Next up on the reviewing block is MIRAE’s first comeback, Splash, which occurred at the end of August of this year. This comeback follows their debut with KILLA (the title of both their debut single and debut mini-album, the latter has not been reviewed).
When I sit down to compare Splash with KILLA, I am left disappointed. You would hope that the first comeback following debut would be better than the debut track (regardless of how good the debut track was). But with Splash, it seems like the opposite is happening. While Splash does line up well with KILLA in the sense that it is an intense and edgy EDM track, Splash feels very plain and boring in comparison. The instrumentation isn’t exciting where it needs to be (i.e. the chorus) and leaves you wanting a whole heap more. It isn’t as bombastic or epic as KILLA was. I am not too sure whether we can blame the hip-hop influence being the main cause of the generic nature of the song, but I feel like past experience says that is the case. The vocals and rapping fair a bit better, as they members really tried to drive up the dynamic nature of the song. The rapping, particularly in the first verse and the bridge, was quite impressive. The vocals did suffer from the generic nature of the song, with the melodies being quite plain and unoriginal. But that being said, the members were pretty clear and were definitely at the forefront of the song. Other than that, I don’t much else to about Splash. It is a step backwards and I hope that their future comeback is able to make up for this.
I think the music video was the strongest aspect of this comeback. The budget and post-production (i.e. that big wave, which makes sense with a song titled Splash, though I feel a capitalised stylisation would have been more suitable as that wave would only lead to a big SPLASH) really gave the video that wow factor that I am usually after, while the sets and the outfits worn by the members really emphasised the edgy factor from the song.
I like how powerful their routine is. It isn’t the most memorable choreography this year, but I liked their intense energy and stage presence. I thought the dance break was pretty cool. It doesn’t seem like much, but it was the highlight of the performance for me.
Song – 6/10 Music Video – 8.5/10 Performance – 7.5/10 Overall Rating – 7.1/10
Park Ji Hoon’s My Collection album review was supposed to be release last week. But as usual, I was a little behind (can’t remember why I ended up being behind schedule) and decided to hold back the review for this weekend. My Collection features the title track, Gallery, which was released back in August of this year, along with an intro track (which will be factored into the final album rating) and four other new songs. This is Park Ji Hoon’s fourth mini-album to date and follows his first studio album, Message, which was released at the end of last year.
My Collection Album Cover
1. Present On The Stage (Intro) – Personally, I am not a fan of this particular intro track. It isn’t terrible, but just not my cup of tea. While it is pleasant and has a bit of a hip-hop influence to it, I wasn’t liking the drawn nature of the vocals and the stagnant feel it provided. If I had to base the album on the first track, things wouldn’t look too bright. Present On The Stage may have made me skip over this album. (6/10)
3. Lost (feat. LILBOI) – Once again, Lost isn’t my cup of tea. I am just not entirely drawn to the song, mainly because it didn’t feel like it got anywhere once Lost wrapped up. I do admit that the pop track was light and rather chilled. Park Ji Hoon brings some falsettos to the song, while LILBOI brought some dynamic energy to the song via his rapping. Neither was enough to convince otherwise about the song, however. (7/10)
4. Strawberry – You might think that I would apply similar comments as the preceding comments to Strawberry. And I would say you are partly right. Strawberry felt pretty linear and didn’t really feel like it developed as it progressed along. However, I do like Park Ji Hoon’s vocals in this song more. His hoarse voice was definitely shown off in this song, and it was a nice accompaniment to the soft R&B coffee shop-like instrumentation. His falsetto notes were pretty nice here, drifting in and out when it was added to the song. (7.5/10)
5. I Wonder – After two paced and vocally driven songs, I Wonder refocuses the album with an upbeat track, which to me is familiar territory for Park Ji Hoon. I much prefer this side of the artist. I will admit the song is pretty plain and simple, but I am sure that the performance for I Wonder would have been enjoyable to watch. I liked the slight dynamic nature that is brought into the song via Park JI Hoon’s vocals, and how upbeat the chorus was thanks to the heavier presence of the synths. It added meat and definition to the song, which I quite enjoyed. (8/10)
6. Remember (파도에게) – Ending the album is Remember. Like the intro track, Remember is also quite pleasant. But electronic synths in the song gives it a nice kick that I thoroughly enjoyed and sets it apart from the into track. Remember bundles all my comments above about Park Ji Hoon’s vocals and rapping into this one song. You get the dynamic nature from his rapping, and the hoarse vocals throughout the song. Both give this smooth instrumental nice and pleasant textures, and everything comes together to be quite dreamy. (9/10)
I disappeared once again this week. I didn’t take a break, but spent majority of the week writing out those ‘Looking Back’ posts (who knew making a YouTube playlist would be so time consuming?). But now I am briefly back to review some albums and other tracks from this week and earlier. First up is Ciipher’s first comeback since their debut with I Like You back in March of this year. Earlier this week, the group dropped their second mini-album, Blind, which featured the title track of the same name.
I Like You had potential, but failed to fully encapsulate that potential in the three minute song. If I had a chance, I would have reserved that song to be a side track and bumped up Blind as the debut title track. It would have been a much better launching pad for the group and surely attracted more attention towards their debut (which is definitely something one would need in this current competitive climate). What really stood out for me in Blind was the instrumental. Blind has this edgy kick to it (via the synth selection), which makes Blind so much more appealing to listen to. This, combined with the other elements I usually focus on, results in an booster version of the group. The guitar riff we hear throughout the chorus makes the song’s centrepiece electrifying, and I thought the plain and simple hook line at the start of the chorus was quite catchy and punchy. I did wish the guitar riffs were a little more pronounced, as this would have heightened the energy and bring forth a much stronger electrifying feeling. I also like the buildup and hype towards the choruses in the song. The drums and concentration that occurs here definitely teases the energy that we got in the chorus. The rapping in Blind is definitely satisfying and adds to the energy of the song. The sequence we get at the end was probably one of my personal favourite moments of the song, as it continued the momentum from the final chorus and helped end the song on a strong note. The vocals were also quite good. While there was some vocal processing, Blind featured clear vocals. I did find it a bit odd that autotune wasn’t used in Blind as much as their debut track. In their debut track, the use of autotune didn’t feel right and its use here instead would have aligned better. Overall, a strong and much better song that I wished was their debut track.
I think with the sound in which Blind had gone for, the music video could have gotten away with a slightly darker concept. I am not thinking horror or dark lighting to the point where you can’t make out the member’s faces. Rather, the producers of the music video could have gone with something edgy, but also keeping it casual as well. Maybe outfits that brings out rock influences, given the guitar riffs we get in the chorus. Or a stage, instead of an office. I understand the more youthful approach of the video, given the energy that comes from the song. but I feel the video as it stands felt more fitting for a pop sound. Some elements within the music video already head in that direction, such as the blue the outfits they wore in the office set for one of their choreography sequences. But like in that example, they looked out of place.
I like the energy they bring to the performance. It definitely works well with the energetic and upbeat side of the song. Other than that, it was a good performance. Not exactly memorable, but it was fun to watch.
Song – 8.5/10 Music Video – 6/10 Performance – 7/10 Overall Rating – 7.5/10
Also making his comeback yesterday was Key (from SHINee), who returns with his first comeback as a solo artist. In 2018, Key made his solo debut with One of Those Nights (ft. Crush) and the studio length album, Face. In 2019, Key did make a comeback, but it was marketed as his first repackaged album, which was retitled I Wanna Be and featured the title track of the same name (ft. Kim Soyeon from (G)I-DLE). Yesterday, Key returned with his first mini-album, BAD LOVE, which is lead by the title track of the same name and the pre-release single Hate That (ft. Taeyeon from SNSD – which I haven’t reviewed yet).
I may have already teased my thoughts on BAD LOVE yesterday with a subtle reference to Key’s new song in AB6IX’s CHERRY review. I mentioned that I was glad that there wasn’t two overwhelming songs yesterday, which means I was hinting towards BAD LOVE being the other overwhelming song. I am kind of glad I did give myself an extra day to recalibrate my senses, as I don’t find BAD LOVE as overwhelming anymore. Multiple listens has really warmed me up to this song. But is the chorus still a bit too thick for my liking? Yes, I felt there was a lot going on and to digest as the song’s synths really ramps up in the chorus and you can tell that Key was really pushing his vocals to be in the forefront of all the synths. But, I do see how memorable the chorus is, how Key really shows and impresses with his vocal chops when his vocals soar in the song and the constant delivery of those high notes, and why some people might consider it a ‘out of the park’ song. Unfortunately, those initial thoughts still seem to float around in my head when I listen to BAD LOVE, so I can’t really share the exact same perception. Elsewhere in the song, BAD LOVE really flourishes with its retro and electronic mix. While this sound isn’t original, I feel that BAD LOVE really (and literally) takes the sound profile to the next level. I am not keen with the synths at the very start of the song, but everything else in BAD LOVE was definitely rocking and shows the creativeness of the producer. The bridge was very interesting with the really deep and raspy ‘I’m not thinking of you‘. That was wow moment for me that stood out for me initially.
The only thing I am a bit wary of in this music video is that red outfit in the choreography scenes. I think that was the only negative aspect of the music video. Aside from that, the music video was equally as aggressive as the song (but obviously in a visual sense). From what I can tell, Key seems to be portraying a celebrity who is starring in his own BAD LOVE sci-fi story (that ultimately ends with his demise). It drives Key insane and he wants out of the story, as he doesn’t want to relive the events that he himself had already gone through. I really enjoyed his acting and Key definitely makes the video a worthwhile watch. While a lot of the sets seemed to bring forth that modernish vibe, I feel the stage platform with the disco balls above it was a nice tie in of the retro influences to the video.
Also like the song and music video, the choreography for this comeback also took an aggressive approach that felt very fitting for the song. From the scenes in the music video, you can feel a lot of artistic flair within the choreography. I would also like to see Key replicate that ending (with the dancers lying down on stage) on stage, as that was a very memorable image to finish on.
Song – 9.5/10 Music Video – 9/10 Performance –10/10 Overall Rating – 9.5/10
One of the comebacks kick starting the final week of September 2021 is AB6IX’s CHERRY. This new single is the latest from the group and is featured on their second studio length album, MO’ COMPLETE. This comeback follows the release of their fourth mini-album from April of this year – MO’ COMPLETE: Have a Dream and its lead single CLOSE. It is also their third comeback of the year, which makes this another busy year for the group.
Right off the bat, AB6IX blasts us with CHERRY‘s colourful energy. This sets the tone overall and continues on throughout the song. It isn’t an overwhelming blast of energy though, which was great. Personally, I probably would have taken the night off and avoided dealing with two overwhelming songs in one day (more on that in my next review – to be posted tomorrow). CHERRY‘s bright energy follows on from The Answer, one of AB6IX’s comeback tracks in 2020, as that too was quite an upbeat and funky comeback for the group (in comparison to their previous releases). However, CHERRY is much more concentrated when it comes to the funky direction they had chosen to go with. I quite like the chorus, but probably not for the reason you would think of. It was definitely dynamic, especially when it comes to the member’s delivery, matching the energy we got from the instrumentation. However, the scene-stealing element was the ‘YUM‘ in the chorus. It was so straightforward and serious, which made me laugh. Not exactly sure if that was the intended effect, but it made the song memorable for me. What I also enjoyed was how the members also brought out that dynamic tone to the verses and bridge, making CHERRY a very satisfying listen. I felt that the verses could have been very plain, but the dynamic delivery definitely liven up the sections in question. The post-chorus following the first and final choruses was probably the weakest element of the song in my opinion. I felt that they toned down the energy by the slightest amount, which felt noticeable to me. I wished they just continued the momentum and had a stronger hook in this part, which I am sure would have CHERRY even more memorable. Overall, CHERRY was a great song that I thoroughly enjoyed.
The music video was quite fun and colourful, just like the song. I wished there was more to the video however, as it is just a bunch of closeups and choreography. They seemed to hint at something more with the members staring off screen at some parts, as if their crush had just walked past behind camera. It was a nice detail to add to the video, but I think it would have been better with an actual person on-screen, kind of like GOT7’s A. I did like the extra graphics they had in the background for one of the choreography shots, and the various effects we saw throughout the video.
The choreography for this comeback is definitely energetic and intense (in the sense that it is continuous and doesn’t offer many moments to catch your breath). I particularly those air punches they do just before the choruses and their expressions on stage make this performance even more interesting to watch.
Song – 8/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 7.7/10
The next album that I am reviewing belongs to Even of Day (DAY6’s first subunit), titled Right Through Me (which is also the name of the title track, as well). It was released at the start of July of this year, which makes this album review almost three months late. This appears to be the unit’s (comprised of Young K, Wonpil and Dowoon) last release for a while since Young K (who recently made his solo debut with Guard You) will be enlisting at the end of the month/later this week, with Wonpil and Dowoon set to follow down the track. So let’s have a listen to Right Through Me (the album) and see what we think of the album!
Right Through Me Album Cover
1. WE (우린) – WE is a pleasant synth band track that eases you into the album. I liked how the song is light throughout and its inspirational tone and message. While I usually make negative comments about consistency, I think it was well played in WE. It kept the song grounded for me, especially since Wonpil and Young K vocals make it feel as if you are floating away on a cloud. The drums are well defined in this song, preventing us from forgetting the presence of Dowoon. Overall, WE is a soothing and calming listen that begins Right Through Me (the album) on a positive note. (9/10)
3. WALK (역대급) – WALK enters a much more upbeat and vibrant territory (compared to the moodier title track) with its synths. It, combined with the rock influences, in the chorus definitely exudes a pop rock feel that I find to be extremely likeable. The energy that comes off the song (especially in the chorus) is quite intense, but it is also bright and positive. I do find the hooks subtle, but that doesn’t mean they don’t work. But if I did have to pick what made the song memorable for me, it would be the vocals, especially the vocals that are positioned in the background of the song. They really made the song feel wholesome and complete. (10/10)
4. all the things you wanted (네가 원했던 것들) – Returning the album to the more paced and slow side of the album is all the things you wanted. This song is a pop ballad, with a heavy influence from the 80s/90s. The particular synth selection that reminds me of that era brings forth a nostalgic effect, and the ballad as a whole elicits the swaying effect that I use as criteria for a good ballad. Their vocals are well highlighted in this song, with a strong portrayal of heartbreak and pain. While it sounds like I do have just praises, I find the song to be on the more typical side of ballads, sans the synths. (8/10)
5. from the ending of a tragedy (비극의 결말에서) – For from the ending of a tragedy, the unit steps back into rock territory with a much more concentrated sound. I just love the drumming in this song, especially in the chorus. It is very fulfilling and definitely gave from the ending of a tragedy some bite. Similar comments can be made about the rock guitars in this song, but I think Dowoon and his drums prevail. If I were to be critical, I wanted more from the vocals. They sounded good (as always), but were largely forgettable for me. (8.5/10)
6. Home Alone (나 홀로 집에) – Words that I usually use to describe songs like Home Alone, like ‘upbeat’ and ‘vibrant’ feels more so like an understatement for Home Alone. This synth pop song is without a doubt the unit’s most colourful and retro song on this album, more so than WALK. This colourful nature comes through multiple avenues, including the expressive vocals we get from the members and the intense rush of energy in the chorus. The highlight, however, has to be Dowoon’s inclusion at the mid-point of the song. It was surprising and unexpected, but definitely worthwhile addition to the song. (10/10)
7. LOVE PARADE – The final song on the album is probably the unit’s heaviest track, in terms of sound. LOVE PARADE is quite dynamic song, and it is a very satisfying track to listen to. Constant throughout the song is the heavy drumming. Once again, this is a testament to Dowoon’s skills, as the drums felt relentless and drove the song forward. Young K and Wonpil counters the drumming with their vocals, keeping the song from being too heavy. Dowoon also makes a few appearances in the song as a vocalist, with another one-liner after Young K and Wonpil, and also in the ‘Ba Dam Bum’ sections of the song (i.e., the ending sequence of LOVE PARADE). Overall, a strong ender to the album. (10/10)
More time jumping, but this time is back to the past with a catch up review. This particular post focuses on Lee Eun Sang’s solo comeback Lemonade, which was released at the start of September. Lemonade is featured on his second single album, titled Beautiful Sunshine. It is also the first comeback by the soloist since his solo debut with Beautiful Scar last year, which also featured fellow labelmate Park Woojin (from AB6IX).
To me, Lemonade is another song that I would describe as pleasant at best. I think if I had sat down and reviewed the song when it first came out, I would have raved about its pleasantness and calming nature in a positive light. But now that the song has aged a few weeks, I feel like whatever effect that Lemonade was intended to have on the listener has fizzled out. Think of a flat lemonade soda, this is what Lemonade now feels like. This doesn’t make Lemonade a terrible song in my point of view, rather it just didn’t hold its ground. Vocally, I thought there was a degree of sweetness in this element. And while I am convinced that sweetness is still present, I do think Lee Eun Sang’s vocals would have been more appealing had there be some insertion of personality (I felt the same way about Beautiful Scar). They felt typical and lacked much energy. Similarly, the same could be said with the instrumentation. Initially, I would describe Lemonade‘s backing as bubbly. But now that I think about it. more vibrancy in the consistent strumming we hear in the chorus would have emphasised this. I did like the synth drums, as they did add some flair, but it was not enough to really consolidate and concentrate the vibrancy. Hook-wise and melody-wise, I think Lemonade still had these elements come through as I do remember them more somewhat compared to the rest of the song, but had the vocals and instrumental been more so what I mentioned above, I am sure the hook/melodies of Lemonade would have been enhanced. So overall, more could have been done to really help Lemonade become and stay appealing.
Concept wise, this is 180 degree flip in terms of concept when we compare Lee Eun Sang’s two solo works. Here, Lee Eun Sang looks much more youthful and the concept is a lot more casual and brighter. It fits the Summer season quite nicely and works well with the song. Unfortuately, I didn’t see anything special within this music video. And honestly, I haven’t gone back to watch it since it was first released. I personally prefer the more mature side of Lee Eun Sang and thought his last solo music video was a lot more interesting to watch.
The performance is more so the same as the music video in terms of concept. It fits well with the song. But like the music video, I didn’t see anything special within the performance (though I did like the squeezing move they had in the chorus). That being said, I did think there was added layer of vibrancy in the choreography, which pulled me towards the performances, rather than the music video.
Song – 6/10 Music Video – 5/10 Performance – 6/10 Overall Rating – 5.7/10
From a review focusing on the major release from the start of the week, I am now time jumping to the end of the week to review the major release of today, ITZY’s LOCO. It is the title track off their 1st studio album since debut (titled Crazy In Love), which also dropped today. This is the group’s second comeback of the year, following April’s M.A.F.I.A (In The Morning).
I felt that LOCO was a return to form for the group, following the not-so-good M.A.F.I.A from earlier this year. If you want to know about my thoughts on M.A.F.I.A, feel free to read that review. LOCO still retains that edgy side of their previous song, but the new song also re-enters that vibrant arena in which ITZY’s earlier releases lie in that I have mentioned. What really stands out to me in LOCO is the song’s energy, which to me, is thanks to the bass and the electric guitars we hear in the background. The bass was like a common thread tying the different and distinct sections of the song together. It also added that definition and helps the song pack a punch, which complimented the rock influence. The electric guitars in the background delivers this rock influence, taking the song to a whole new level of me. I do think LOCO has potential to be more electrifying and hardcore. I think if the producers did this, LOCO would have been boosted to new heights. The bombastic nature of the start was a great entrance into the song and I liked how that was also continued throughout the song as well. LOCO also had a Latin influence, which was an intriguing influence to have in this mix. When it comes to the vocals and rapping, I thought both elements were rather strong and bold, which was definitely necessary to stand out over the instrumentation. The members definitely had a good handle on this. The melodies in the chorus and elsewhere were appreciable and felt like it did a good job of balancing the high energy that came from the raps. Overall, I thought LOCO was a strong song and definitely it took me back to their earlier days. However, I am definitely of the opinion that the song would have flourished if all their influences were more concentrated and intense (i.e. more of that rock!).
The music video for this comeback is fantastic. While the song doesn’t have that colourful tinge to it as per their earlier works, I felt this colour was definitely made up in the video. I also liked how that the video managed to convey edgy side of the song as well, which helped made the video feel so much more dynamic. I also felt a bit of epicness from the video when it came to the ‘Crazy In Love‘ billboard and the stage performance we were treated to, following the interlude within the video. I just wished the producers of the video CGI in a crowd for that part, as that would have really heightened the energy and ended the video on such a high note. Elsewhere, the post-production in this video really highlights the high quality of the video.
The performance was another highlight of this comeback. I really liked the powerful energy that came through, especially for the chorus, along with the attitude that sends a ‘you don’t want to mess with us’ message. This just really highlights their stage presence. The main move seems to be the holding of and shaking of the head, which makes sense, given that ‘LOCO‘ is Spanish for ‘crazy’. It is definitely a worthwhile watch.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
After taking a few days off after my album review blitz, I am back with a review of Monday’s main release, BRAIN, by Yang Yoseob (from HIGHLIGHT). The new song is featured as the title track of Chocolate Box, Yoseob’s first ever studio album since his debut 12 years ago. This is also Yang Yoseob’s first solo release since Star and Where I Am Gone in 2019 and his release from the military. Earlier this year, Yoseob returned with his fellow members of HIGHLIGHT for Not The End and The Blowing promotions, marking the end of a two year hiatus for the group.
To me, BRAIN is a fairly straight-forward R&B track. It is always nice to hear something that you can describe as pure and not overly processed or potentially muddled by other influences (which is more so the case of today’s KPOP music). It is also a nice throwback to how Yoseob started his solo career, which was also an R&B track (see my review for Caffeine).I wasn’t a fan of his debut song back then, but I would say my music tastes have matured over the many years since then and can appreciate a song like Brain now. A few elements pop out at me in the newer song. Within the instrumentation, I found the muffled flute to be quite an intriguing centerpiece. At first I didn’t like it, but it drew my attention in quite quickly and dragged out a few additional listens out me. The bass was a much needed element in BRAIN, adding definition to the instrumentation and the song overall. The rest of the instrumentation was more on the typical side of the spectrum and hence the muffled flute and bass really did wonders to make it more attractive. Another element within BRAIN was Yoseob’s vocals. His vocals are smooth and perfectly suited for the R&B genre, and I felt that BRAIN really highlighted that and presented his vocals extremely well. I particularly like Yoseob’s vocals during the bridge, as they seemed to push the song’s boundaries. It might be minute, but it was definitely appreciated. The melodies that he brings to the song also gave BRAIN a tinge of memorability, which works hand-in-hand with the other memorable elements of the song. Overall, BRAIN is a pretty decent song. I am not head over heels for the song, but it is a great return to form for Yoseob and highlights his skills in a manner that is clear and pure.
As for the music video, it is fairly typical. But it was still fine to watch. I did like how the stylist(s) for this comeback changed Yoseob’s image for this comeback. He looks very mature in this music video in his outfits, which is rather different to the image that I am more familiar of him (for those who are wondering, I am much more familiar from his youthful image back in the early days when he was promoting under the name of Beast). Elsewhere in the video, I felt some of the sets provided a bit of sophistication and classiness to the music video. The lighting added a bit of a dramatic flair, especially around the peak of the song.
Choreography-wise, it matched the vibes of the music video. I thought it was classy looking and there was a tinge of sensual energy. It was also elegant and smoothing looking as well. I particularly like the slow shuffling in the chorus and the slow swinging of the legs in the post-chorus hook. I feel like the choreography really lifted up the song, for me.
Song – 7/10 Music Video – 7/10 Choreography – 8/10 Overall Rating – 7.2/10
It has been a while since we heard from this particular group. To be precise, five years. I am talking about none other than 2PM, who have been absent from the KPOP scene due to military enlistments over the last five years. At the end of June of this year, 2PM regrouped to release their 7th studio album, MUST, which features the title track, Make It. Amongst the new tracks alongside Make It is the acoustic version of their 2015 hit My House, which rose on the charts earlier this year once again. As per my album review rules, I will not be including this new version of My House and the intro in the final album rating score. This is also the final album on the album review blitz I have been working on over this weekend. Feel free to return to the home page to see the seven other albums I reviewed this weekend. Otherwise, here are my thoughts on 2PM’s latest release!
MUST Album Cover
1. Intro – The album begins the sophisticated jazzy intro, which I think is a great reintroduction to 2PM. It is mature. It is classy. It is everything that 2PM has pumped out prior to their military enlistment hiatus.
3. OK or Not (괜찮아 안 괜찮아) – For OK or Not, there are many great elements to this song. Firstly, the instrumental was quite dynamic. I liked the synthetic violins that were used in this song. It helped the song exude a mature and classy tone, but also fitted in with the rest of the synth instrumentation. Secondly, I liked how the members were in the forefront of the song. Their voices were clear and crisp, throughout. I did like the autotune filtering they applied to some of the vocals, particularly the hook, which added depth to the song. Lastly, the song’s hook was repetitive and catchy. It was also quite simple and clean, so it was super easy to appreciate. Overall, OK or Not is a strong and likeable side track. (9/10)
4. On My Way (보고싶어, 보러갈게) – I was lowkey waiting for a drop in On My Way, which ultimately didn’t come to fruition. The instrumental hinted towards a drop on multiple occasions, especially as the song was building up to the chorus. But instead, the song opted to just transition from pre-chorus to chorus without much flair, and this made On My Way slightly frustrating. Other than that, On My Way was a pretty straightforward song, with good textures thanks to the consistent use of clickity clacks in the instrumentation and the autotune. (7/10)
5. Champagne (샴페인) – Champagne is the first standout song on this album. The instrumentation was very cool, with the contrast of bass and metallic xylophone being one of the most memorable aspects of the song. The synths take on an almost screechy profile, but they work cohesively with the rest of the song. Another memorable aspect included the dynamic that Taecyeon and Jun.K brought to the song via their rapping. It added drive and additional cool points to the song. I also liked the subtle use of brass in the song. (10/10)
6. The Café (집 앞 카페) – The Café is a fun and bright pop song that remains within the classy parameters of the album. It is super easy to get into and enjoy, with melodies that I am sure will make you smile. I liked the additional highlights within the instrumentation from the xylophone tapping. The vocals and rapping were really nice here, as well. (9/10)
7. Moon & Back – Moon & Back is a R&B song that I find to be quite well balanced and thoroughly enjoyed from start to end. The instrumental is quite texturally packed, thanks to all of the small details we get throughout the song (i.e. the disc scratching, the taps and clicks etc.). The vocals brings the smooth texture that one would usually associate with the R&B genre. My pick for standout member in Moon & Back is Taecyeon, with his really deep vocals. They just had such a strong effect and brought a different colour to the song, despite being one of the briefer elements of the song. (8/10)
8. Two of Us (둘이) – Continuing the R&B on the album is Two of Us, but this time over jazzy instrumentation that brings out a warm and happy atmosphere. You just can’t help but smile whilst listening to this song. The chorus of Two Of Us exudes an undeniable sweet tone. The best part of the song has to be the ending, when the members harmonize with one another in an overlapping manner. It isn’t like your typical harmonization in a ballad, where the members come in at the same time. In this song, it appears that one member starts slightly later than the other, but they still come together cohesively. (8/10)
9. Hold You (놓지 않을게) – Hold You is a ballad, with a tinge of jazz in the background. I really liked how breathy their vocals are throughout the song, which gives off the appeals that fit right into 2PM’s wheelhouse. What makes Hold You even better are the harmonies we get between all the members following the chorus. I also thought the brass in the chorus adds definition to the ballad, making it much more dynamic than your typical ballads. (8.5/10)
SF9 returned in early July with TURN OVER, their 9th mini-album since their debut, and the title track Tear Drop. This new mini-album follows the release of Special History Book, their special single album (which I didn’t review) that marked their fourth year as a group, which featured the special track Shine Together. It also follows the group’s participation in Kingdom: Legendary War, where they released |Believer| as their final round song (which is also featured on this mini-album). In other new, all nine members have renewed their contracts with FNC Entertainment at the start of the year. So that means that we will be hearing more SF9 into the future. But until then, here is my review for TURN OVER.
3. Love Again (한 번 더 사랑하자) – Love Againhad a sweet and romantic vibe, which comes via the vocals and lyrics for me. It is also vocally centric, with the group putting their vocals on display and such vocals were extremely pleasant to listen to. The rapping was also quite fitting for the pop style the group had gone for. What makes Love Again even stronger is how appropriate the track sounds for the Summer season. This was thanks to the EDM flourishes that decorated the track. (7/10)
4. Off My Mind – Off My Mind is much more upbeat compared to Love Again, slipping into synth heavy pop territory. The synths brought out dynamic energy, which ultimately made the song so appealing to listen to. The vocalists did a really good job with their harmonization and breathy vocals in the chorus. The hooks they brought to life was also quite catchy and helped reel in more listens from me. The rappers definitely stood out and added to the dynamism of the song. (9/10)
5. Fanatic – Latin influences return in Fanatic. The track still stays within synth heavy territory, so this Latin influence doesn’t necessary repeat the same vibes that their more notable Latin-influence title track (O Sole Mio). To me, the combinations of the synths and Latin influence was a memorable sound on the album, and the synths gave Fanatic a lot of interesting texture. Vocally, the song showcased them proudly, while the rapping definitely added edge and SF9’s usual colour to the song. (9/10)
6. Hey Hi Bye – Final song the album is Hey Hi Bye. It continues the album’s reliance on synths. This time around, however, Hey Hi Bye delves into the retro world. More specifically, I think Hey Hi Bye features a heavy presence of 90’s new jack swing, but there are other retro influences in the song as well. It is all masked somehow by this consistent synth-like filter that complicates but also adds definition to the instrumental. It would be an understatement to say that there is a lot going on instrumentally, but it still an interesting mix nonetheless. I applaud the vocals who managed to stay on top of the instrumentation. They easily could have been masked by all the music. The rappers added depth to the song, which I think helped make it more dynamic. (8/10)
I am glad that we will got to hear more from The Boyz, particularly since the gap between their last official comeback (The Stealer) and this comeback is almost a year (to be precise, 9 months, but I rounded up)! The Boyz made their comeback at the start of August with THRILL RIDE, their most successful title track yet. It is featured on their 6th mini-album, THRILL-ING, which has also released on the same day. THRILL-RIDE and THRILL-ING is the group’s first domestic comeback of the year, and it also follows the group’s recent appearance on Kingdom: Legendary War, after the group won a ticket to the main competition through their appearance on Road To Kingdom last year.
2. Out of Control (환상열차) – While THRILL RIDE was a lot brighter and peppy, Out of Control takes a serious turn with a slightly heavier sound. It features dramatic sirens throughout that really sets the tone for the song, and an intense EDM background for an otherwise pop melody. While I quite like the vibes and tone of the instrumentation, I kind of wished the hooks for Out of Control were more pronounced. Melodically (thanks to the vocals), it was quite satisfying. But I just found it was lacking that memorability. The rappers shined with their parts, and the bridge was hella smooth. (8/10)
3. Dance Til We Drop – Dance Til We Drop brings forth funkier vibes that just makes you want to get up and dance. I just liked how emphasized the funky sounds were, making this is another strong instrumental. I feel that the chorus could have used a bit more bite when it comes to hooks and melodies. What we got was more so on the pleasant side and doesn’t do the funky vibes from the background in the chorus justice. But overall, a fun and bright track. (8.5/10)
4. Nightmares (黑花) – Looking at the tracklist, Nightmares was the clear song that would act as the album’s outlier. Just from the title, you can feel a dark vibe. And well, Nightmares exudes just that. It starts off with haunting harmonization before the song’s edgy instrumental comes into play. I really like that consistent hit of electric guitar we get as the beat in the instrumental. The vocals (including the whispery deliver, the harmonization we get in the pre-choruses and the high notes we are treated to) and the deep tone rapping further emphasizes the dark aesthetics of the song. Everything in Nightmares came together perfectly, and the song itself is my personal favourite on the album. (10/10)
5. Merry Bad Ending– Merry Bad Ending combines the likes of EDM and R&B to create a pretty good song. While Merry Bad Ending is more of a vocally centric track, the EDM brings adds a rough texture to the song and keeps the appeal quite interesting. The R&B comes through via the vocals and adds smoothness to the song, creating a well-balanced track overall. The rapping adds a bit of edge to the song, which I find fitting with the EDM side of the song. (9/10)
6. B.O.Y (Bet On You)– The final song on the album is B.O.Y (Bet On You), a pop song with a nice blend of instruments and synths that I find extremely fitting for the season of Summer. I particularly like the use of acoustics in this song, with this particular element standing out over the synths for me (in a good way). The vocals and rap-singing adds some brightness to the song, and I liked the harmonies in the song. Altogether, B.O.Y comes off with a refreshing tone that makes it easy on the ears, as well. (8/10)
Next up on the album review blitz is ONF’s summer special mini album, SUMMER POP-UP ALBUM [POPPING]. Featured on this mini-album is the title track Popping and four other new songs from the group. This new mini-album follows ONF’s first studio album earlier in the year, ONF: My Name, which is headlined by the title track Beautiful Beautiful. They also returned with a repackaged version of the studio album, retitled as City of ONF and lead by the title track Ugly Dance. It has definitely been a busy year for the group, but I am sure fans and casual listeners of the group are enjoying this abundance of releases.
2. Summer Poem – Like the title track, there was a lot going on in Summer Poem. The very start of the song felt like an acoustic ballad before the first verse emerged with bouncier pop sound. The chorus concentrates that pop sound with a slight Latin-like tinge. The bridge goes for a sweet slow and tone down, before they ramp up to the final chorus with electric guitars and rapid synth beats. The final chorus begins with an anthem-like approach, before the song wraps up with a similar acoustic sound as how it started. Phew! Amazingly, Summer Poem was cohesive and actually flowed from one end to the other without being disjointed. If I were to be critical about something in Summer Poem, it would be bout the hooks – I wished they were as catchy as the title track’s. (9/10)
3. Summer Shape – ONF shakes up the album by going with a slow jazz number with Summer Shape. A complete change in sound following two bright tracks. For me, the song sounds quite nice, but I find it a bit slow for my personal taste. I do think it was an ideal track when you just want to kick back and relax after a long day with a beverage in hand. It is incredibly soft and highlights a different sound than what I remember ONF for. (7/10)
4. Dry Ice– Dry Ice is a mix of EDM and reggae, which is a pretty interesting and original combination (from what I can remember). It might be an odd combination to read in words, but ONF successfully pulls off Dry Ice in a coherent and flowy manner. I really like the burst of intense EDM that we get throughout the song, adding energy and impact to the song. The reggae, on the other hand, holds back the EDM and adds an interesting colour to Dry Ice. I noticed barely audible voices in the final burst of EDM at the end of the song. Not too sure if this is intentional and can’t make out if it is just ad-libs, but it is an interesting touch nonetheless. (9/10)
5. Summer End – The Summer album ends with a song appropriately titled Summer End. The soft pop instrumentation coasts along and brings forth a smooth exterior to the song. The vocals in Summer End make the track sweet and the harmonies warm up the song quite well. Personally, it isn’t my cup of tea. But overall, a pleasant ender to the album. (7.5/10)
Out of all the albums I am reviewing as part of this blitz, I think this particular one is the oldest one on the list. Man on the Moon, N.Flying’s first ever studio album since their debut in 2015, dropped earlier June of this year. It is headlined by the title track, Moonshot. I am particularly excited to review Man on the Moon, given N.Flying’s underrated status. Based on their past tracks and album reviews, I just knew that there will be some strong tracks on the album and I definitely want to share them with you (spoiler alert – there are actually some outstanding tracks on this tracklist).
2. Ask – Ask is an emotional rock ballad speaks on the topic of heartbreak. The message for this song is clear as day, without even needing to read or translate the lyrics. Just listening to the sadness and heartbreak behind their vocals is enough to convey the message. I really like the delicate touch that the piano brings, while the rock element still has some impact. The rock-ballad elicits a swaying effect on me (which you will know is what I consider as criteria of a good ballad). (9/10)
3. Comma (쉼표) – Opening the song is a suite of piano (or keyboard) notes that forms an ascending pattern. I quite like this, and fast became the most memorable element of the song for me. Comma had this really strong atmospheric tone to it, which made it standout for me. In addition to that tone, the vocals were captivating and gave me shivers, particularly Hwesung’s high note at the mid-point of the song and Seunghyub’s vocals that almost teeters into rap territory and hence a brings a nice texture and dynamic to this powerful song. (10/10)
4. Undo (지우개) – Undo changes it up by returning to a bright and fun natured rock track. With such energy, Undo makes me want to get up and do a bit of a boogie. There is also a light sprinkling of synths in the song, which adds an additional dimension to the song. The vocals and rapping were rather straightforward in my point of view, but they also helped bring out the energy in the song. Interestingly, the lyrics of the song seem to point in the opposite direction, retelling the story of a messy breakup. (8.5/10)
5. You – Another song that I really want to get up and dance to. Its fun and definitely a vibe. You has this consistent (positive use of this term here!) upbeat energy thanks to the instrumentals. Seunghyub’s rapping is on full display in this song. And his rapping brought a nice kick of additional energy to You, especially at the very start which left a strong impression on me. Hwesung’s vocals added brightness to the chorus, but also kept the song grounded elsewhere. The ‘You‘ in the chorus was also quite impactful. Overall, a highly praised and recommended song. (10/10)
6. Blue Scene (파란 배경) – After two upbeat tracks, Blue Scene was a nice tone down (in terms of energy). It was also a nice switch back to straightforward rock sounds, though there is a bit of R&B mixed into the instrumentation. The rapping was good, and the guitar in the background was a highlight. On the vocal front, they had this dreamy feel to them, with the harmonies at the end emphasizing this. But I just felt that the vocals didn’t feel as good as in some of the higher rated songs above it. (8/10)
7. Fate (이 별 저 별) – Fate reminds me of a typical moody rocky song. While that is a shocker of a description, I found that Fate reminded me of some of their earlier works. Overall, there was a good display of vocals and rapping. I also enjoyed the piano in the background. But like I mentioned at the start, Fate was pretty ordinary in terms of appeal. But it was still a decent song. (7/10)
8. Zip (빈집) – Zip is a R&B ballad. The verses were calming and melodic, and I think the same can be said about the song overall. But in comparison to the rest of the song, the verses were largely forgettable. For me, the chorus stole the show for me. It is so good, to the point where I would listen to the chorus on repeat if I could (sorry Seunghyub). The melodies were amazing, and Hwesung’s soaring motif at the end of each line in the chorus and overall delivery was just so stunning and breathtaking. (8.5/10)
9. To You (너에게) – Relative to all the other songs on this album, To You falls on the cuter side of the spectrum. And it is quite lonesome, given that the song also feels like an outlier on this album. I enjoyed the song overall, but also felt like it was dryer than some other tracks on the album. The vocals were pleasant. The standout, for me, however, was the rapping. Seunghyub’s rap sequence in the bridge gave a nice kick to the song, while his rap sequence at the end of To You rounded out the sound in an unexpected 90s but fitting manner. (7.5/10)
10. Flashback – The final song on the album is Flashback, and this was a home run for me! It is another rock ballad that brings forth nostalgic vibes and happy memories. To end the album on such a note is quite impressive and I am sure fulfilling to all parties (fans, band members and listeners alike). Each member played a prominent part in this song (like very other song ever), but I want to commend the other members (Chahun, Jaehyun and Dongsung) whom I haven’t referred to in this album review yet. They did an amazing job with bringing each song to life, but I just felt they gave a bit more effort in Flashback. Everything in the instrumental just sounded substantial and very satisfying. The drum work and guitar solo was particularly exceptional. Hwesung and Seunghyub were also amazing, bringing emotional vocals into Flashback. (10/10)
Dream Catcher returned at the very end of July with BEcause (as the title track) and the special mini-album, Summer Holiday. While BEcause aligns with Dream Catcher’s usual sound, the rest of the mini-album is quite a journey that I am sure you will enjoy, as the group delves into different genres for each of their songs. Continue reading to find out which genres the group went with for this special mini-album. More recently, Dream Catcher released their sixth mini-album, Dystopia: Road to Utopia (which I have reviewed, click the link to read that album review), headlined by the title track, Odd Eye.
Summer Holiday Album Cover
1. Intro– The intro begins with the sound of fans (cooling fans), followed by someone entering the store (as you can hear the clickity clacks of someone’s shoes walk). The music then takes a slight dramatic turn that feels very up Dream Catcher’s alley, with it being bold, creepy (definitely terms that go hand-in-hand with Dream Catcher’s music profile), but also sophisticated and mature.
3. Airplane– Bright releases aren’t something that we really speak about when the topic revolves around Dream Catcher. But Airplane is just that. It is a summery pop track that ticks a lot of boxes, including bright (as already mentioned), upbeat, fun-sounding and refreshing. I liked the guitars in the background and all the synths in the song that reminds me of 80s pop music. Vocally, the song is pretty decent, but the rapping felt most fitting for the song. (9/10)
4. Whistle – Whistle takes us back to familiar territory. Compared to Airplane, this song is much more serious and mature. Whistle taps into EDM for majority of the instrumentation in the song, but there are some stillness during the song’s quieter moments. I also find the EDM, particularly during the bridge of the song, is reminiscent of EDM we heard back in the ‘00s. The whistling makes a lot of sense, and helped bring a lightness to the EDM track. The vocals made the song breezier and brought an appropriate pop melody to the song. It was a pleasant listen that I really enjoyed. (10/10)
5. Alldaylong – Another song, another genre. This time around, Alldaylong delves into city-pop. Like the genre, Alldaylong was a very light track and it also shows off the group’s ability to do more delicate songs (as I feel we associate rock and heavy EDM with the group more often). I liked the ‘surround’ sound processing that were applied on top of the vocals. It definitely made it feel more city-pop. It isn’t their most notable track on the album, but definitely a worthwhile change up in their sound. (8/10)
6. A Heart of Sunflower – Given the variety of genres on this album, I was expecting a ballad to come our way. And for this album, it comes in the form of A Heart of Sunflower. This ballad had everything when it comes to ballads. From the acoustics that started off the song and remained throughout A Heart of Sunflower, to the orchestral touch via strings, to the peak using more orchestral elements and electric guitars. The vocals are very delicate and touching. If anything, I wished the song had more harmonies. (9/10)
Half a year after he had left the military after fulfilling his civic duty, D.O unveiled his first solo mini-album since debut as part of EXO back in 2012. The album is titled Empathy, and features the title track Rose. It was released back at the end of July of this year, and features a heavy presence of acoustics throughout all of his songs. On top of that, D.O also featured an English version of the title track and a Spanish version of It’s Love, which is a side track off this album, as well. In terms of other work, D.O has launched back into acting with a confirmed role in an upcoming drama and also participated in EXO’s most recent, Don’t Fight The Feeling (both album and title track).
2. I’m Gonna Love You (ft. Wonstein) – The next song on the album takes the acoustic but goes in a R&B direction. I’m Gonna Love You is brought to life via D.O’s perfectly suited R&B vocals and Wonstein’s rapping and vocals. There are also some harmonies within I’m Gonna Love You that makes the song even better. The melodies help bring some energy into the song, while the ‘I’m Gonna Gonna Love You’ hook is quite catchy. Altogether, it is a warm and easy to listen to track. (8/10)
3. My Love – My Love delves further into the R&B genre. Instrumentally, it is quite good but it definitely on the simpler side. So, a lot needs to be done elsewhere, and hence this burden falls on his vocals. But D.O rises to the occasions by putting a bit of oomph to his vocals as the song progresses along. It isn’t to the point of powerhouse vocals. But rather, he keeps the song balanced to the extent in which it does go, making this another easy to listen to track. I also like the intimate side of the song, which I am sure EXO-L’s and other listeners are appreciating as well. (8/10)
4. It’s Love (다시, 사랑이야) – Right off the bat, D.O brings impact with his vocals and steals the show with them in this song. The other two songs preceding It’s Love have been a bit light on, though appropriate for the styles that they were going for. But here, over an acoustic ballad instrumentation, D.O really flourishes. His ad-libs are amazing and the melodies that he brings to the song are so dreamy. (9/10)
5. Dad (나의 아버지) – Dad is another ballad, a song dedicated to fathers. This time the acoustic guitar is accompanied with a bit more in the instrumental department, including piano, percussion and orchestral elements. The vocals are superb. In Dad, D.O is significantly more emotive and captivating. And this just makes the message of the song so much more meaningful. I also like how his vocals build in this song, making it a powerful number, as well. (10/10)
6. I’m Fine – The ‘final’ song on the album is I’m Fine. Compared to the rest of the mini-album (aside the title track), I’mFine is slightly more upbeat and brighter. It adds a bit of a different colour to the album, which I am appreciative of. Like the sound, the vocals also go in a different direction and I like the development of his vocals in I’m Fine. The reassuring tone in subtly jazzy instrumental, the hefty vocals from D.O and the fulfilling vibes of I’m Fine makes it a strong ender. (8.5/10)
KPOPREVIEWED 