Apologies for another two days of no reviews. But I am back today and ready to review the load of comebacks over the next couple of days whilst I hide from the heatwave that is happening in Australia. Anyhow, first up is STAYC’s comeback, which is their first since BEAUTIFUL MONSTER in July of last year. Since then, the group made their Japanese debut with Poppy (which I have yet to review, but will get around to doing in a future International Song Review segment). On Valentines Day a couple of days back, the group made their comeback with Teddy Bear, which is also the title of the group’s fourth single album.
When you have a song title like this one, you can’t help but think the song is going to be childish and cutesy. And ultimately, Teddy Bear is best described as childish and cutesy. Personally, I have a hard time digesting most songs of this nature, though there have exceptions in the past. But Teddy Bear is actually quite approachable and enjoyable. I found it to be a fun and cheerful listen that brought a smile to my face (though this might have been an effect of the visuals). Teddy Bear is mostly pop, but there are pop rock elements during the choruses, which adds to the appeal of the song. The guitar intro was an entertaining yet light introduction to Teddy Bear. The hook was quite catchy, much to my surprise. While I have no issues with the repetition of “My Teddy Bear“, there is a whiny synth alongside the post-chorus hooks that I thought would have been annoying or jarring. However, despite the listens I have given the song since its release, it hasn’t come to that point. Maybe it will in the future, only time can tell for that. But it is this hook that makes me come back to the song, while the rest of the song has this pleasant melody that fits the fun and cheerful nature of the song, but also makes the song appreciable. I enjoyed the more serious breakdown in the second verse that made way for rapping. Was it needed? I actually do think so, as it didn’t make the song feel overly saccharine. Overall, Teddy Bear is a release that I enjoyed.
I mentioned before that the energy of Teddy Bear was potentially the cause of a smile on my face whilst listening to the song. But I also raised that the music video could have been the cause of that. The video features an childish and cute energy, just like the song does. There are over-the-top moments in the music video, such as the truck crashing into the store to deliver a supply of bear bread, the widening of the bus (which was a pretty clever set up for the upcoming choreography shot) and the cult-like scene during the bridge to summon the cartoon bears. I did find the teddy bear masks to be cringy. But it, alongside those over-the-top moments, were still okay to watch, and so brought a smile to my face.
I am kind of glad to see teddy bear references in the choreography. I was actually questioning how they would go about bringing a teddy bear element into the choreography. Props came into mind, but I wasn’t too keen on that. Apart from that, it is a fun and super energetic performance that works.
Song – 8.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.3/10
Casting out minds back to the end of August of last year, KEY returned as a solo artist with GASOLINE and his second studio album of the same name. Just over five months later (i.e. today), KEY returns with the repackaged version of GASOLINE, retitled as Killer. KEY’s latest title track also shares the same name.
I am super pumped to review this track. Without holding any of it back, Killer emerges with and consistently delivers an instrumental made of retro 80s synths (which reminds me of The Weeknd’s hit Blinding Lights). In fact, it features an unapologetic amount of 80s synth that just makes me so excited and feels like it could have been an amazing follow up to KEY’s Bad Love from 2021. Killer is also very up-tempo and upbeat, with the beat falling into the foot tapping category at the very minimum, but more so a track to get up and dance about to. I really enjoyed the intensity that comes with the choruses, which makes Killer feel explosive and powerful. To compliment, KEY projects one of his best and most impressive display of vocals ever, particular in the choruses, which ultimately helps fuel the intensity and power of the chorus. He also provides some falsetto, upping the ante to the song further. There are moments of reprieve, but they are very brief. Just enough to give you an opportunity to breathe for a second, before jumping right back to the energy that is Killer. I do think an intense rap segment, either from KEY or a featuring artist, would have been the icing on the cake and intensify the song even further. But what we got is absolutely fine and forms part of a super strong comeback.
I would have liked a stronger and more fleshed out story to the music video. It starts off with a flipped burning car and KEY zipping away on his motorcycle. Later we see KEY walk away from the wreckage with a flame thrower (or another type of flame gun). Based on the lyrics, KEY likens the pain memories cause following the breakdown of a relationship, where he likens the pain to killing his partner. The fiery crash most likely depicted his partner/past relationship, while his action of causing the fire signifies the end of the relationship with his partner. However, I do like details and would have liked to know the leadup to the the burning car. Apart from that, the music features a fair amount of passion and emotions, ranging from sadness to anger. All of which KEY nailed amazingly in this video.
From what I can see, the performance features equally passionate and intense moves that compliment the energy that comes off Killer. The entire chorus routine looks super cool based on what I could see via the snippets we got in the choreography. I also excited to hear KEY nail this song via a live performance, especially if he is dancing to the same calibre as in the music video.
Song – 9/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.9/10
Late last year, I started to review the undergrOund idOl series from OnlyOneOf, a series that focused on each of the OnlyOneOf members individually, while every two music videos were intertwined with one another. At the time of writing the reviews, I had reviewed all four songs that were already released at the time, including Yoojung’s begin, KB’s be free, JunJi’s be mine and Rie’s because. Today, I return to review the fifth release of the series, Mill’s beat, which was released at the end of November 2022. And I am hoping either this weekend or the next week, I will also review sixth and final release of the series – Nine’s beyOnd.
Mill is OnlyOneOf’s resident main rapper, so I expected that his solo song would be geared towards showing off more of this side of him. And beat did just that. Compared to the previous songs we have heard in the series, beat is more upbeat, intense and dynamic, tapping into hip-hop influences and abrasive synths. I really liked how the producers roughened up Mill’s raps, adding the textures of beat and compliment the instrumental. This ultimately gave beat a crunchier exterior, which I actually quite enjoyed. Mill’s raps are delivered in a shoutier manner to usual rap based songs. But I personally do not mind this, as it just made beat feel more lively and adds to that dynamic factor. His vocals were also quite good. What makes beat more appealing is the grooviness we get in the choruses, which makes everything a lot more palatable and fits it into the current trends we have been seeing in KPOP. The groove also gave beat a unique profile and interesting character. I quite enjoyed everything that beat had to offer. But if I were to say something constructive about beat, it would be the fact I wished it went in harder. However, I completely understand why the producers didn’t do this, as this would have completely derailed the efforts of the undergrOund idOl and become ill-fitting with the rest of the series. Despite this, I would still like to hear an amped up version in the future, as I can totally imagine the song in such a light.
The music video focuses on a relationship that comes about in the school yard. Nine is a new student at the school that Mill goes to. Since coming over, Nine has been saving Mill from being picked on/bullied and a subtle friendship blooms between the pair. But Mill is a shy character, so he doesn’t exactly hang out with Nine, preferring to watch him from afar. But Mill is caught by his bullies, who make his time at school hard, especially since they realize that Mill has become quite infatuated with Nine. One day after school, Mill is dragged away from school by his bullies, but Nine stumbles upon them, attacks one of the bullies and runs away with Mill from them. The bullies give chase after the pair, but the pair quickly loses the bullies and (I think) this cements their friendship. One night, however, Mill is waiting outside in the cold (presumably for Nine). The latter comes up to Mill at their meet-up location, bloodied and bruised. Why this is the case, we don’t know until we watch the music video for Nine’s beyOnd. Like the other videos, the other members make a brief appearance, with KB acting as the teacher and the other three members play basketball with Nine.
Song – 9/10 Music Video – 8/10 Overall Rating – 8.6/10
It has been a while since we heard from BSS, one of SEVENTEEN’s subunits consisting of Boo Seungkwan, DK (Lee Seokmin) and Hoshi (Kwon Soonyoung). In fact, their only release before today wasJust Do It from 2018. But that changes today, as the trio have returned with their 1st single album, SECOND WIND, and a new lead single titled Fighting. The new single also features the up and coming female rapper Lee Young Ji, whom Seungkwan has collaborated with via the collaborative cover of LIZZO’s Juice and Hoshi had previously featured as a guest on on Lee Young Ji’s webshow No Prepare (and it was hilarious).
If you are basing your expectation for Fighting on the unit’s first release, then you are going to be super satisfied with the likes of Fighting. It is a super energetic, dynamic and wild funky track that just gets you pumped and excited. This exact ‘effect’ is what the song intends to give off as the message behind the lyrics is telling us to not give up and push through the times of struggle and hardship (hence the title Fighting/Hwaiting – the Korean word for encouragement made popular by KPOP, Korean dramas and TV Shows). Again, the trio hit the mark in terms of expectations, delivering a fun and cheerful persona that helps liven and lighten up Fighting. There were some great vocal moments, especially that impressive high note at the end of the song and the energy they channel in the chorus. Fighting has catchy moments that just makes the song even better, such as the post-chorus hook that repeats the “Fighting” title and the ‘Na Na Na‘ that finds itself just ahead of the second verse. Lee Young Ji’s rapping was quite cool, and I felt it was a nice way to add a slightly more serious tone and keep Fighting grounded. I did think her part could have used a bit more bounce to just fit in better with the rest of Fighting. If I have to be critical, the one sequence that I am not exactly a fan of is the shouty rap pre-chorus sequence. The minimalistic vibe from this sequence just felt dull and the sequence really missed an opportunity to hype up the chorus and the song. Overall, Fighting is a fun track that delivers a positive message in the manner you would expect from BSS.
The music video for this comeback was super enjoyable. Firstly, I really liked the one set approach in this music video. Each set we get in this video is actually shot with another in the background or off to the side. For example, the bedroom location is right next to the coffee shop, while all of the sets of the music video appear in the background of the main choreography set (i.e. the street set). Not exactly a new idea, but what the producers did with this one set approach and how they tied the music video together to make it one cohesive video was super innovative in my books. Secondly, I enjoyed the energy that the members put into the video. They really made it funny and lighthearted. From their facial expressions to their actions with one another, it all made for a fun video. I also liked how the video ‘darkened’ for Lee Young Ji’s presence, which created a ‘serious tone’ to the video, which worked really well with the more ‘serious tone’ she brought to both the song.
I liked the comedic tone they inserted into the choreography, which helps keeps the performance true to their individual charms (and to their unit’s charm). From that, it was a fun routine that matches all of the characteristics you feel from the song. I really liked the first half of the “Fighting” routine of the choreography, which was probably the highlight of the entire choreography.
Song – 8.5/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 8.7/10
Also flagged early last week, I would be fast-tracking (depending on which album you are looking at) the album review for 2 Baddies and Ay-Yo, NCT 127’s 4th studio album and the repackaged version of the same album, respectively. Both albums features the title track of the same name (links below) and a total of 13 additional tracks. 2 of these 13 additional tracks were added to the album as part of the repackaged version, which dropped on 30 January 2023. The original version of the album, 2 Baddies, dropped back in September 2022. This 4th album is another strong display from the group and there are a few 10/10 tracks on the album. Find out which tracks I am talking about, and my thoughts on the entire album and the repackaged version below. I fear if I continue waffling on in this intro (as I am doing now), this album review will never see the light or day (at least until next weekend).
2. Faster– Faster served as the opening track for the 2 Baddies version of the album. And it was a great start. Faster is loaded with energy, but it is all delivered in a subtle manner. And that is what I really enjoyed about the song, as it is all quite unsuspecting. I really liked the minimalist hook to the song, which is an add on to that subtle touch. Elsewhere, there was powerful bass to the song that just heightens everything else and acts as a solid base to the song. The members brought texture to the song via their rapping and there were some growling to bring forth an aggressive side to Faster. The car sounds in the background were also a cool touch to the song. (9/10)
4. Time Lapse – A mid-tempo R&B track follows the title track. I am not entirely fond of the electronic start. It is another case of an intro that adds no value to the song. The electronic elements do appear in the song, but I don’t think that justifies the start. Aside from that, Time Lapse was a satisfying track. I did want more of a backing during the choruses to give the song a bit more substance. It felt a tad empty, in my opinion and there wasn’t anything for the vocals to anchor themselves to. Talking about vocals, it was Time Lapse’s wining element. I really liked how the vocals and harmonies pull you in and captivate you, especially during the chorus where all the members sung together. (7/10)
5. DJ – DJ is one of the new tracks added to the album alongside the release of Ay-Yo. I really liked the jazzy vibes that this track has. It brought a smile to my face. You can say the exact same thing with the energy that the members put into this song. DJ also stands out for me for its balance between vocals and raps. NCT 127 tends to be geared towards the rap, as they are hip-hop dance genre type of group based on their choreography. However, I really liked the pleasant nature and the bigger presence the vocalists had in the song, whilst the rapping gives DJ a nice boost of enthusiasm and makes it feels like a NCT 127 release. (8.5/10)
6. Crash Landing (불시착) – Crash Landing brings about a nice balance between hip-hop and R&B. I liked how the percussion was used, giving off mini/soft punches in the instrumental. The twinkling like synth that starts off the song and makes its presence known by repeating in the background was quite intriguing. Again, the vocalists flourish in this song, with their smooth vocal delivery during their parts and the simple R&B melody that they brought to life in Crash Landing. And I liked how the rapping also stood out with the chanting in the chorus and how they made the rappers made themselves known in the second verses. (8/10)
7. Designer – Designer starts off like any other NCT 127 song, where the synths here hinted at some badass and possibly tough and powerful. But the song, very shortly after the opening second of the song, breaks down into a much gentler song thanks to the twinkling percussion and a more mellow approach to vocals and raps. The union of vocals in the chorus was a highlight in my book for Designer. I like how the raps still had a rough exterior to them, which keeps the song feeling like an NCT 127 track. I also enjoyed the change in momentum for the bridge. Come to the think of it, the cohesiveness of Designer is definitely a standout element of the track. (9/10)
8. Gold Dust (윤슬) – Doyoung and Jaehyun’s acapella (with slight autotuning) was an impressive start and end to Gold Dust, respectively. The R&B ballad continued with a very minimalistic approach to the instrumentation, allowing the vocals for NCT 127 to really stand out and be the main driver of the song. The melodies were wonderful and so charming. The rappers kept a low profile during their segments, but still had enough kick to make themselves known in the song. I really liked the way Mark built up the song in the bridge and Doyoung carried on the momentum effortlessly in the bridge. Everything in this track oozed a golden tone to it, which makes perfect sense give the title of the song. (10/10)
9. Black Clouds (흑백 영화) – Black Clouds is another track I am impressed with. This is a more vocally driven track, with Black Clouds gearing towards a pop/R&B style ballad. That being said, Mark and Taeyong’s rapping does fit into the track really well. This is thanks to what sounded more like a band instrumental that brings a good beat and substantial definition to the song. I really like it when the members all sing together, especially for the “Rain, Rain Up in my head” post-chorus hook. The melodies in Black Cloud also made is a super easy listen, which I really enjoyed. (10/10)
10. Playback– I am not fond of the metallic percussive synth that appears in the instrumental. While it has it charm and is quite playful, it is quite jarring and sticks out like a sore thumb in my opinion. Its presence, no matter how hard I try to suppress any thoughts about it, just distracts me from the other elements of Playback. Though what I could make out in Playback were playful melodies and neat vocals. The slight buffering at the end of the bridge was cool (I honestly thought my internet was down at that point for a brief second). (6/10)
11. Skyscraper (마천루) – Skyscraper is the album’s most loaded and intense hip-hop affair on the album. It is the third new song added to the repackaged album. It definitely adds a blast (and more!) of energy to the album’s tracklist. I really liked how the powerful side of the group is shown in Skyscraper, in both vocals and rapping. I did think the song could have used a more innovative instrumental. Add in some electric guitars and unfamiliar synths that brings a whole lot more texture to the song. This way, Skyscraper could have stood out and been an alternative title track choice. (8/10)
12. Tasty (貘) – Tasty is a cool track, bringing together hip-hop and EDM. A typical combination for NCT 127, but Tasty overlooks that. I liked the descending rhythm the track had and how the vocals contributed to the rapping in this song. I also found a lot of the rapping to be alluring and tempting (i.e., the deep ‘So Tasty’ we get in the chorus). Tasty had some really strong hooks that is constantly replaying in my head and I liked the intensification of the EDM for the dance break. It was an unexpected amplification that just emphasized that cool factor. (10/10)
13. Vitamin – Vitamin brings forth a funky tone to the album, reminiscent of the 90s. The hook was super catchy and definitely concentrates NCT 127’s hip-hop presence quite well. The addition of brass for the final chorus was a very welcomed and logical addition for this song. Elsewhere, I think the song could have used some extra work. But Vitamin is definitely a strong song, nonetheless. (8/10)
14. LOL (Laugh-Out-Loud) – The brass makes a return and has a heavier presence in this upbeat and funky pop dance track. I liked the feel-good vibes of this song and how pleasant the vocals and rapping sound in the track. LOL is not the most memorable track on this album, but it is the album’s most brightest and vibrant track. (8/10)
15. 1, 2, 7 (Time Stops) –1, 2, 7 ends off both the 2 Baddies and Ay-Yo album and also has an accompanying music video. I really enjoyed the groovy undertones overall smoothness of the track. You can also feel the sweetness behind the members and their voices. It all makes for another pleasant track. And a nice one to ease out of this album, as well. Mark and Taeyong’s rapping in this song is also a fun sequence in the song. (8.5/10)
As flagged a few days back, I will be posting the album review for ANTIFRAGILE, LE SSERAFIM’s second mini-album since their widely successful and catchy debut with FEARLESS (both the title of their first mini-album and debut title track). Only one song review stood in the way of publishing this album review (i.e. side track Impurities). But with that review posted on Thursday (link below) and I reviewed ANTIFRAGILE (the group’s most recent title track, link also below) back around when it was first released in October 2022, it is time for me to post my album review for ANTIFRAGILE. Their new mini-album is miles away from the standard set by FEARLESS, which I had described as ‘fair’ at the time of review. There are a few nice gems on this new mini-album, so keep on reading to find out which song(s) I am referring to and to check out the improved mini-album release that belongs to LE SSERAFIM.
ANTIFRAGILE Album Cover
1. The Hydra – Through The Hydra, we get an EDM introductory track. It was a very cool single with the members narrating in their respective languages (Korean, English and Japanese) about being antifragile (which leads into the title track that follows). It is definitely very trendy and the instrumentation has such a sense of confidence and sassiness that I find to be very memorable. (9/10)
4. No Celestial – Bringing pop rock to the mini-album is No Celestial. This style of pop rock is reminiscent of early 2000s pop rock and is another cool track on this mini-album. LE SSERAFIM doesn’t hold back in the song, throwing the F-word at us throughout the track without any consequence and giving us what I would describe as a powerful chorus that is just a vibe. Their vocals were superb throughout. All this praise means No Celestial is my recommended side track from this mini-album. (10/10)
5. Good Parts (when the quality is bad but I am) – Ending the mini-album is Good Parts, which is a much softer pop track. Just from the tone and vocal delivery, this song expresses a more vulnerable message to the audience. I really liked the harmonies in the song, the velvety instrumentation and the melodies were really soothing and touching. I also like how Good Parts manage to show a different colour to LE SSERAFIM, indicating their potential and range. (8.5/10)
Another album review is here. As you can tell, I am trying my best to catch up on the backlog of albums that I want to take a closer look. And I think I have figured out a ways forward in clearing that backlog. I won’t bore you with the details. Just leave it up to me to get through all the albums I have on the list. As for now, let’s refocus on the album in today’s spotlight. As you can tell by the title of this post, that album is AB6IX’s 6th mini-album, Take A Chance. Released in early October 2022, it features the title track Sugarcoat and 6 additional side tracks (one of which being the Korean version of the group’s first original English single CHANCE). The release of Take A Chance follows two other 2022 comebacks by the group – A to B (lead by SAVIOR) and Complete With You (lead by 1, 2, 3).
Take A Chance Album Cover
1. Paranoia – Beginning the mini-album off with a bit of edge is Paranoia. It starts off like your typical dark concepted dance track. But as the song progresses, Paranoia becomes more shrilling and loaded with synths. You might think of it as a quality issue, but it ended up giving Paranoia a very intriguing texture and vibe. To compliment this, AB6IX vocals/rap become muffled (to varying degrees) throughout the track, which heightens the texture and vibe to new levels. I did like that AB6IX and their producers manage to somehow still get the vocals/raps to standout. (8.5/10)
3. Weightless – Weightless is a very cool and unique track. I am not entirely sure what genre Weightless would fall into, but I am thinking of alternative pop rock. I really enjoyed the choruses, especially with the textured jabs we get at the start of the choruses and the blastful energy that follows up those jabs. Those jabs were also an obvious highlight that I have gladly replayed the song for time and time again. The verses were a bit more mainstream, but I appreciated that as it gives us a chance to build/recover from the choruses. Weightless is my recommendation from this mini-album and a song I hope to see AB6IX perform some time in the future. (10/10)
4. Complicated – Electronic distortion kicks off Complicated, before a simpler R&B pop direction takes over. The distortion, to a degree, does remain part of the song. But it feels quite small and hence comes off more like vibrating detailing. It comes back in more substantial manner towards the end, finishing off the song how it started. Apart from that, I enjoyed the vocals and melodies, which had a subtle sensual vibe. The rapping, on the other hand, gave Complicated an epic feel. All of which contributed to a strong track. (9/10)
5. Resonance – Resonance is another cool track with its electronic hip-hop instrumentation. Once again, I quite liked Woojin’s rapping. I also enjoyed that female vocal effect being built into the instrumentation during the second verse, adding a funky/groovy element to the song. The boyish anthem chant and rapped second half to the bridge was an epic start to the end. I would have liked it more if the producers somehow transformed that into the actual end of the song or an outro, as I prefer that to the actual chorus/outro that was repeated from earlier on in the song. (8/10)
6. Crow– Crow hones back into the R&B genre that was visited earlier by the group. It delivers an even sensual vocal/rap performance, and the melody for the chorus was memorable. I just wished there was a bit more to the instrumentation, to give it some oomph or something memorable to remember it by. The flute-like detail potentially could have been this element, but it was just felt overpowered by the bass and everything else in the instrumentation. (7.5/10)
7. CHANCE (Korean Version) – CHANCE was previously released in English in August 2022. It is a simple and bright pop track dedicated for their fans. The brass gives it such a vibrant colour and tone, while the members’ vocals were upbeat and cheerful. I quite enjoyed the English version of the song when it came out, and the Korean version is equally as great. (8/10)
In case you missed it, LE SSERAFIM made their comeback with ANTIFRAGILE (the name of both the mini-album and title track) in October of last year, raising the bar even further in the very heated competition between new female groups of last year. As part of the promotions for ANTIFRAGILE (the mini-album), the group followed up promotions of ANTIFRAGILE (the title track) with the side track Impurities, which also got the music video treatment (hence the review today). Today’s review for Impurities also is in preparation for the album review for ANTIFRAGILE, which I will be posting some time this weekend.
Impurities comes off as another pleasant song, though I am of the opinion that more could have been done with Impurities. It features a smooth and dreamy R&B instrumentation that really pulls you in and captivates you. The vocals were kept subdued and gave off a mature vibe, pairing extremely well with the R&B genre (in general) and Impurities‘ instrumental . Together, it created a soft atmosphere that is so easy to get lost in. The song is also described as ‘sophisticated’, which I totally get from the song, as well. However, there isn’t much to remember Impurities by. This is because Impurities lacked a riveting melody and bold enough hooks that would have kept the song in the mind of the listener after it had ended. Had LE SSERAFIM and their producers developed melodies and hooks with a more memorable tinge to them, Impurities easily could have rivaled the likes of NewJean’s Attention or even Ditto. I did find the ‘Can you see huh?‘ line just before the choruses to be charming, so Impurities had that going on for itself. There was also a bit of oomph via some sing-rapping, which I found to have struck an appreciable balance of adding something more to Impurities, but also keep the rest of the track in mind.
The music video for Impurities was more of a performance video, with the entirety of the music video focusing on the choreography. I will make comments on the performance in the next section. I thought the intro was very eye-catching and intriguing. The rest of the music video is shot in one location, but the producers did a lot with this one location. The use of walls, lighting, screens just gave a limited and boring location limitless potential. I also feel that green screens might have also been used to extend the location out further. But I may be wrong about this. I really liked the images were saw on the screen in the background
Even though the music doesn’t call for much, LE SSERAFIM really showed off their performance chops with what felt like a complex routine. They were constantly moving about, filling up the space so well, both musically and on stage. It is a captivating performance that works extremely well with the music and style choices for this song.
Song – 7.5/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.1/10 [UPDATED: ‘Overall Rating’ rectified on 12/08/2023]
XIUMIN’s solo debut mini-album, Brand New, is the next album to be reviewed on the blog. It was released back at the end of September 2022 and features the title track of the same name. In addition to Brand New (this time I am referring to the song), the mini-album also contains four other tracks – one of which features past collaborator MARK from NCT. Overall, it is a decent mini-album that helped create a solid solo debut for XIUMIN. Not exactly the most mind-blowing release ever, but it does do enough to get me interested in XIUMIN’s solo potential. Aside from solo potential which raises hopes for a future solo comeback, XIUMIN is expected to return as part of EXO alongside his bandmates in an announced Spring 2023 comeback. So there is a bit more to be excited about. But for now, here are my thoughts on Brand New.
2. Feedback – That main pulsing electronic synth was pretty jarring and overtime has gotten annoying for me. But aside from that synth, Feedback is neat electronic dance pop track. I liked how XIUMIN’s vocals embraced the choppy melody (which arose from the choppy nature of the use of the synth in the instrumentation), and how the melody smoothened out for the pre-choruses and choruses. The backing vocals and samples also added a cool backing element to the song. (7/10)
3. How We Do (ft. Mark from NCT) – Last time we heard XIUMIN and Mark together was through their SM STATION collaboration Young & Free. They come together once again through How We Do, another dance track. This time, however, the song delves into 90s territory with its mix of hip-hop and R&B. XIUMIN brings the R&B to the song with his vocal works, while Mark’s raps encroach hip-hop territory. For the most part, How We Do is a decent track. My biggest complaint comes during the second verse, where XIUMIN’s vocals are autotuned. I didn’t think this unfitting feature of the song was necessary. (8/10)
4. Love Letter (민들레) – Moving away from the dance tracks, we get the album’s mandatory ballad through Love Letter. It is one that features a swaying melody that I enjoy when it comes to ballads. Piano and violin, along with soft percussion, makes up the instrumentation for this ballad. Rather typical, but it was a beautiful one nonetheless. I really enjoyed XIUMIN’s softer vocals in this one, which is stilling at times and brings forth a delicate tone that compliments the instrumentation so wonderfully. (9/10)
5. Serenity – Closing XIUMIN’s debut album is a lovely soft pop track that I would recommend to anyone. Every time I listen to Serenity, I find myself smiling to the track. It is one of the reasons to why I pick this song as my favourite from the mini-album. Serenity features acoustics, uplifting drums and soothing vocals from XIUMIN – all of which comes together to create such warm, inviting and inspiring song and end to the release. (10/10)
VIVIZ makes their comeback today with their newest single, PULL UP, and third mini-album, Various. This new release follows VIVIZ’s big and busy year which involved their re-debut with BOP! BOP!, LOVEADE and Rum Pum Pum (the latter track being a music release of the Universe Music app) and their participation in the Queendom 2 series.
My very first impression of VIVIZ’s new song is that it exudes a more noticeable mature vibe compared to their past two singles. I do have a tendency to enjoy more mature sounding tracks, so this one is already winning some brownie points in my book. But by no means is PULL UP a dark or edgy type of song. Instead, PULL UP keeps on trend with a funky and groovy instrumental to it, complete with some brass (that is always synonymous with funk and groovy instrumentation) and cow bells. PULL UP begins with a consistent foot-tapping beat (that feels almost like a model’s walk or runway type of vibe) and a more subtle funky touch thanks to the very low bass in the background. Clear vocals, melodies and atmospheric synths comes into play during the pre-chorus, before we “step” into the chorus. Emphasis on “step”. The use of a boring description for the transition between verse and chorus is on purpose for this song because the chorus just felt too similar to PULL UP‘s opening verse and this disappoints. The only difference my ears can detect between the two sections is a slightly change to the vocals. It is missing oomph, which could have transformed PULL UP. The already mentioned brass comes in as a backing for the post-chorus hooks. The first time around, the brass is standalone, while the second and third sequences of brass we get, it forms the backing for rap sequences. The rapping was quite cool, and I enjoyed the sassy-like vibe that comes from the song through the combination of rapping and brass. It isn’t enough to make up for the disappointment from the choruses, but it did give PULL UP an opportunity to pull me into the song in the end. Had the chorus been a a bit more show-stopping and less lacking, PULL UP would have been one cool song.
VIVIZ is a bit sassy and full of confidence throughout this video. They make a statement and drawing in attention wherever they go and in whatever they do, but they have no care in the world for whatever others think or say about them. They enter a convenience store store right after blowing up their car outside, proceeds to trash the place, blowing up heads of those watching them in the store and through the CCTV. They proceed to run people over (I am assuming those people were the people taking pictures of VIVIZ whilst they were in the car) and had a bit of fun in an art gallery or museum (which is usually not a place to have fun in). I did like their shopping outfits, but not so much the museum outfits (it all looked weird with Umji’s head covering and Sin.B’s rubber gloves).
The choreography for this comeback looks pretty good. I really liked the routine for the first brass sequence of the song, as that was the what that really drew my attention in. The chorus and the other brass sequences (with the rapping) looked cool and definitely fits with the sassy/confidence vibe they showed in the music video.
Song – 7/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 7.6/10
Kicking things off this week is NCT 127, who returns with Ay-Yo – the title of both the group’s newest title track and the repackaged version of their fourth studio album. Ay-Yo follows the group’s 2022 comeback with 2 Baddies, which was the title track to NCT 127’s fourth studio album when it was released in September 2022. You may notice that I have yet to review 2 Baddies (the album). The plan was to review it at the end of last year, but I sidelined the album review upon hearing a potential repackaged version was coming out. With the rumors officially true and the album dropping today, I will be fast-tracking an album review for 2 Baddies/Ay-Yo this coming weekend. In the meanwhile, here are my thoughts on Ay-Yo.
I found Ay-Yo to be an intriguing song. It is in the standard realm of hip-hop dance, which is where most of NCT 127’s songs do find themselves in nowadays. Personally, nothing too interesting from this department within Ay-Yo. However, instead of the usually loud, sometimes obnoxious, bold synths; an undeniable powerful energy from the instrumentation; heavy reliance on rapping; and strong hooks, Ay-Yo takes on a different form of power. The new song opts for powerful vocals, which is a slight change to how NCT 127 usually presents their song. This is the first time that I have heard a title track from the group that is so vocally driven, yet still consistent with their current output. As a result, Ay-Yo feels more subdued and ‘held back’ than usual. And I quite liked it. I also feel like the scales between rapping and vocals are more balanced in the song. We do still get the usual dose of powerful rapping from the rappers. Nothing feels in your face with Ay-Yo, with some of the rapping feeling quite sleek as some members opted for lower registers and it allowed them to come off as ‘mature’ sounding. But at the end of the day, it is the vocals that steal my attention in Ay-Yo, and I happy NCT 127’s vocal line is getting their moment to shine. Hook wise, the “Ay-Yo” we get at the start of the chorus does have its impact. On the melodies front, I feel that Ay-Yo has a nice ring to it, particularly Taeyong, Mark and Yuta’s respective opening lines in the choruses. But while the intriguingness and different take does win me over, Ay-Yo does have issues. My biggest one with Ay-Yo is the abrupt ending. Maybe an attempt to keep the song within their usual territory, but it just makesAy-Yo feel unfinished – not exactly the feeling I want to finish a song on.
I am not entirely sure if there is a concept with this music video. I kind of wished there was more to it. Everything feel quite urban and there are some strong and stunning visual solo shots (i.e. Jaehyun and Doyoung) in this video. In addition to that, Taeyong’s super spikey hair-do is probably one of the boldest looks I have seen in KPOP for a very long time. However, I did get dizzy watching spinning tunnel and I wish the lighting was better during some parts.
From what I can see in the music video, the group still maintains a strong performance piece even for a subdued song. The moves are less punchy, but that is expected with a song like Ay-Yo. I liked the slow movements during the verses that we saw in the video. I also liked the synchronization the members pulled off during the slightly more intense moments from the chorus.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Dreamcatcher’s 7th mini-album, Apocalypse: Follow Us, is the next mini-album up for a review. Apocalypse: Follow Us was released back in October and features the title track VISION, one intro, an outro and an additional three songs. It follows on from the group’s Apocalypse: Save Us album and MAISON release from April 2022. Dreamcatcher continues their niche and style with this mini-album, keeping things fairly consistent (but also freshening up their releases one way or another) over the last six years since they rebranded themselves as Dreamcatcher. In celebration of their 6 year anniversary, Dreamcatcher recently released a digital single titled Reason. So after checking out Apocalypse: Follow Us through this album review, check out their new release as well!
Apocalypse: Follow Us Album Cover
1. Intro: Chaotical X – Kicking off the mini-album is Chaotical X, a very intense and dramatic electronic instrumental piece that really grabs your attention. The alarms at the end signal the end of the introductory track, blaring in a way that feels suspenseful and epic, making you want what is to come next.
3. Fairytale – Next up on the album is Fairytale. The pop rock nature of this song caught my attention. The pop vibe through Dreamcatcher’s vocals, while the instrumentation brings up the rock element to the song. Dami’s softer rapping approach was wonderful and works really neatly with the pop rock vibe. Altogether, Fairytale feels refreshing and blissful, making it an amazing track to listen to. A highly recommended song from me. (10/10)
4. Some Love – I really liked the boldness and boastfulness of the pop instrumentation of Some Love. As this is a Dreamcatcher song, electric guitars make an appearance in the instrumentation. And together with the synths, they create a funky atmosphere. Even though the instrumentation for Some Love is loud, the members still manage to stay on top of it. (8/10)
5. Rainy Day – Toning and slowing down the entire mini-album is Rainy Day. Rainy Day is a ballad, which features a nice piano R&B arrangement, accompanied by sounds of a rainy day. Melody wise, we have that swaying effect and the members sound quite nice. I did wish there was a bit more to the ballad, such as some sort of buildup, just so it doesn’t stay overly consistent as it did. Maybe throw in some violins or orchestra into the mix to give it some body, even as cliché as it sounds. But it is still a decent ballad to sit back and reflect upon. (7.5/10)
6. Outro: Mother Nature – Mother Nature begins off with an instrumental piece that felt like it embraces nature and balance. It felt fitting as a backing piece to a montage of nature clips of beautiful sceneries and wildlife. Towards the end, we do get some sinister drum beats and a horn being blown, suggesting that we should still be aware of our surroundings for what is to come.
The next mini-album up for review this week is KIHYUN’s first mini-album, YOUTH, which featured a title track that shares the exact same name. Alongside, YOUTH (the title track), four side tracks also make up the mini-album. YOUTH (both the album and title track) follows KIHYUN’s solo debut earlier in 2022 – Voyager, which was released back in March 2022. YOUTH was a neat follow up to VOYAGER, showcasing more of KIHYUN and delivering that mini-album that KIHYUN definitely deserves to flaunt his talents and undeniable potential as a solo artist. Next up on the wish list is a speedy solo comeback from KIHYUN (Side note – he just returned in MONSTA X’s Beautiful Liar) with another album.
2. Bad Liar – Kicking off Bad Liar are some vocals on a lower register, before KIHYUN soars upwards with some powerful vocals when it came to the chorus. I found the instrumental to be a dramatic one, but also quite electrifying once we get into chorus territory. I do think some more substantial electric guitar riffs would have been really cool addition to the song and taken Bad Liar to even more electrifying heights. (8.5/10)
3. STARDUST – Next up on the mini-album is STARDUST. It is a straightforwardly fun and upbeat track that brings some retro synths into the mix of band instrumentation. I like the head-nodding potential behind the track and how KIHYUN sounds throughout the track. It is a fairly simple track, but definitely a standout for me on this mini-album. (9/10)
4. Where Is This Love – Where Is This Love is an all-English ballad that really showcases KIHYUN’s vocals. I honestly did not expect an all-English track from the soloist, let alone an all-English ballad. This is probably the hardest type of an all-English track, given that is it hard for a non-English speaker (regardless of their vocal abilities) to convey emotions just as well as when they are singing in their mother tongue. But he does just that. Throughout Where Is This Love, I really liked how KIHYUN shows range with this track, going effortlessly between soft whispery moments and the more powerful moments where KIHYUN really shows emotions. It is a nice balance between delicate and passion, which makes Where Is This Love a strong track. (9/10)
5. ‘Cause of You – ‘Cause of You ends the album with a soft and lovely pop track. I believe there are some acoustics influences present in this track, along with some piano work and very light and subtle sprinkling of synths in the background. It is a very airy track, overall. Melody and vocal-wise, I didn’t find the track interesting. KIHYUN does sound pleasant throughout ‘Cause of You, but it isn’t his most impressive display of vocals on the album. (7/10)
The biggest comeback of the week is undoubtedly TXT’s, who returns today with their fifth mini-album, The Name Chapter: Temptation. The new mini-album is lead by the title track Sugar Rush Ride, which also dropped today. This comeback follows their fourth mini-album, Minisode 2: Thursday’s Child, which was released last year with Good Boy Gone Bad as its title track.
Sugar Rush Ride starts off quite good. It kicks off with this really promising funky and upbeat dance pop instrumentation (courtesy of some really good rhythmic guitars and a consistent and constant beat) that has this brightness and life to it. There was a section in the verses that had a tinge of Blue Hour to it, which I personally thought was a cool callback to their earlier days (that was from 2020!). The pre-chorus gives us some stunning vocals and melodic work, with some of the members going into falsetto mode for the pre-chorus. We then approach the chorus, which felt more so like as if someone had slammed on the brakes very suddenly. This is because of the flute-y anti-drop that Sugar Rush Ride features as its centrepiece. Personally I am not too troubled by said anti-drop, as it enables the group to opt for an unexpected sensual kick (which I personally found to be a charming characteristic of the song) which also felt slightly hypnotic. Also, the anti-drop sets out what it is intended to do. However, I do agree that it does take too much away from how the beginnings of Sugar Rush Ride, and interrupted the flow of the song considerably and in a disappointing manner. The more troubling aspect of Sugar Rush Ride is the “Sugar Rush Rush Uh” that follows the anti-drop. I can’t take this part seriously (My first impression was to laugh at this section) and felt it was completely jarring and abrasive relatively to the rest of the song. The retro beginnings makes their return in the second verse, but the second chorus is also a repeat of what we heard the first time around. The bridge combines elements from each section of the song (i.e., “Sugar Rush Rush Uh“, the flute-y anti-drop and the funky guitar work), which I thought was clever way to ramp up to the final chorus. However, I am questioning whether the elements work together or not. It literally combines the best and worst elements of Sugar Rush Ride. The bridge leads into the final chorus, which is a better mashup of the sections before it (sans the “Sugar Rush Rush Uh” hook), allowing Sugar Rush Ride to finish on an upbeat and a somewhat explosive note. Sugar Rush Ride might grow on me with more listens as each section becomes more familiar to me and I know what to expect. But for now, it is an interesting song indeed.
The mini-album is titled The Name Chapter: Temptation, and it definitely looks like temptation is the concept of this music video. It appears the members are washed ashore onto an island that tempts them with pretty flowers. But the pretty flowers are devious, acting likes drugs that takes them away from reality and into a different world that comes off as euphoric, pleasurable and more desirable than the situation they are in. In the end, we see the members return to their normal state and decide to leave the island. But HeungingKai appears to be tempted once again. Of course the lyrics can’t talk about drugs (otherwise it be banned in Korea), so the lyrics make reference to sugar high instead. Other than that, I thought the video was really cool. The producers definitely chose very pretty scenery for this video.
In addition to pretty outdoor shots, the members do embrace and show off an amazing sensual energy in this video that is surely going to attract fans. I felt they didn’t hold back whatsoever for the chorus, which is definitely a strong aspect of the performance. As much as I don’t enjoy the “Sugar Rush Rush Uh” part of the song, I do like the abrasive and roughness that it brings the performance. I also liked the extra push they give the moves for the final chorus, to match the newfound energy that comes through during said part. And as a cherry on top, great stage presence and camera chemistry. Overall, a great performance.
Song – 7.5/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 8.6/10
As flagged yesterday, I will be reviewing two new releases today. There hasn’t been too much this week, so you probably know which ones already. First up is YESUNG’s solo comeback with Small Things and his first studio length album, Sensory Flow. The release occurred on 25 January (this week’s Wednesday), and follows YESUNG’s solo comeback Pink Magic from 2019.
There isn’t much to Small Things, if I am being honest. No matter how I draft this review or how much I listen to the song, I can’t seem to write any more than a couple of lines about YESUNG’s new song. This might be a good thing, but it is also a not-so-good thing (more on that later). Small Things is another pleasant track, this time delving into an indie form of soft rock. It is also subdued and laidback, as well. Small Things brings a huskier tone to the audience, with YESUNG’s vocals being in this huskier mode for majority of the song. It definitely sounds amazing and I do find it warm and enjoyable. Paired with the slight swaying melody that brings Small Things to life, Small Things pokes you in the right spot. However, apart from all of that, I didn’t find much else to pull me into the song. All of the above is great, but without anything captivating or alluring, I just don’t see myself searching up this song on YouTube or my music app. If Small Things pops up, awesome – I will listen to it then. But at this stage, there isn’t anything driving me towards the song. This is the ‘not-so-good’ thing about pleasant songs with little to talk about.
The music video is just as pleasant as the song. YESUNG is depicted as an indie singer who performs in small bars and such alongside his bandmates. He falls in love with a girl who also has the same passion as him. In the song, he says it is the “small things comes together, gonna shine so bright”, whilst also explaining the small things can be a small smile or footsteps. In the video, it is the fact that they have music as a common element, that she passes him a cassette to listen to and that she comes to his performances (although late). It is small things like that makes him like her. Overall, a nice video. Just nothing riveting in this video or story. I did like the home style video shots we get throughout the video, which compliments the indie style I mentioned about the song and the setting of the video.
Song – 7.5/10 Music Video – 8/10 Overall Rating – 7.7/10
Apologies for the lack of song reviews – it has been a slow week in KPOP due to the Korean New Year. I will be reviewing two comebacks from this week tomorrow. For now, here are some album reviews I have pre-written, but for some reason failed to pre-schedule.
The next album to be reviewed on this blog is BAEKHO’s solo debut mini-album, Absolute Zero. This mini-album dropped in October 2022, over 10 years after BAEKHO made his debut as part of NU’EST (which sadly disbanded earlier this year). Featuring the title track No Rules and five additional side tracks, this mini-album made me think about why we didn’t get a solo release from BAEKHO sooner. This entire mini-album is testament of BAEKHO’s artistry and potential, and it is truly disappointing to know that it has taken 10 years for his company to give him an opportunity to shine and put himself out there. Absolute Zero has some really great tracks, many of which I would recommend to people who want to discover a new artist. Hopefully, there are more great tracks from BAEKHO on the way, as PLEDIS Entertainment definitely has a strong artist in BAEKHO. For now, continue reading my review to discover some gems from BAEKHO.
Absolute Zero Album Cover
1. Festival in My Car – While it has been a while since we heard from BAEKHO, I am sure he did not sound like this in the past. Festival in My Car brings out a raspier and huskier tone and lower register from BAEKHO that I am absolutely digging. This paired with the rock guitar (that creates a wonderful centerpiece in the instrumentation) and the band instrumentation creates such a piece that has soaring potential. Also soaring is the momentum and intensity once Festival in My Car hits the chorus. All of this helps create a strong number to kick the mini-album off with. (9/10)
2. LOVE BURN – LOVE BURN is next up on the mini-album. Synth-pop and guitar riffs come together to create the backing piece of LOVE BURN. While I am unsure what came first, the instrumental pairs extremely well with the melodies of this track, which I think is the highlight of the song. The melodies just give LOVE BURN so much character and personality, which I think is enough reason to say that LOVE BURN edges out the previous song. Throw in passionate and husky vocals from BAEKHO, and you have yourself another strong and captivating track to enjoy. (10/10)
4. We Don’t Care No More (ft. June One of Glen Check) – Collaborating with June One of Glen Check, We Don’t Care No More delves into groovier and funkier territory. But the track still falls into the synth-pop realm and features guitar riffs, just like the other side tracks on the mini-album before it. Both BAEKHO and June One brings something different to the song during their respective verses and choruses. BAEKHO has a nasally tone in this track, whereas June One brings out a hollower tone to his vocals. Yet when they sing together, they blend really well with one another to create what felt like one person singing. Melody and hook-wise, I felt We Don’t Care No More definitely excelled. (9/10)
5. BAD 4 U – Taking the album into R&B territory is BAD 4 U. I did like the beat to the song and how natural the song felt for BAEKHO. The melodies and lines just flow so smoothly from BAEKHO. However, it is the most standard sounding track on this mini-album. It isn’t really the most innovative track out there. I am also not a fan of the ending, which felt abrupt for my liking. (7/10)
6. WANNA GO BACK (ft. Sik-K) (변했다고 느끼는 내가 변한 건지) – WANNA GO BACK is the mini-album’s most powerful track, bringing forth a punkish rock sound to the mini-album. I liked how BAEKHO’s vocals becomes hoarsely, which really compliments the punkish rock influence. Sik-K’s rapping is autotuned, which I thought was interesting initially. But his rapping definitely adds an even rougher texture to WANNA GO BACK. I do wish the instrumental went a bit harder into the rock influence, just to give that wow factor. The guitar solo at the very end is definitely a step in the right direction. (8/10)
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