how the western theme of the song is also carried through into the music video. It makes the most sense after all.

This entire routine was super cool, and I really enjoyed it all. I liked how there was still an element of fun and a nice bounce to the choreography. The “horns” (I am assuming that is the concept behind the choreography’s main dance move) was an interesting yet easy to follow point of the choreography, while a nice mature side to the choreography works hand-in-hand with the confident vibes that the members put out.

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

[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