I start off the new week with another album review. This time the focus is on TXT’s fourth mini-album, Minisode 2: Thursday’s Child, their first album release since their The Chaos era last year. Thursday’s Child features the title track Good Boy Gone Bad, both of which were released in May of this year. On the mini-album alongside the title track, there are four additional side tracks – two of which are unit tracks.
Another strong release from TXT with this mini-album. With the success of The Chaos era being a big driver of the group’s growing popularity, I feel that fans had big expectations that Minisode 2: Thursday’s Child would further that growth. And I believe that the mini-album did just that. Not only was Good Boy Gone Bad was an epic comeback for the group, the other tracks on the mini-album were definitely of a high quality and proves that TXT are indeed artists that we need to keep on eye on for future releases.
Minisode 2: Thursday Child Album Cover
1. Opening Sequence – Kicking off the mini-album is the track Opening Sequence. And this is one really strong track. The development of the song as Opening Sequence progresses was one of the key aspects of the song that I was drawn to, with haunting piano and breathy vocals starting off the song. This last until the first chorus, which brings a heavy beat to the mix. We then get electric guitars to bring forth a rock tinge in the second chorus, and an even heavier rock presence aided by boastful synths came about in the final chorus. The melodies, particularly in the chorus, were iconic and super memorable. As for the vocals, they were very well done and you can definitely hear the emotions behind the vocals of the TXT members. (9/10)
3. Trust Fund Baby – I remember having a bit of a giggle when I saw the title of the song for the first time – it just felt so random as a title. Interestingly, I got reflective vibes from the indie ballad, which in turn intrigued me into understanding the song. When you read the lyrics, you read about how the members feel empty and meaningless following the breakup with their partner they tried so hard to be with in LO$ER=LO♡ER. Both the lyrics and balladry style represent a tonal change from their previous title track LO$ER=LO♡ER, with references to that song interwoven into the lyrics of Trust Fund Baby and a clear acceptance of their current circumstances. Again, amazing melodies and heartbreaking/emotive vocals are featured throughout the track. I also enjoyed how atmospheric the instrumental was. (10/10)
4. Lonely Boy (네 번째 손가락 위 타투) – An interesting mix of acoustic guitars and trap makes up the instrumental for Lonely Boy, the mini-album’s first unit track. It features the vocals of Yeonjun and HeuningKai. Their chemistry in this paced song was quite good. HeuningKai’s vocals oozed charisma, while Yeonjun’s rapping gave the song some much needed oomph. The English lines in the chorus were quite repetitive, but they did it in a way where it wasn’t overbearing and actually came off as memorable, instead. (8/10)
5. Thursday’s Child Has Far To Go – Thursday’s Child Has Far To Go features the balance of TXT members (i.e., Soobin, Beomgyu and Taehyun). I quite liked the ease of the song, as it was easy on the ears and easy to get into. The retro synths and mid-tempo upbeatness were quite pleasant and enjoyable. The trio’s vocals had a tinge of hopefulness, which pairs well with the lyrics of the song. The melodies were also quite soothing and light. Everything in Thursday’s Child Has Far to Go came together nicely and created a track that eases you off the album in such a perfect manner. (9/10)
The only album review I can put out this weekend belongs to SEVENTEEN. If you could not tell, I was preparing to post the review for FACE THE SUN and SECTOR 17 (4th studio album and the 4th studio album repackaged, respectively), following the reviews for the two pre-release tracks from the album (Darl+ing and CHEERS) – links below. In addition to these tracks, the album also features the title tracks HOT (released at the end of May), _WORLD (released in July), the Korean version of Fallin’ Flower (orignally released in Japan in 2020) and 8 additional side tracks.
To be honest, after writing this review up, I felt the album is one of their weaker releases to date. SEVENTEEN has always put out strong albums, and my final rating of the album might indicate that it is a fairly strong release. But this is the first time I can remember where I made a number of comments that expressed some disappointment with some of the songs on the album. But don’t worry, this is just my personal thoughts and there are still some strong side tracks on there. So, if you enjoy SEVENTEEN’s releases, you will definitely find something to enjoy from both FACE THE SUN and/or SECTOR 17. And if you are looking for a new song or not a SEVENTEEN listener, I will always recommend a SEVENTEEN album, as they have always been a well-rounded group!
FACE THE SUN Album CoverSECTOR 17 Album Cover
1. Circles (놀고 놀아) – Opening the repackaged album is the track Circles. It is quite a pleasant mid-tempo ballad, which leads into the title track of the repackaged album quite nicely. Everything in Circles – from the melodies to the vocals to the youthful choir to the classical instrumentation – were all warm and welcoming. Listening to the song brings a smile to my face. It might not be the most innovative start ever, but it was definitely enjoyable. (8.5/10)
3. Fallin’ Flower (Korean Version) – I have previously reviewed the Japanese version of Fallin’ Flower. To see my thoughts for Fallin’ Flower, please click here to read the review for Fallin’ Flower. (9/10)
7. DON QUIXOTE – For some reason, I felt DON QUIXOTE was quite an unsuspecting track to enjoy. It was one of those songs where I had no expectations heading into the song. But somehow, I am genuinely surprised with DON QUIXOTE. The chorus, which opens the track, falls squarely into the pop genre. It was a bit dry, but I appreciated the vocals in the pop sections of the song. As DON QUIXOTE progresses, we get hip-hop and rock influences on top of the pop, as well. The way these influences comes and goes in the track made it quite enjoyable. I wished there was a more explicit peak and drive to the song, as DON QUIXOTE almost falls into a neutral gear for me. But the already mentioned changes in style and instrumental helps keep the song afloat. (7.5/10)
8. March – March picks up on the rock influences from the previous song, and dives deeper into the genre. But while I am digging the instrumental, I am left disappointed with the vocals. I think the members could have really picked up on the rock influence and gone much harder with their delivery and execution. The rappers and that chanty bridge definitely have the right idea, as I found their parts to be a lot more satisfying. The vocalists, on the other hand, just seem to scrape the surface of the direction they could have gone down with. (7/10)
9. Domino – Domino is my pick for best side track on this album. It is definitely a cool track, with funky and groovy vibes throughout the track just screams a good time. I really liked the way the choruses start, with Vernon/Wonwoo’s countdown, the domino falling sound effect and the piano slide. The anti-drop that comes after was a great concentration of the funky and groovy vibes already mentioned. The addition of the electronic synths for the bridge was a neat development, as well. The vocals and rappers really did well in this song. I liked the breathy effect on the vocals and the rapping was sleek. (10/10)
10. Shadow – Next up is Shadow, which was a superb side track as well. Atmospheric and fast paced percussive synths in the verses, hefty guitar playing in the first half of the chorus and heavier pop rock is brought to round out the chorus. From there, the instrumental repeats but maintains the momentum it had created it for itself. The vocals in Shadow were really very well done, adding a suitable lively tone to the song and balancing out the heft that Shadow has. The roughness and textures of the rappers’ vocals were just perfect for a song like Shadow. Interestingly, the rapping was left to Dino, who nailed his rapping sequence perfectly and adds the right oomph to compliment the momentum of the song. (10/10)
11. ‘Bout You (노래해) – After such a hefty track, SEVENTEEN surprises with a lighter and smile filled summer pop track. Per most summer pop tracks, I am digging ’Bout You’s vibrant and playful manner. While the summery pop nature of the instrumental isn’t anything new to KPOP, I did still find it danceable and will not deny having a bit of a dance whilst reviewing the track. Overall, a fun track! (8/10)
12. If You Leave Me – The second last song on the album is another ballad. If You Leave Me, as alluded by the title, is a more emotional one (compared to the opening ballad of the repackaged album). The instrumental was only piano and I liked the beautiful tone it brought to the ballad. Per most ballads, there is a focus of vocals, and I liked the share of delicate and powerful vocals throughout If You Leave Me. The song also stands out with its interesting layering of vocals and the intertwining of vocals. The harmonies in the end were also just stunningly beautiful. (8/10)
13. Ash – Closing out the album is Ash, a trap hip-hop track. It is quite heavy on the autotune, which gave very different and unique vocal effects to members throughout the track. I kind of like that in this song as it gave Ash variety. Without this source of variety, I would have found Ash to be more of a bore than what it is. As alluded in the previous sentence, I don’t really care for Ash. It was more of a skippable song, in my opinion, which is slightly disappointing given you want the closer of the album to be memorable. (6.5/10)
I am preparing to write an album review for SEVENTEEN’s fourth studio album (and its repackaged version) this weekend. But in order to review that album, I have get some song reviews out of the way. Prior to the release of Sector 17 (the repackaged version of their fourth studio album) and the title track _WORLD, SEVENTEEN’s leader subunit (featuring S.Coups, Woozi and Hoshi) pre-released the single CHEERS with a special music video. That is the focus of today’s review.
CHEERS makes no hesitation or apologies with diving into the hip-hop genre. I personally would have expected this release to come from SEVENTEEN’s hip-hop team, as the genre is literally in their unit’s name and CHEERS is probably 120% in the realm of hip-hop. But technically, the leader unit of the thirteen member group isn’t really known for a specific style or sound, so the unit has free reign and no specific constraints over what styles they put out. Don’t get me wrong, I have no qualms with them deep diving into hip-hop this time around. CHEERS is quite a fun track thanks to the catchy flute hook and the dynamic/upbeat energy that comes from the instrumentation. The lyrical hooks were quite strong and leaves a positive impression. The bridge brought on a neat peak to the song and serves as my favourite sequence of the song. Even each member had a stand out moment – Hoshi’s is the ‘Eondeongi pang pang‘ (more on that in the choreography section), S.Coups whispery sequence in the second verse and Woozi’s smoother delivery in the first verse. However, my biggest issue with CHEERS is the heavy autotune that coats the song from head to toe. While I did get the autotune helps hype up the energy, makes CHEERS more dynamic and delivers a degree of charm to the song, there were certain parts that felt unnecessarily autotuned. Some refinement would have made CHEERS a much stronger and less overwhelming track.
The music video undoubtedly goes down the hip-hop path, as well, with a heavily influenced music video that fits in well with the genre and song. There isn’t really any other way to prose this video, in my opinion. It hits all my expectations. With this video, I presume the different scenes we do get have some sort of meaning. Or, it could all be intended to be lighthearted or stylish, and my years of KPOP reviewing has taught me to over think everything. I don’t know. But it was a fun watch and the trio matched the energy of the song really well.
I am not going to dilly-dally over the choreography section of the review and get straight to the point. Hoshi’s hip bounce is the most memorable moment of the entire routine. It was a fun and vibrant move that definitely steals the show. The rest of the choreography was also fun and energetic as the song, but not as much as that two second move.
Song – 7.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.8/10
The next album review belongs to MONSTA X, who returned to the KPOP scene back at the end of April, with their 11th mini-album SHAPE OF LOVE and their title track LOVE. Out of all the albums that I have to catch up on, MONSTA X’s (with a few others – one of which I will be reviewing later this weekend) have consistently been on my mind to review. As part of this mini-album, LOVE is featured alongside five other tracks.
SHAPE OF LOVE proves that MONSTA X is still powerful and impactful as they have always been. It is another high quality release from the group, with a slightly different yet refreshing title track than usual and very strong side tracks. And with such another mini-album under their wing, I am glad we will be hearing more from MONSTA X into the future, following news that all members (sans I.M) had re-signed with Starship Entertainment to continue MONSTA X activities. And even though I.M had elected not to be part of Starship Entertainment, he reaffirmed with the news that he will still be part of MONSTA X moving forward.
2. Burning Up (ft. R3HAB) – Following the title track is Burning Up, a very addictive synth pop track. Despite having deep retro influences and groovy vibes, Burning Up was quite minimalistic. You don’t expect that with songs with retro influences, but somehow R3HAB managed to get Burning Up to do just that. Very interesting. The minimalistic approach of Burning Up allows the vocals to be the pure focus of the song, and the MONSTA X members sound so striking. The rappers, in particular, sung their way through track alongside the other vocalists. I found the simple repetition of the song’s title to be so catchy and effective. Overall, an interestingly simple yet bold track. (10/10)
3. Breathe – Another retro track follows Burning Up and the title track. This time around, MONSTA X opts to include brass, alongside atmospheric synths, in Breathe. If you listen closely, you can hear breaths in the background. Clever. I quite enjoyed the soft nature of Breathe, as it allowed the members to bring forth smooth vocals that had a lot of character and charisma. It isn’t as striking as the previous song, but Breathe was still pretty good. (8/10)
4. Wildfire – While the side tracks have been simple so far, MONSTA X adds a relatively more complex song to the tracklist via Wildfire. I don’t mean that in a negative manner, however. I am referring to the fact that Wildfire brings merges two types of instrumentation – orchestral and EDM – into one piece. This has been done before. But I don’t remember any song from the top of my head that has done this to be so stunning and captivating. I like the extra oomph that the vocalists got to show in Wildfire. But for me, the standout member is Joohoney, who really got to show-off via a fiery rap sequence in the second verse. (10/10)
5. 사랑한다 –사랑한다 (or Love You) was a nice sentimental song that was extremely pleasing to listen to. I don’t have much to say about the song as I think the song talks for itself. It was heartwarming, especially when they all sing the title together on repeat (the best parts of the song, if I am being honest). The rest of the vocals (including the rapping) were stunningly beautiful and clear. The instrumental, whilst generic, was pleasantly simple and suitably soft. (8/10)
6. AND – The vocal focus continues with the last song on this mini-album. There was an epic and grand nature to AND’s slow pop rock instrumental that made the song sound loaded. The vocals match wonderfully, helping to create a powerful atmosphere with the instrumentation. The slow paced nature of the song does dry out the song for me personally. But if you are looking for something more balladry on this album that isn’t necessarily a ballad, then AND is the song for you. (7/10)
I travel back to Monday to review one more song, LEE JIN HYUK’s latest release. The mini-album is titled 5ight and the lead single is titled Crack, and it follows last year’s October 2021 comeback with Crtl + V (his fourth mini-album, which I did not review) and Work Work (his last promotional track).
Crack is another rock based dance track to add to the growing list of rock influenced tracks that have emerged in KPOP. But we are still in the early days of the trend, given that each artists (so far) are still able to make this trend their own and I don’t think I am anywhere near tired of it. For Crack, the uniqueness comes from the drumming. It really gave Crack an extremely dynamic and robust tenacity, especially during the bold and hyped pre-choruses. It was adrenaline pumping and I am still reeling from the excitement the drumming gives the song. Electric guitars are common in rock songs, and Crack is no exception. But as the drumming is already the bold aspect of the song, the electric guitar sits more in the background. The choruses follows on nicely from the pre-chorus, picking up the momentum and brings forth those electric guitars a bit to bring an electrifying profile to the surface of Crack. The hooks were catchy and addictive, even though I did have a laugh when I first heard the ‘I have a crack crack crack‘ hook the first time around. LEE JIN HYUK’s raspy vocals and raps were well utilized and adds a nice textural component to Crack. The bridge smooths out the instrumental, which was a neat contrast to the rest of the song. However, I do think Crack missed the opportunity to have a more substantial peak in the bridge, which (I hoped) would result in a launch back into an intensely energetic final chorus to close out the song. Similar comments can be said with the final instrumental break. It could have been so much more concentrated just to give Crack a literal high point to finish on. But overall, Crack really impressed me, with the instrumental really stealing the show for me.
As for the music video for this comeback, I thought it was fine. Not memorable, but not necessarily terrible, as well. The choreography scenes (sans the leopard print pants) had an electrifying feel to it, thanks to the flashing and spinning lights in the background. There was a lot of cracks in the video, including cracked glass, smashed windshields with cracks in them and even crackers making a crack sound at the very start/end (Hehehehe…). I am sure these serve a purpose other than puns, but I couldn’t piece together what was happening the video.
I wished the sharpness associated with the ‘crack crack crack‘ move was present throughout the choreography. If everything else (aside from the dance outro) felt a lot more snappy, I think this would have made a really cool choreography routine. But instead, it appeared a bit wishy-washy. I make the exception with the dance break outro, as that is what I am looking for and feel would have made the stage better.
Song – 8.5/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 7.8/10
Next up on the album review block is WOODZ’s Colorful Trauma, his fourth mini-album. Leading the album and its five songs (in total) is the title track I HATE YOU. Both Colorful Trauma and I HATE YOU were released in May of this year. This is also WOODZ’s first comeback following his October 2021 ONLY LOVERS LEFT and WAITING comeback.
WOODZ amazes the audience (and myself) once again with another knockout mini-album. This time, WOODZ deep dives into the rock genre, which is an emerging trend in KPOP that I am all aboard for. What I like about the mini-album is that it shows shades of the rock genre, with WOODZ not shy with either hardcore rock or softer approaches to the genre. Versatility with a theme! Let me know down below if you agree with my thoughts on the songs and/album.
Colorful Trauma Album Cover
1. Dirt On My Leather – WOODZ goes hard with the opening track, deep diving into the rock genre. He definitely knows how to have a good time. Dirt On My Leather blasts out from the speakers with its hardcore, powerful, electrifying and adrenaline rushing rock instrumental. The exact same things can be said about his vocals. From start to end, WOODZ was superb and so expressive. The ad-libs was sooooo damn good and he just blows me away with this track. Also, it is all in English! (10/10)
2. HIJACK – HIJACK isn’t as hardcore as the previous track. Instead, it takes more of a punkish direction. Parts of HIJACK were still quite electrifying, following nicely from the previous track. This creates a very interesting combination that oozes charisma and personality for WOODZ. I liked the angsty and intense atmosphere that comes from the song, thanks to both instrumental and vocals, as well. I did wish HIJACK picked itself up as it progresses, just so it doesn’t feel totally sluggish. But it was still a strong track regardless. (8/10)
4. Better and Better – A sentimental tone was adopted in Better and Better, quite different from the usual tone that WOODZ brings to his songs. But it was a worthwhile change, as I pick Better and Better to be another favourite from this album. The song still aligns with the rock genre, taking a more alternative approach this time around. I thought the instrumental was very clean and neat, which is quite the opposite to how rock is usually prosed to us. WOODZ’s vocals were stunning, with this sentimental tone bringing a more delicate touch on WOODZ’s part. (10/10)
5. Hope To Be Like You (안녕이란 말도 함께) – Ending the album is Hope To Be Like You, an upbeat and pleasant pop track. Rock instrumentation still appear in the backing of the song, alongside atmospheric synths. Together, they create such a harmonious instrumental that is light and soothing in its own way. WOODZ brings soft vocals and warm harmonies to the song, help furthering the gentle atmosphere. Somehow, Hope To Be Like You still works well with the rest of the mini-album, closing out what is a satisfying album release from WOODZ. (9/10)
We are still a couple of months out from a year since KEY impressed with his solo comeback. BAD LOVE (title of both the title track and first mini album). But that hasn’t stopped KEY from returning with a new music. More specifically, a new single and his second studio length album, both of which have been titled Gasoline. The new material dropped officially today, even though he did informally pre-release the sides tracks Another Life and Proud and performed Gasoline at the recent SM Town concerts.
But the focus of this review is purely on Gasoline, the title track. The biggest question that I have for myself heading into this comeback was whether Gasoline tops the likes of BAD LOVE (which knocked my socks off last year). Unfortunately, I can confirm that the new release does not exceed the standard that was set by last year’s release. I will explain why in a bit. Gasoline is a hip-hop dance track that really grabs our attention from the get-go with its bold and fanfare instrumentation at the start and during the choruses. Heavy thumping takes over the in verses and the brass elements that contribute to the fanfare influence in the chorus is taken down a few notches. All of this was very good and definitely is very memorable. I quite liked the decision to skip the chorus following the second verse, going straight into the bridge. It was an interesting change of momentum and the thumping beat was quite exciting and thrilling. It definitely got the adrenaline running through my body. My issue with Gasoline was the lack of melody. There was some, but none of it was rewarding or fulfilling like in his previous comeback. Also, the boastful and confident main hook of the song (i.e. the ‘A-List, The Latest, Made It, I’m Ready, Big Rings, Your Scream‘) felt so cringy and was very questionable to me. I see how the first four compliments the idea of being confident and ambitious, but the latter two that I quoted makes no sense. The start-stop manner it was delivered in was also a bit plain and wearisome, and I wished the hook was more gratifying to listen to. KEY’s rapping throughout the track was good, but it is the way Gasoline‘s centric moments were delivered that I find to be a letdown.
The music video makes up for the Gasoline‘s lacking aspects. I am blown away by the quality and jaw-dropping visuals that KEY delivers in this comeback. My guess is that KEY is like a god in this video, with the dancers worshipping him. This would work well with the confidence and ambition that KEY expresses in the lyrics of the song. The golden colour that appears throughout the video (and subsequently becomes a memorable aspect of the video) also helps out with this. Another thing I quite liked about the video is that KEY isn’t scared to show off a completely different style to other idols and isn’t shy of trying unique outfits. It left such a strong impression on me, as a viewer, which works hand-in-hand with the message he is trying to get across. The sets were also grand and imposing, helping to make KEY stand out.
I quite liked the powerful aspect of the choreography, which felt fitting to the way he delivered the track. The routine was definitely quite busy, as well, thanks to the number of dancers featured in this comeback. But I think this helps give the choreography a boastful image as well, which works well with the message the song gives out.
Song – 7.5/10 Music Video – 10/10 Performance – 8.5/10 Overall Rating – 8.5/10
Next review from yesterday’s list of comebacks is TEMPEST, who made their first ever comeback with Can’t Stop Shining and the mini-album SHINING UP. This comeback follows their debut with Bad News and It’s Me, It’s We. I am glad that they were able to get over the first hurdle of their careers – making a comeback. It is quite common for groups to debut and then disappear. And I am glad TEMPEST did not succumb to that fate, especially following their debut which grew on me following its review.
The three minutes that Can’t Stop Shining goes for was by far one of the most pleasant three minutes I have heard in KPOP recently. For this comeback, TEMPEST goes down the dance pop route with their track. The instrumentals that start off Can’t Stop Shining were very airy and breezy. There was a beat to it, but it was kept light. The chorus is when Can’t Stop Shining peaks, with a relatively more robust backing. But instead of being ‘noisy’, the refreshing energy and subtle groovy vibes we get in the chorus thanks to the synths and beats keeps in line with the light, airy and breezy descriptions I had already used to describe Can’t Stop Shining. Most of the vocals were smooth and soft to a certain degree, but they manage to also come off as vibrant. Their vocals, especially during the chorus, brought a smile to my face and leaves a positive impression on the song, overall. Even the rapping in the second verse was refined to show intensity but also fit the rest of the song very well. The stripping of the instrumental for the bridge is pretty cliché, but the reveal of the piano was nicely done. The launch back into the final chorus was probably the highlight (as it usually is intended to be) as it was the most dynamic aspect of Can’t Stop Shining. I do think other parts of the song could have been slightly more dynamic (i.e. some of the vocals) but still allow Can’t Stop Shining to stay within the confines of being pleasant. But as it is, Can’t Stop Shining is a successful comeback track in my opinion!
Based on the start of the video, I was expecting something edgy and urban out of this comeback – either through the video or the music. The abandoned room and the anger on one of the members’ face (i.e. the guy with the skateboard) sold this idea to me. But it turns out, I read too much into it. The whole point of the start was the home video aesthetic, which featured throughout the rest of the video subtly. The pop and pleasant nature of the song comes through, taking the video in a completely different direction. We get colour through the flowery scenes. We get breezy from the shots outdoor on the beach. And we get a whole bunch of smiles from the members. Overall, a neat video that works well with the song.
The chorography for this comeback was nice. Nothing stood out at me as an impressive or mind-blowing moment. But the routine worked well with the song and the pop vibes that I described above.
Song – 9/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 8.3/10
September will be one big month for this blog as I make an attempt to catch up on album reviews (and other song reviews). My plan is to publish a few album reviews during the week, in addition to reviewing multiple albums over the weekend (like this past weekend). First up in this mammoth task is ONEUS, who previously returned in May with their 7th mini-album, TRICKSTER. Headlining the album was Bring It On. This mini-album precedes the group’s next comeback, MALUS, which is scheduled for 5 September (i.e. next week).
ONEUS really delivered with the powerful and punchy tracks that form the TRICKSTER mini-album. If you ever want something super intense, boastful and/or fierce, just tune into a ONEUS album. Chances are, you will satisfy your craving. It is quite interesting, as the group also stands out for their more delicate title tracks (see LUNA or A Song Written Easily). Goes to show that ONEUS is an all rounder group. Overall, TRICKSTER is another strong release from the group and it makes me eagerly await for their comeback next week.
TRICKSTER Album Cover
1. Intro: Who Got The Joker? – This intro track starts off like any introductory track. Dramatic synths, suspenseful vocals and dynamic rapping. However, when we get to the chorus of Who Got The Joker?, the track steps it up. It brings forward rock influences and gives us a taste to the intensity that is to follow through the rest of the mini-album. Ravn’s lurching ‘Who Got The Joker’ was impressive and I sense a subtle growl to that line’s delivery. This introductory track earns a massive wow from me. (9/10)
3. Skydivin – ONEUS jumps on the pop rock train with Skydivin, and it is another massive yes from me. Skydivin comes off as a Summery track with the vibrant and refreshing tones present. As for the pop rock influences, ONEUS went in really hard with it. Said influences gave the song so much texture and oomph, especially during the chorus. The drumming left me stunned (in a good way). The vocals were clear as day and the rapping were dynamic and fun to listen to. (10/10)
4. Firebomb (두 눈 빠지도록) – Firebomb is another vibrant track added to the group’s portfolio. This is a lot heavier (thank the bass!) and falls into the realm of a dance track that we have associated with ONEUS. It starts off like any other dance track, but the chorus is where Firebomb really sets it apart from the rest. The squeaky brass synth that dominates the chorus is definitely an ear-catching piece and gives the song an interesting vibe. The bass helps add definition to the song, and the pair comes together to create a very vivid and robust number. The vocals and rapping were quite expressive and adds a further layer of ‘interesting’ to the song. (9/10)
5. Fragile (취급주의) – In the midst of dance tracks, there is always a need for a ballad or similar track to the same effect for some reason. For TRICKSTER, Fragile is that. However, it isn’t a ballad. It is more of a R&B track, with a hefty beat and bass to it. The rest of the instrumentation is pretty typical for a R&B track. I liked the upfront vocals and rapping in Fragile. They really drove Fragile forward and gave the song a neat melody to groove your body around. Overall, a decent but typical track. (7/10)
6. Mr. Wolf – The final original song on the album is titled Mr. Wolf. It is by far the most unique track, pulling its inspiration from a childhood game ‘What’s the time Mr. Wolf?’. Oh, the memories are rushing back. From the very first second, the song sets it up as a suspenseful and dramatic song, and I liked that they maintained that throughout the song. You don’t really know exactly which direction Mr. Wolf would go in, so you have to be a bit cautious. Mr. Wolf does give a few surprises, such as the heavy thumping in the midst of the verses, the simple yet highly effective ‘Na Na Na’ hook, the hollow synths used for the dance break, the screams and even a wolf growl. The rapping and vocals kept the song dynamic and were on point. (10/10)
7. Bring It On (English Version) – Refer to the link above for the full review for Bring It On.
The new week starts off with a number of comebacks, making it hard to decide which song to review first. I left the selection up to my Twitter feed, and Rocket Punch’s FLASH appeared up top on my timeline. And so, I am here to kick the week off with my review for FLASH. This comeback follows the group’s CHIQUITA and Yellow Punch Korean comeback, and their Japanese single release FIORE, from earlier in the year.
Rocket Punch turns to heavy beats and electro synths in FLASH, making this track suitable for a club or party environment. The bass really oomph up the song and gives FLASH definition and depth, aspects of a sound profile that definitely sounds good. Surely, one would seize at the opportunity to really build this instrumental into a dynamic piece. Well, I don’t think FLASH did. There was this generic and typical tone to the vocals that left me so disappointed. The verses were a bore to get through, with the same twinkling-like synth done time and time again and there was a clear lack of excitement in the vocals department. The pre-choruses and first and second rounds of the choruses faired better. The ramp towards the chorus definitely felt strong and did bring in that dynamic factor that I hoped for (but it was brief and I would have liked to see dynamism throughout the rest of FLASH). The choruses featured catchy hooks and melodies. Vocally, there was improvement in the chorus, especially with the higher pitch in the first half. The final chorus, on the other hand, was a massive let down. As soon as we launch into it, we are thrown back into the ‘Light Signal Action‘ repetition half of the chorus, exactly how it was given to us in the first round of the chorus (which I did enjoy). This would have been fine, but the issue with the final chorus was that this repetition was just on repeat and just felt so draining. The same instrumental was used and there just wasn’t anything extra to give FLASH a last hurrah before ending. Overall, FLASH had a good set up, but it just didn’t eventuate.
Like the song, the music video was quite underwhelming. I look at the other artists of Woolim Entertainment (i.e. Golden Child and DRIPPIN) and see such strong music videos. And I turn to the accompanying video for this comeback and feel quite disappointed. The video needed more flashes in terms lighting and didn’t needed to have such a pale colour scheme. The solo shots were standard and the sets could have been a bit more dynamic (and not from one of those one-stop shops of video sets). Rocket Punch deserves a cool video, just like their other labelmates.
Why is performance video that was released today so bright? It was extremely distracting to focus on the choreography. I hope we will not be seeing Rocket Punch on stage with every light bulb directed at them. Aside from my mini-rant just now, the choreography looked good. I liked the flash hand movements they had in the chorus. I just wished the moves were a bit sharper, just so the routine has a more polished look.
Song – 6/10 Music Video – 5/10 Performance – 7/10 Overall Rating – 5.9/10
I hate to admit it, but I actually forgot about ONEW’s April comeback. I was only reminded of it whilst I was plotting down dates for when certain album reviews would need be to posted by. However, I made sure that ONEW got his mini-album review for DICE, which is the title of both the lead single from the mini-album and the 2nd mini-album itself. This comeback followed his 2018 solo debut, where he debuted with the single BLUE and mini-album VOICE.
ONEW’s second mini-album is astounding, to say the very least. So much so that I ran out of words to describe a very key aspect of the album and ONEW himself – his vocals. So much so that I gave out 3 10/10 songs in this album review. It (probably) makes DICE one of the best albums so far this year (in my opinion). I need to update my personal records to make sure of this. But with such a high rating overall, I am certain DICE is up there.
2. Sunshine – Sunshine goes slightly harder with its pop sound, whilst also staying lighthearted and carefree like the title track. ONEW’s vocals find a balance between being dreamy and light, whilst also complementing that the harder tone of Sunshine (as mentioned). The flow of Sunshine helped make the song fun and captivating for me. The post-chorus, which had a memorable ring thanks to the English phrases and its rap like approach, was probably my favourite part of the song. That is closely followed by his incline towards the final chorus. The ad-libs we hear as the song fades out to a close brings back that dreamy nature. (9/10)
3. On The Way – On The Way takes down the energy a notch with a more subdued track. The instrumental takes on a disco like approach, but it has been refined to be more fitting of the subdued nature of the song/vocals. The winning element of On The Way is ONEW’s vocals. I had to listen to the song a number of times to write this review, simply because I keep on getting distracted by the vocals. Needless to say, they are stunning throughout this song, especially when he effortlessly goes into the falsettos and the more dynamic moments such as the brief jab that is the song’s title. Overall, a very perfect and well-rounded song. (10/10)
4. Love Phobia – Again, we are taken down an extra notch with an even more subdued track. Here, ONEW really conveys his emotions well and gives Love Phobia a fragile and vulnerable characteristic. Just take a listen to the bridge if you have yet to (or another listen at the bridge if you already heard the song). You can hear the fragile nature of his vocals so clearly. It is riveting. ONEW also provides harmonies in this song, helping to soothe the piece. His vocals are backed up by a R&B piece. Together with the vocals, Love Phobia is another undeniably strong track on this album. (10/10)
5. Yeowoobi (여우비) – Excuse me while I pull out the thesaurus. I am running out of ways to describe ONEW’s vocals. Enchanting, alluring, charming etc. All could be used to describe the singer in this song. Unlike in the previous songs, however, ONEW sounds a lot stronger, taking an upfront position in Yeowoobi compared to the subdued tracks that preceded Yeowoobi. I liked this change in pace, which gives us an intense look at his vocals. The chorus is so gratifying to listen to, as well. And the “Your love takes me higher than how I ever been” line is quite memorable and catchy, especially with how it ended the song. This is all over a simple slow rock instrumental, emphasizing the fact the focus of this song is on the vocals with little doubt. (10/10)
6. In The Whale – Both vocals and instrumental throughout In The Whale were captivating (no surprises here, to be honest – just look at every other song on the album). I don’t see myself having any problems with closing my eyes and drifting away to this atmospheric and ethereal track. What does set In The Whale apart from the rest of the album is the fact that the instrumental is quite prominent. The producers do an amazing job of ensuring the track is balanced out (hence why I made the drifty comments) so that ONEW isn’t overtaken. A soothing end to the album. (9/10)
Next album to be reviewed this weekend is GHOST9’s Arcade: V, the group’s 6th mini-album since their debut. It was released back in April of this year and features the title track X-Ray. X-Ray is largely the reason why I checked out this mini-album and decided to put it on the reviewing list. Also, my goal to review more albums from artists whom I don’t usually write album reviews for had a play in my decision to review Arcade: V, as well. (I actually have not reviewed a GHOST9 mini-album before).
Overall, it is a decent mini-album. I do think the title track is the strongest track on the mini-album (spoiler: X-Ray actually grew on me substantially and even topped one of the Weekly KPOP Charts post since its release – see below). However, the side tracks do follow through well. The mini-album predominately visits pop through the side tracks, as well as EDM via the title track (and intro track). Let me know if you agree with my thoughts of the mini-album and individual tracks down below!
Arcade: V Album Cover
1. Dot (닻) – Launching us right into the mini-album is Dot, an introductory track spanning just over a minute. The bass and accompanying EDM is quite alluring and kept the song dynamic. The rapping had a punch and brought expressive energy to the song. However, the vocals were the weakest aspect. For some reason, majority of the vocals approached Dot is a very low manner, which in turn allowed Dot’s instrumentation to really take over and dominate. Some refinement would be beneficial to the song, especially since the melodies were good. (7/10)
2. X-Ray (Title Track) – As already mentioned, X-Ray has grown substantially since I had last reviewed it, thanks to the chorus. It has grown so much that it went on to top the Weekly KPOP Charts for the 2nd Week of April 2022. As a result, I have decided to bump the rating to a 9/10 and will return in the future to explain why the rating has gone up. Click here for my initial thoughts of X-Ray. (9/10)
3. CHAMPION – CHAMPION features a combination of dramatic and punchy electro synths, a subtle groove and some common boxing sound effects. Altogether, we get a thrilling dance track that is bound to get some adrenaline coursing through your veins. I really liked the consistent intensity that features throughout the song, which helps take everything to the next level. The rapping adds a dynamic and serious touch to the song. The vocals bring a smooth inclining melody to the song via the pre-chorus, whilst also bringing a memorable melody to the chorus. (8/10)
4. T.Y.T (Take You There) – T.Y.T changes up the mini-album by infusing some pop into the tracklist. It is more vocal centric, giving the vocalists a chance to shine on the album. I appreciate it, as the vocals sound really nice and sweet throughout. The chorus has a nice fast tempo backing to it, amping the existing instrumental up in a typical but also satisfying manner. The anthem-like post-chorus hook that we get was a bit traditional, but really concentrates everything I really mentioned thus far. My only problem with the song is the not so exciting second verse. It just felt flat and didn’t live up to the rest of the song. I wished that the second verse kept the first’s atmospheric start but built on it to make it more stunning. (8/10)
5. Always, All Ways – Continuing on with the pop direction is Always, All Ways. However, Always, All Ways is not a repeat of T.Y.T. Instead, the producers really gave the song some strong and some unique moments that helps it stand out. The whispery like ‘Keep me fly’ rapping in the verses was quite cool. The subsequent rapping that follows to lead us to the chorus was definitely a nice ramp up the song’s central piece. The chorus has a dynamic kick to it and that squeaky muted brass synth was quite cool. I do think Always, All Ways could have been a bit bolder in some respects and this would have taken the song to the next level. But overall, a strong side track from the group. (9/10)
6. Stranger – Stranger has a neat backing piece, complete with pulsing beats, robust trap elements and a harp-like synth. On top of that, solid vocals and rapping throughout and a recognisable melody. Altogether, Stranger comes together to form a wholesome track. However, it is more so a typical R&B/pop dance release. I was kind of hoping for a change of momentum, ever so slightly to make Stranger more dynamic and appealing. But it was a decent track, overall. (7/10)
I time travel back to April this time to cover Dream Catcher’s second studio album, Apocalypse: Save Us. This was released mid-April with the title track, MAISON, as its lead track. The album features two halves, one full of group tracks and the other half is made up of solo tracks from each of the members. There is also an introductory track and an interlude questionably labelled as a skit (both of which do not feature as part of the final album rating as they do not feature lyrics). In total, Apocalypse: Save Us features 14 tracks to satisfy our Dream Catcher music cravings.
Another strong album from Dream Catcher, which features a number of 10/10 tracks. Find out which songs I gave the perfect rating to down below! Honestly, I am not surprised about this. Dream Catcher has always given us strong side tracks, and Apocalypse: Save Us is not exception. I also liked that the members got to explore individual sounds with their solo tracks. As a result of this, we were given very different tracks to what we usually hear from Dream Catcher as a group. There is probably something for everyone on this album! Also, each member shot a MV (branded as a ‘special clip’ on their YouTube channel). I have included a link to each video, so make sure you check the videos out as well!
Apocalypse: Save Us Album Cover
1. Intro: Save Us – Beginning the album is this instrumental introductory track, which can be further broken into two halves. The first half is this haunting and sinister classical organ instrumental, and the second half is a hip guitar instrumental that feels very urban and contemporary.
2. Locked Inside a Door – Following the introductory track, we move onto the album’s first 10/10 song. This album really sets itself up from the beginning. Locked Inside a Door is a groovy track thanks to its jazzy instrumental. And like most groovy numbers these days, I find myself having a bit of a dance along to the music when I hear it. I liked how both Dream Catcher embraced this jazzy side, going with some awesome vocal and rapping delivery and styles that work hand-in-hand with the genre. I also enjoyed how they were upfront, allowing their vocals to gain a stronger vibrant and appealing tinge. (10/10)
4. Starlight – Starlight tackles the synthpop genre, and I am loving it! I found the instrumentation to be blissful and quite a vibe throughout. I really like the consistency from start to end. Most of the time, I am complaining about songs being too consistent. But Starlight definitely thrives and excels as a result of this consistent approach. The vocals align nicely, and I quite liked how the producers did an amazing job ensuring that the song matches up with the rest of Dream Catcher’s discography. Dami, in particular, shines in this song. (10/10)
5. Together – Together continues the experimentation with different musical styles, this time dabbling in deep house. I liked how club ready this song is. I also enjoyed the way their vocals are kept delicate and soft, placing emphasis on breathy tones. In addition, I liked the pop of energy added to the chorus through that vibrant synth, giving the catchy sequence some depth, grooviness and allowing the chorus to be quite distinct from the rest of the song. The ‘Say that you love me’ repetition in the second half of the chorus is super catchy. Siyeon’s high note was spectacular. I have to admit though, this sone is slightly more plain than what we have heard so far. But it still a strong number. (9/10)
6. Always – Once again, Dream Catcher changes it up the trajectory of this album with a different genre. This time, it is ballad. If you know me, I have a soft spot for ballads. And Always proves just that. Always is a beautiful instrumented ballad with stunning piano work as the basis of the instrumental. It is also complete with wonderful and captivating vocals. The swayable melodies are just to die for and adds a memorable aspect to the song. (10/10)
7. Skit: The Seven Doors – The Seven Doors acts as an interlude between the two halves of the album. The first half (what we have heard thus far) are the group songs, while the second half (what we are about to venture into) are solo tracks from each of the members. The Seven Doors itself brings it all back to their energetic rock roots which sounds appropriate as an anime soundtrack. It is squashed between an atmospheric wind intro and nature sounds as the outro. My biggest question is, however, why is The Seven Doors labelled a skit?
8. Cherry (Real Miracle) – The first solo track on the album belongs to JiU. It is a cute track about her dog named Cherry. Cuteness is not something I would ever associate with Dream Catcher, so a track like this is actually quite refreshing and different. I enjoyed the upbeat funky and groovy vibes that’s Cherry (Real Miracle) had. A lovely and satisfying track, overall. (8/10)
9. No Dot – On a much more serious note is No Dot, which is SuA’s solo track. This is more within Dream Catcher’s wheelhouse for obvious reasons. No Dot is quite intense, thanks to the trap and rock elements in the instrumental. I also liked how the bass bolstered and added definition to the song towards the end, concentrating the darker and more intense notes of No Dot. SuA also sounds amazing, particularly when she uses her lower and breathy tones in the post-chorus hooks. (9/10)
10. Entrancing (황홀경 (极夜)) – As mentioned earlier in the review, I am a sucker for ballads. And Siyeon’s solo track, Entrancing, does exactly as the title suggests. It is a ballad that is draws influences from traditional Korean music. But it is not just that. Entrancing sounds like it uses a mix of classical, traditional and modern instruments to bring the captivating effect to life. It is very unique and leaves me floored (imagine my jaws dropping to the floor). Siyeon’s vocals were stunning and breathtaking throughout Entrancing, drifting along with the melodies. There was also a soft rap in the song, something I would not have expected with such a delicate song. (10/10)
11. Winter (한겨울 (寒冬)) – The next solo song (belonging to Handong) is another ballad. But this time, it takes the form of a R&B ballad. This song is quite delicate and remains quite soft throughout, reminding you of a winter’s day. Personally, Winter is not my type of song. Usually, I find the style dry and Winter did fall into that trap. Handong does surprise me at the end with an acapella ending that did perk my interest. Also interesting is that she ended the Korean centric song with Chinese lyrics. (7.5/10)
12. For– Yoohyeon‘s solo track, For, is an old time jazzy number. The track is well executed. From the jazzy instrumental to the sweet vocals from Yoohyeon, everything was on point and sounded ideal for the direction in which the influences had directed the song to go towards. What was quite unexpected was the fact majority of For is in English (sans a couple of Korean words in the choruses). To me, that is quite a surprise and give Yoohyeon a unique edge with her solo track (when compared to the other members). (8/10)
13. Beauty Full – Beauty Full is up next, headed by Dami. I have high expectations with her solo track, simply because she is my favourite member of the group! Consider Beauty Full to hit those expectations! Her track taps into the pop rock genre that has been in abundance in KPOP with some more recent releases. Beauty Full is pretty nostalgic for me (as are the other pop rock KPOP tracks), as pop rock is what I grew up with. I liked the vibrant energy that is coming from the song, with some really satisfying head nodding sequences. Dami’s vocals are superb and her rapping is top notch (per usual). The anthem direction of the bridge was very cool, as well. I might be bias heading into this track, but I leave happy and satisfied. (10/10)
14. Playground – We end the lengthy album with a vibrant and cheerful track from Gahyeon. Playground is a pleasant track that makes me smile while I listen to it. It is largely pop, but there are also some funky and jazzy elements as well. I also liked the subtle violin and brass in the instrumental. Gahyeon sounds really nice throughout Playground, though I think a high note (which might be beyond her abilities) would have really added the cherry on top for me. (8/10)
TWICE ends this week with their long-awaited comeback with Talk that Talk and their 11th mini-album since debut, Between 1&2. This is the group’s first comeback since the release of SCIENTIST last year, the announcement of their full-group contract renewal with JYP Entertainment, their fourth world tour and another string of Japanese release (some which I have reviewed, and others I have yet to).
Talk that Talk, for me, is a great release. Out of the pop releases that I have reviewed recently, TWICE’s song was definitely one which shined brightly. And this comes as no surprise to me, given TWICE has excelled with pop tracks in the past. So what sells me Talk that Talk? Firstly, I found the feel good energy of Talk that Talk to be stickler. The explosion of energy at the start of the choruses was effortless and helped make the track satisfying. Even though the song has been released just a few hours back, I have been returning to Talk that Talk just for this aspect alone. Secondly, the melodies throughout the song (verse, chorus, bridge and all) were simple and straightforward. There isn’t any messing around with the vocals or the instrumental. Everything was clean, neat and embodied the energy perfectly. As a result, the melody rings on and also drives me back to the song. Thirdly, I really did enjoy Talk that Talk‘s instrumental. In addition to the already-mentioned energy, there was a dynamic factor and bounce to the backing that I really enjoyed. Fourthly, strong vocals throughout makes this song a stunner. Is there anything I wished was better executed? I think the rap lines could have been clearer and had more of a kick to them. But other than that minor detail, I am very much into Talk that Talk. It might just become one of TWICE’s best title tracks ever, in my point of view!
Once again, the members looked amazing in this video. There is this fierceness to the members’ visuals which definitely complements the fierce nature of the song (something I didn’t comment on above). However, the video does balance it out with more lighthearted and whimsical tones via the props and post-production editing (i.e. holographic love hearts, floating paw prints and emojis, teddy bears getting pierced, cat videos etc.). I also liked the mix between 90s and modern trends in the video. The QR code at the end of the video apparently takes fans to the Instagram post of when they announced the name of their fandom – ONCE! The post-production which places the video in a virtual setting was also awesome! Great video, overall!
I really enjoyed how the choreography embodied the aforementioned energy. It made for a fun and exciting choreography. The members definitely looked like they had a ball on stage! A massive pity that Jihyo was unable to participate as her absence did leave a bit of a void. But I am sure once she returns, everything about the performance would be complete.
Song – 9.5/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.6/10
Making his final solo comeback yesterday before he carries out his military enlistment is Ha Sung Woon. He returns with the title track FOCUS and the mini-album Strange World. This comeback follows his recent special release, Can’t Live Without You, from earlier this year.
FOCUS is another neat pop song to add to the list. More could have been done in the song to make it even better, but that doesn’t mean what we have been presented with is bad. FOCUS is groovy vibes in the midst of its pop instrumental, thanks to the guitar work and that synthesizer synth in the instrumental half of the choruses. Said synthesizer synth was actually quite catchy The bass adds oomph to the song, while the percussion gives FOCUSa snappy effect. All of which helped make FOCUS very appealing as a track. Ha Sung Woon vocals were quite strong throughout. His falsettos in the bridge were nicely done, while the ad-libs he throws in the end were very cool. The staggered effect in which the choruses start off with (accented by the punchy bass) helped add a memorable aspect to the song, which I thought was rather cool. Like other songs recently, my gripe with regards to FOCUS is that the song could have done more. FOCUS never really strayed from its root sound, which I felt made the song too consistent. I kind of wished there was something else to FOCUS to give the song some more flair or dynamism. For example, I felt some rapping could have taken the FOCUS to the next level. Or even may be an instrumental breakdown that changes FOCUS‘ momentum ever so slightly. But as how we got it, FOCUS was still a great comeback track.
The music video shows Ha Sung Woon becoming infatuated with someone who he sees and likes. But he becomes so intent on her that he doesn’t notice that she leads him to his demise (i.e. the hypnosis, trapping him in the car and setting said car alight). We don’t actually see the car go up in flames, but the ending does show Ha Sung Woon in the middle of the ring of fire, which I presume alludes to the fact that he was in the car when it was alight. This storyline matches the lyrics, which is all about the dark side of focusing on a lover. I liked the darker looks and premise of the video, and I quite liked Ha Sung Woon’s looks throughout the video. All his expressions also look really good and conveys the story so well.
The sliding footwork is the best aspect of this choreography routine. It looks cool, sleek and has the potential to become iconic, in my opinion. I really liked the use of the dancers to make the routine more dynamic. The rest of the performance was captivating to watch (emphasising Ha Sung Woon’s performance skills) and I also liked how intense the routine got for the final chorus.
Song – 8/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8.5/10
Yesterday saw the return of LEO, the main vocalist of VIXX, a group which we don’t hear too often nowadays. He returns with the title track Losing Game and the mini-album Piano Man Op. 9. This is LEO’s second solo release since completing his military enlistment in 2021. He did release a standalone single at the end of 2021 titled I’m Still Here, but I actually missed this release and have not reviewed it. His last review on my blog was for Romanticism and his mini-album Muse.
Losing Game is a decent track. I liked the different elements that make up Losing Game. But as the song progresses along, it felt just didn’t develop into much. Let’s start off with what I liked. Losing Game‘s R&B instrumental had this slow yet groovy vibe to it. It was subtle, but it was there. The piano that appears throughout the instrumental was deliberate to bring out the emotions behind Losing Game, while the crunchy percussion in the song adds some interesting textures to Losing Game so it isn’t too bland and brings some modern flair to the song. LEO’s vocals were very captivating for the most part and his singing style is well suited for the likes of Losing Game. This voice really shines during the bridge, when most of the instrumental was stripped away. I also enjoyed the opening melodies of the chorus, with the “Need you right here” being the one line that replays in my mind after the song completes. My only gripe about the song, as already mentioned, is that it lacks development. What do I mean about this? Well, the song sounds exactly like how it started. While sometimes it is a good thing, I felt Losing Game needed a climax or a peak. It held back and this didn’t really help make the song appealing as it could have been. I do think we in a direction of a pea when a guitar presence emerges from the instrumental just at the end of the bridge, and Losing Game would have been cooler to pick more of that guitar up for the final chorus. But it fizzles instead to the same chorus. Overall, decent comes to mind. But I am sure Losing Game could have been more proactive and taken to the next level had it not been held back.
Losing Game is about a relationship being one sided, and we do get that impression in the video. There is a female character in the video which we can see is in a relationship with LEO. But we don’t see her face often. And when we do, it is covered with a mask to suggest that she is hiding something. In the end, she runs away, leaving LEO behind. LEO obviously goes after her, but he can no longer find her, suggesting that she might have never loved him. I liked the melodramatic settings of the music video. LEO’s opened jacket look was a bit questionable in my opinion. I am on the fence on whether it matches the concept or not.
I actually liked the stillness that started off the performance. That never really gets much attention, so I thought I point it out for this review. There was some really good flow in the movements during the verses. And I like the body waves that opened with the chorus, complementing the sensual vibe that is brought to the comeback via the R&B instrumentation.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
KPOPREVIEWED 