Category: KPOP

[Review] BEcause – Dream Catcher

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Officially returning today is Dream Catcher with BEcause, the title track from the group’s first special mini-album, Summer Holiday. They did give us a little sneak peek at the comeback yesterday through the official start of promotions on MCountdown, but the music video officially dropped today. This the group’s first comeback since the release of their sixth mini-album, Dystopia: Road to Utopia, and Odd Eye earlier this year.

When I first heard the song, I thought Dream Catcher strayed away from their usual rock sound by basing the song on the first part of the first verse (and the fact that this was a song released on a ‘special album’. Oh, how wrong was I. If I had waited a few more seconds for the song to reach the pre-chorus, I would have realized that BEcause does contain that Dream Catcher signature rock influence, returning the group to their roots. They do change up their chorus a bit by incorporating pizzicato sounds (plucking strings of a string instrument), before leading into the rock influence. The subsequent rock in the chorus was toned down slightly to not be its usual amplification, which helps merges the softness of the pizzicato sound with the rest of the song. For Dami’s first rapping sequence, we get more of a concentrated rock sound that I thought was really cool. It is the tiniest of details, but there was a electric guitar solo moment for a brief second which I really liked. The bridge features a creepy and haunting piano melody, before we are blasted with rock to end the song. The instrumental front of BEcause was really good and had such thrilling energy. For the vocals, I thought it was good. It is Dream Catcher’s usual style and I also really like the rock style filter over some parts to help give their voices some more edge. Overall, BEcause is a really good return to form for Dream Catcher. I do feel like the start was potentially me wanting something else from Dream Catcher, but I am happy with what BEcause ended up being.

Also returning to form is Dream Catcher’s concept, with the horror theme returning for this comeback. This time, it appears the members are staying at a haunted hotel, which is connected to an abandoned theme park. The setting for this music video appears to be the same theme park settings in other music videos, so I really like what the producers of the video did to make the theme park appear haunted and creepy. I also really like the grey colour scheme they went for. The whole bridge sequence was definitely haunting as well. But what was the most creepy were those people standing around wearing black cloaks and veils. In terms of plot, I am not exactly 100% sure what is going on. But I think the one of the members was caught, while all other members were evil spirits trying to corrupt that captured members (which was mission accomplished at the end). But aesthetics and atmosphere-wise, the music video for BEcause was nailed.

I liked how their performance incorporated some horror tropes. Nothing scary, but they are common things you would associate with the genre, such as the non-reflective mirror at the start of the performance, the Yoohyeon puppet in the first verse, creepy smiles throughout the choreography and slow turns we see commonly with dolls at the end of the performance.

Song – 8.5/10
Music Video – 9.5/10
Performance – 8.5/10
Overall Rating – 8.8/10

[Review] Rose – D.O (EXO)

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Once again, I am catching up with reviews. First up for what felt like a long time is the review of D.O’s solo comeback, Rose. The EXO member previously made his solo debut back in 2019 with the single That’s Okay, which was released the same day he enlisted into the military. Fast forward two years, D.O completed his military enlistment and he has also returned as an EXO member earlier this year with Don’t Fight The Feeling (the single review and the album review). He surprised fans at the end of June with news of completing his first solo mini-album, and subsequently released Empathy a month later, which features the title track Rose.

Rose had this feel-good and no nonsense vibe to it, which I found to be enjoyable. It is feel anything else with a song like this. Apart from this vibe, I also really liked the simplicity of the instrumentation. The acoustic guitar was the only instrument in the song, but yet it managed to pack a bit of a punch by giving off such a happy tone and a summery flair, fitting for the current season. D.O vocals are quite substantial and gives off a similar tone as the acoustic guitars. The pairing of the two elements was just so riveting to listen to. I am glad that D.O didn’t go with the cliché ballad route for this release, giving us a bit more colour with this release. Also, Rose just makes me want to smile every time I have listened to the song since its release. But while Rose is quite good in itself and the smile-inducing tone is always nice, I find myself struggling to put in the effort of searching up the song itself. It is for a different reason than usual, however. I pretty much like the track, but I feel it has the potential to become boring. I think consistency is the key here. Consistency is good, as I always say. But if something is a bit too consistent, multiple listens would put the song at risk of draining whatever effect it had on me. I am more than happy to listen to the song if it appears on my playlist or appeared as the next video on YouTube. But I just don’t see myself voluntarily searching up the song anymore, just so I can keep Rose appealing. Overall, Rose is a decent track and presents D.O’s vocals in a really positive manner. I just feel I need to keep my distance from the song to keep it like that.

Whatever headphones D.O is wearing, let me know the brand name and model. I need something like that (i.e. product placement has worked and I am gladly happy to exchange money for those headphones to block out the world). He happily cycles through town with the headphones on, listening to Rose. And he doesn’t stop for anything. Not the burst fire hydrant he just passes, not the school kids (who are always nosy), not the robbery in the cafe, or the exploding garbage truck. Noise-cancelling must be really effective with those headphones! But that is aside from the actual plot of the video. The real plot of the video portrays the aftereffects of falling in love, which puts him in a good mood and gives him some good luck at the same time. It also fits the bill and compliments the cheerful nature of the song. I also like the sketchy effects added post-production, which gives the video some extra detail and depth.

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

[Album Review] Advice (3rd Mini Album) – Taemin (SHINee)

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The next album to be on the reviewing block is Advice, Taemin’s third mini-album, which was released at the end of May of this year. The title track for the album shares the same name with the album itself. This release is particularly important as it is the artist’s last solo release for a while. For those who may have missed the news, Taemin recently enlisted into the military, as like every other Korean male citizen. While we might not be able to see for him in the next two years or so, we have gotten a lot of Taemin this year already. Prior to this solo comeback, we also saw Taemin participate in SHINee’s promotions of Don’t Call Me and Atlantis, their first promotion as a group since 2018. SuperM (the other group he is also a part of) also released a single earlier this year, as well. And he managed to slip in a solo comeback before enlisting? He definitely spoiled his fans. All the best for military enlistment and see you in two years or so Taemin!

Advice Album Cover

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

2. Light – Following the title track is another very Taemin-esque song. The song starts off with this groovy and sensual vibe, which screams out all things Taemin for me. But as the song progresses, Light develops more into a R&B synth track and maintains that grooviness. I would have liked to hear the sensual nature of the start be maintained as well. But I guess we cannot have it all. Taemin’s vocals are very prominent in the song as well. My favourite bit is the bridge of the song. I really enjoyed the aesthetics that the bridge and how it slowed down the song without stopping the momentum of Light. I really appreciate that. (8/10)

3. If I Could Tell You (ft. Taeyeon from SNSD) – If I Could Tell You stays within the R&B realm of music, but also features a bubbly synth instrumentation that was moody and definitely sleek. The song also features the likes of Taeyeon (who also recently returned to the KPOP scene with Weekend). I really like both Taemin and Taeyeon’s vocals in this song, particularly that really fast delivery of lyrics in the verses. It was a memorable part and definitely gave the song a bit of a wow factor. Unfortunately, the song sounded a bit repetitive by the time it reached the pairs duet. But overall, still an enjoyable song. (8/10)

4. Strings – Aesthetics continue with Strings. To me, Strings is definitely on a whole different level compared to the rest of the album. I really like the guitar work at the start of the song, giving Strings is moody vibe. The pace and that really brief humming synth we hear is really creates a dark atmosphere. The song progresses more into a R&B track once we get into chorus territory. The bass in the chorus continues that darkness from earlier in the song in such a satisfying manner. The presence of the female backing vocals gave a great impression of depth and added an extra bit of appeal to the song. Overall, my favourite side track on the album. (10/10)

5. Sad Kids – Ending the album is Sad Kids, which is a continuation of 2 KIDS, which was a pre-release track last year and re-released as part of Never Gonna Dance Again: Act 1. When it comes to the song’s instrumental, Sad Kids is rather simple. It is a mid-tempo pop track that comes to life thanks to the guitar work. It is a blissful and uplifting song, but with a lot of emotional weight coming through via Taemin’s vocals. I liked how he found a balance that didn’t make this song come off as a ballad. A really nice ender that makes me want more from the artist. (9/10)

Overall Album Rating – 8.4/10

Advice Album Cover

[Album Review] Don’t Fight The Feeling (7th Mini Album) – EXO

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Next album I am picking to review is EXO’s latest release after a long while, Don’t Fight The Feeling. I am a bit unsure if the album is considered their 7th mini-album, or just a special mini-album. But basing off a few sources, I have decided to go with their 7th mini-album. Anyway, as mentioned, this is the group’s first release since their 2019 comeback, Obsession (title track and studio album) due to military enlistments of some members who have since returned (i.e. Xiumin and D.O). The comeback occurred after additional members enlisted (i.e. Baekhyun and Chanyeol) and hence it may be a while until we get another comeback from the group. In the meanwhile, we are treated to this mini-album and future solo promotions (D.O is confirmed for a solo comeback in the coming days!).

Don’t Fight The Feeling Album Cover

1. Don’t Fight The Feeling (Title Track) – Click here to read the full review for Don’t Fight The Feeling. (8/10)

2. Paradise (파라다이스) – Following the upbeat and fun sounding Don’t Fight The Feeling, Paradise slows the pace of the album with mid-tempo R&B track. While I don’t mind a slowed down song, I felt Paradise was a bit too slow and sluggish, relative to the first track. Now, this isn’t an issue if I were listening to the song by itself. But I found this to be an issue when I was listening to the album in order of the tracklist. Despite the slow profile, the chorus was still a strong one. I really like the melodies (they helped add some faster tempos to the song) and the warmth that the members gave the chorus via the vocals and melodies. I also found it lighthearted and ‘easy on the ears’. The rapping didn’t have that seem feel and was largely forgettable. Overall, a decent track. (7/10)

3. No Matter (훅!) – While No Matter is still in that ‘mid-tempo’’ territory like Paradise, I feel that No Matter has a bit more of a bit to it. Everything felt cohesive and had a place in this song. I liked the funky atmosphere that the instrumental gives the song. The vocals were quite strong and added that needed substance to the song. The falsetto-like ‘Oh Oh Oh’ hook was quite memorable. The rapping felt fitting and continued the momentum and energy from elsewhere in the song, which was great. No Matter is definitely one of my favourite side-tracks on the album. (9/10)

4. Runaway – While the other songs on the album thus far have been more on the brighter end of the spectrum, Runaway feels and sounds a lot darker and moodier. I really like this slow rock, guitar and piano fusion sound. I also know that Runaway is a lot slower than the previous songs, but I feel its placement on this album is justified and it works nicely to help build a captivating and alluring atmosphere. For the vocals, I liked how they sounded echo-y, which adds additional depth to the song. On top of that, the chanty style of the chorus was quite memorable. Personally, it is another favourite on this album and is the first song that really stood out to me when I listened to the album for the first time. (10/10)

5. Just As Usual (지켜줄게) – Just As Usual both ends and returns the album to its brighter sound. Just As Usual starts off as a soft R&B track, before the instrumental builds into a soft pop style instrumental (with the actual use of instruments, rather than synths to build the song’s backbone). I liked this buildup of energy and it puts forward EXO’s skillsets better than what a ‘straight’ coffeehouse track would have presented us with (which was a concern I had at the start of the song). Vocal and rapping-wise, I liked both elements in this song. Chanyeol was the standout member, with his husky vocals and cool rapping. Kai was the other member that stood out for me. The ad-libs from some of the other members were really good and the fade-out of the song was a good idea. (8.5/10)

Overall Album Rating – 8.5/10

Don’t Fight The Feeling Teaser Image

[Album Review] Mr.Mr (4th Mini Album) – SNSD

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A few weeks or months ago, I flagged I would restart the ‘Past Album Review’ segment, which focuses on albums released in the years prior to the current year, come July. Unfortunately, some things have held me up from starting it at the very start of July (and just writing Past Album Reviews, in general). But now, I am finally getting around to it. First up is SNSD’s fourth and final (to date) mini-album, Mr.Mr. This and the title track of the same name was released way back in 2014, and was the final release to feature Jessica and a OT9 lineup. Since then, the group have largely focused on studio albums. Since 2017, the group has been on hiatus after some of the members parted ways with SM Entertainment, however that might change later in the year with rumours of a SNSD comeback. But until a confirmed release, here is a throwback to 2014 and the album Mr.Mr.

Mr.Mr Album Cover

1. Mr.Mr (Title Track) – Excuse the cringiness in this review. I wrote this in my fetus years. Click here to read the full review for Mr.Mr. (9/10)

2. Goodbye – Goodbye is one pleasant track. But I say that in a really positive manner. Goodbye was a great showcase of simplicity, with every element feeling quite simple. The entire song has a feel-good vibe to it, with the rock-pop instrumentation taking on a bright profile. This is in direct contrast to the lyrics, which are all about leaving a relationship you know that just won’t work out no matter what you try. The vocals are straightforward and have a sweetness to them, which tells me that they have come to terms about the relationship I mentioned above. The melodies within Goodbye were also simple and easy on the ears. Overall, a really satisfying song. (9/10)

3. Europa (유로파) – I really like the disco profile of the instrumentation in Europa, which feels perfect fit for the influx of cutesy songs back in the day and gives off a sense of nostalgia. Unfortunately, I feel the rest of the song is rather jarring. Europa isn’t a cohesive track, but the standalone elements were good. The vocals just doesn’t piece together as nicely (though these do also give off a sense of nostalgia, reminding me of SNSD’s earlier works when they sang together), and the additional detailing in the instrumentation felt like they don’t compliment the rest of the instrumental. (6/10)

4. Wait A Minute – I would never have thought that Wait A Minute and Mr.Mr would be on the same album. Wait A Minute has this heavy sweetness within it that just directly contrasts with Mr.Mr. It is still a decent song, however. It is upbeat and has a nice energy to it. The vocals were also nice and appreciable. I think Wait A Minute’s main issue was its instrumental. It is decent, but I don’t think the electronic nature of the instrumentation was right. I think I would have enjoyed the song more if it had a more ‘traditional’ jazz profile to it. (8/10)

5. Back Hug (백허그) – Back Hug is the album’s sole ballad. The ballad doesn’t opt for the traditional ballad style of classical instrumental. Instead, Back Hug opts for mainly acoustic guitars (with the appearance of classical strings). It is a nice change of style and keeps the album light (which I think is a theme with all these side tracks so far). The members sound really nice and heavenly throughout Back Hug. (8/10)

6. Soul – Based on what I understand, Soul is the Korean version of the group’s first Chinese single, Find Your Soul. While that is the case, I am here to review the version on this album. The instrumental has this pop edge to it, which has potential. The start in particular was quite interesting and I would have liked the song to build upon that more. The issue with Soul is that I feel the vocals could have been punchier to really give the song more effect and drive. (7/10)

Overall Album Rating – 7.8/10

Mr.Mr Teaser Image

[Review] Mixtape: OH – Stray Kids

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Continuing on from last week’s catch up, I have selected Stray Kids latest release as the next track to review. Stray Kids released a new mixtape single at the end of June titled Mixtape: OH. It is the group’s first release since Back Door last year and their participation on the survival show Kingdom: Legendary War. It is also marks the return of Hyunjin, who has sat out group activities (including Kingdom: Legendary War) over the last few months due to a bullying scandal. His return raises the anticipation of their impending August comeback. But ahead of that review, let’s give Mixtape: OH a listen.

Mixtape: OH takes on a melodic profile, which strays a bit away from the usual genre in which mixtapes are usually aligned with (i.e. hip-hop). It also strays away from their usual sound that they opt for in their main title tracks, which tends to be bold and dance-centric. But while it is different than ‘business as usual’ for the group, Mixtape: OH puts the spotlight on the group’s vocals. We have seen Stray Kids put out ballads before through their albums and have heard all the members sing in some capacity. So them showing off their singing abilities come as no surprise to me. And this song doesn’t really featuring any mind-blowing vocal work that wows or amazes me. Rather what makes this song a nice release is the pleasantness, which I find to be really glowing. This effect is partly due to the lightness of the vocals, but it also adds appeal to better position the vocals at the same time. Contributing to the glowing nature of Mixtape: OH are the instrumentals. The soothing nature of this release really encapsulates that pleasant description, with it being nothing less or nothing more than just that. I also like the soft jabs in which the instrumental has at the start of the choruses, which in turn causes the members to punctuate their delivery in a similar manner. It was a good effect and one that I felt to be the most memorable aspect of the song, music-wise. The tropical influence was also a decent touch to make this song feel somewhat refreshing for the Summer season (and not like a heavy ballad that otherwise would have been ideal for Winter). Mixtape: OH is a strong showing from the members, even though it isn’t their best (and I don’t think it is meant to be their best). Though, it does get me into the mood for more Stray Kids, which is certain to come within a blink of an eye.

First things first, welcome back to Hyunjin. It is definitely nice to have the full group back together again. Now, onto the rest of the music video. In their previous Mixtape music videos, we have seen a bit of a story come together. In Mixtape: Gone Days, we saw the members close to one another as friends in a classroom setting. In Mixtape: On Track, we saw the friendship of some of the members tested when two of them fall in love with a female classmate. And now, in Mixtape: OH, it seems like that friendship had broken down with each of the members going their separate ways and acting cold to one another. Based on what we see in the video, the member do miss those olds days in which they were together. But we dont see them come back together by the end of the video. However, Felix wishes for the members to return with the help of his birthday cake. So if there is another mixtape release, I believe that would be the subject of the next music video.

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

[Album Review] The Blowing (3rd Mini Album) – HIGHLIGHT

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The next album review I have ready for you is HIGHLIGHT’s return to the industry, The Blowing. HIGHLIGHT is one of few second generation groups making their comeback after a hiatus due to military enlistment. But with all members completely done with their civic duties, the group has regrouped earlier this year for promotions of both the album and title track Not The End, which was released at the start of May of this year. These second-generation groups are what I grew up with and I would really like to introduce all those more recent and new listeners to such groups, through past album reviews (hint hint) and their more recent releases. So without further ado, I present to you HIGHLIGHT.

The Blowing Album Cover

1. Not The End (불어온다) (Title Track) – Click here to read the full review of Not The End. (9/10)

2. Wave – The verses of Wave give off a peaceful vibe, which makes an extremely nice start to the song. The piano is the dominant instrument in the background during the verses, which compliments the lightness of their vocals (which throughout the song are very beautiful sounding). The chorus picks up Wave by adding percussive elements to the background. It gives the chorus that extra meat to make it feel right and adds some oomph to the ballad. The final moments have all the members contributing in a restricted shouty manner. But they did it in a way that remains warm and touching, as like the rest of the song. (9/10)

3. Hey Yeah (밤이야) – Hey Yeah adds a bit of energy into the album, being the first upbeat track on the list. It is a pleasant number, with funky guitar and whistling in the background to give it a likeable and enjoyable profile. But I don’t see Hey Yeah as anything more than pleasant. I appreciate the addition of the energy, but Hey Yeah was largely forgettable on the hooks front, and the vocal front. (7/10)

4. Sorry (미안) – Sorry features R&B li-fo beats that makes this song ideal for moments where you just want to relax and chill. At first, I didn’t like the additional high pitch effects that are found abundant throughout the instrumentation. But they gave nice texture. Furthermore, it is a good song that has this swaying effect (in time with the beat, of course!). The melodies and vocals in Sorry are really also good and contribute to a pleasant vibe (with room for the song to be more than pleasant!). (8/10)

5. Disconnected – Disconnected continues the R&B sound from the previous song. But in this song, the pace is a lot slower and feels more dragged out. This isn’t a problem though, however, as the song still sounds decent. There is more of a beat in this song, compared to some of the other songs on the album. I do wish the vocals had more to them, melody-wise, as this would have given an additional layer of appeal to the song. I do like what the producers did with the vocal processing, giving the song some depth. (7.5/10)

6. Surf – Ending this album is Surf. The saying of ‘saving the best for last’ seems to be true for this album, as Surf is my favourite track on the album. It starts off slow and pretty much like the rest of the album. But the pre-chorus has this jazzy feel to it, where it picks up the song. The chorus takes on a repetitive pop beat, which was rather unexpected. It stays true to the jazzy nature and has great energy. I particularly like how they defined the vocals at the end, ending the song and album is such a cool manner. (9/10)

Overall Album Rating – 8.3/10

The Blowing Teaser Image

[Album Review] BINARY CODE (5th Mini Album) – ONEUS

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I have returned with another album review. I made a list of albums I want to review and I still have a lot to catch up on – 17 to be exact. So I will return with another intensive album review weekend in a couple of weeks to help knock off some more album reviews (and it will be more intensive this time around)! But that doesn’t mean I will hold onto any until then, as it is back to the usual transmission of reviews. In this post, I will be reviewing ONEUS’ fifth mini-album, BINARY CODE, which features the title track BLACK MIRROR. It was released mid-May of this year, over two months ago (sorry once again for the long delays). This is the group’s first comeback since the release of their first studio album DEVIL and the track No Diggity at the start of this year.

BINARY CODE Album Cover

1. BLACK MIRROR (Title Track) – Click here to read the full review of BLACK MIRROR. (8.5/10)

2. Connect With US – Connect With US is the extended version of the outro of the same name from the group’s first studio album. It doesn’t offer anything more than what we heard in the outro. And so my comments from that album review stands (i.e. pop-aligned, flowy and melodic). Regarding its placement on this mini-album, it feels like a step back. We got a strong and dynamic track to open the album. But following that track, I felt the album could have continued the momentum of the opener, and not with Connect With US (which should have been lower down on the tracklist). (8/10)

3. Polarity (울과 기름) – I think an up-tempo track would have a nice follow-up to the title track. And I feel that Polarity would have been a good contender. It bridges the space between the first two songs on the spectrum. It has a decent mid-tempo pop pace that brings down the energy from BLACK MIRROR, but also suits the pleasantry of the Connect With US. But I did think the start of the song was rather flat. But once we reach the chorus, the song had picked up and the ball was rolling, Polarity was a decent track. Nice vocals and rapping in the song, as well. (8/10)

4. Happy Birthday – Happy Birthday doesn’t make me feel like I have aged a year (which is a good thing – I feel old now, especially as I see groups with members born after 2000). I liked how this song turned out. I have a big thing for being unique and I feel that Happy Birthday fits that brief. It isn’t a straight-forward song, with the instrumentation taking you on a wild ride with the synths and textures that make up its background. It isn’t a consistent mix like most instrumentals, so there is always something different around every corner of this song. When it comes to the rapping, I liked how dynamic those sections felt. For the vocals, I really like the vocalists delivered the song’s title. The elongation of the title, and the tiniest tinge of vibration was quite cool and memorable. Personally, my favourite side track on this album. (10/10)

5. Valkyrie (발키리) (Rock Version) – I always had a feeling that a rock version of the track would appear. Just surprised it took over 2 years. Click here to read my full review of Valkyrie. (9/10)

Overall Album Rating – 8.7/10

BINARY CODE Teaser Image

[Review] MOONLIGHT – BDC

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Next up on the randomly selected reviewing block is BDC, who returned two weeks ago as well. Their new single is titled MOONLIGHT. The trio wraps up their Intersection trilogy (made up with the singles SHOOT THE MOON and Moon Rider and MOONLIGHT) with this release and the mini-album The Intersection: Contact. Based on my past reviews, I have high expectations for MOONLIGHT and their subsequent comebacks that follow this release. While we can’t tell the future with their future comebacks, let’s have a closer listen to MOONLIGHT to see whether it hits the mark or not.

While their previous releases as part of this trilogy have been more hard-hitting, MOONLIGHT takes on a softer profile. That doesn’t say that MOONLIGHT is any way inferior. Rather, it stands out thanks to its retro-inspired 80s sound, which I really liked. It isn’t the most innovative use of synths, as we have heard of 80s styled music in KPOP before. But MOONLIGHT seems to be the first release in a while that pays respect from start to end to that specific era of synth music. I particularly liked the lead in to this track, with that ethereal and atmospheric start, giving off a vibe that feels slightly explorational and out of this world, which in turn fits in nicely with their ‘Moon’ themed comebacks that formed part of the trilogy. I also enjoyed the use of synthesizer for MOONLIGHT‘s dance break following the first chorus. I would have liked to see an extended sequence somewhere else in the track. When it comes to the vocals, I thought BDC did a pretty good job. There were soft and smooth when the instrumental was lead down that path (pre-chorus and bridge), but harsher and louder during the more prominent parts of the song (i.e. the chorus). I felt the rapping to be rather plain and didn’t offer anything new compared to other releases. Hence, it was the weakest part of the song. Overall, MOONLIGHT was a really good track. I liked their spin from their previous singles, keeping their discography fresh and inviting to those who are willing to give the trio a try.

I really liked the start of the music video, with those different flashes of images and the focus on circular shapes that resembles the roundness of the moon. I can’t remember from the top of my head, but I wonder if they are elements from their previous music videos? If not, then what do they mean? Interestingly, these inserts and flashes appear up until the first chorus. They do however make a very brief re-appearance at the end of the bridge. I wonder what the reasoning of this is. Aside from that imagery, I really like the simplicity of the music video. The members performed in front of a white screen and used coloured lights to change up the setting. I also really like their style in this music video, especially those pastel coloured suits. Very well fitted for the music video.

I liked the smoothness of the choreography during the softer parts of the song (i.e. the verses), while also enjoying the routine’s sharper moves during the chorus. The contrast was very strong, but very aesthetic. I liked their use of the microphone stands and their subtle incorporation of circles in the choreography, as well.

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

[Review] See You Again – Han Seung Woo (VICTON)

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The next review is for Han Seung Woo’s solo comeback from two weeks ago. VICTON’s lead vocalist, rapper and dancer returned with See You Again, a song fitting for his final comeback before his military enlistment later this month. It is featured on his second mini-album, Fade, which dropped on the same day as the music video release. This is the first time seeing Han Seung Woo since his promotions with the rest of his group for What I Said and Voice: The Future Is Now, and his solo debut back in August of last year (Sacrifice off his solo mini-album debut, Fame).

See You Again is a stunning ballad. Every time I have heard the song since its release two weeks ago, I am blown away with how captivating and riveting the ballad is. Now, I may be easily swayed by ballads. But this song didn’t need an ounce of convincing whatsoever. See You Again is beautifully instrumented with a one instrument, the humble piano. I was expecting strings to come in (which is my favourite type of instruments when it comes to classical instrumentation), but that never appeared. Instead, my expectation for strings lead me to listening to the entirety of See You Again. And from there, it was carried away by the gracefulness of the piano in this song. I really liked how prominent the piano was in the chorus. This prominence or boldness allowed for us to differentiate between verse and chorus, and also fill in the gaps where other instrumentation would usually have been used to help build the song’s momentum. On top of that, the piano also compliments the other half of the song, Han Seung Woo’s vocals. I could hear the heart-wrenching emotion behind his voice. And the powerful tone he uses for the chorus just makes the song stand out so well. In See You Again, he sings about the memories he has and the desire to reunite, which is fitting as both a song dedicated to a lover or his fans, to whom he will be saying good bye to for approximately two years. The melodies for the song are flowy but grounded at the same time to really allow Han Seung Woo to deliver a beautiful piece of music. Overall, See You Again shines because of its simplicity and Han Seung Woo’s effective delivery of vocals.

The music video for this release hits the brief. It is a rather muted music video, with a teal-grey colour palette being the main sources of colour for this video which also sets the tone of the video. I also like how the video was quite simple. The sets or locations were not overcrowded or overrun with props. Rather, they were empty, representing the departing and packed away memories. This is one of the common denominator of the three scenes (the emptying apartment, the grassy shots and the beach). The second common denominator is the piano, which was carried throughout each of the three scenes. It was the primary prop of the video. I liked how this complimented See You Again, given that piano was the only instrument in the song. And the third common denominator is Han Seung Woo himself, who was heartbroken and emotional throughout the video, helping to keep that theme and idea alive throughout the three locations the music video was set in.

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

[Review] Free Pass – DRIPPIN

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Back to catch up on the reviews I should have written weeks ago when the songs were first released. I will be choosing which releases to review at random, so there will be no order to what tracks I review. I just want to get them done! First up, I have chosen DRIPPIN’s comeback from 29 June. DRIPPIN returned with the single Free Pass as their latest title track. The song is featured on the group’s first single album which shares the same name as the lead single. Free Pass is DRIPPIN’s second comeback this year, with the first being Young Blood in March of this year.

Free Pass is quite dull. No matter how times I have listened to the song since its release, I find myself distracted looking for the next song to play and pretty much forgetting the song. To me, Free Pass doesn’t offer any new or innovative. It doesn’t even ‘reinvent the wheel’. It is pretty the same as any bright concept song that is release in the Summer season. This is disappointing to a degree, given that I liked both their debut song and their last comeback. The group has so much to offer based on their previous releases, but they are only given a song like Free Pass to show off their skills. But I guess that I guess this is the song that they will use to leverage their youthfulness. Though, it is interesting as their labelmates Golden Child and formerly Infinite have had their fair share of mid-tempo pop songs released in for the Summer season. And these songs by these more senior artists have been likeable and enjoyable (i.e. Pump It Up and Man In Love to name some examples – ignore my 7/10 rating and comments in the Man In Love review, that has been bumped up to a 9/10 rating when I reviewed mini-album in which it was featured on). Free Pass just doesn’t live up to that standard set by their labelmates. Don’t get me wrong, it is an okay song. But it could have been better and been more personalised for DRPPIN. One of the reasons to why I think Free Pass doesn’t have much to offer is because it lacks any substantial hook. This instantly reduces the memorability of the song. The instrumental is bright and energetic (so I will give it that), but it doesn’t have a sense of individuality or uniqueness. It feels plain and typical. Their vocal work and rapping are so-so. Not the best, but not terrible. So I guess what I really want is some identity so that DRIPPIN could really make Free Pass their own. Currently, Free Pass is theirs but it doesn’t feel individualised.

Once again, my comments above can be reflected down here. Concept-wise, I felt they have picked the general bright youthful concept that every other male group seems to do. Nothing new. And the music video is appropriately bright. In Free Pass, the group goes on a camping trip. They leave ‘Free Passes’ around the theme park they were initially at, so I presume their crushes would find them. Though, I think they put them in places that are a bit hard to reach or not that great hiding places. I mean, hiding them in a stack of other tickets, tying them to balloons, sticking them to the bottom of a park bench, floating in the fountain where it could easily fall in the water. Not really great ways of making sure they get to the intended person. In the end, someone ended up collecting them and had them in the tent next the campfire. So no one rocked up to be with the group. And the fell asleep around the campfire. The end.

I like the energy they brought to the performance. It is a great way to portray their youthfulness. Do note that I feel the choreography tends to fair a bit better when it comes to more typical aligned comebacks, as no routine are similar. Sure, moves can be replicated and borrowed. But no sequence would be exactly the same, and hence there is that opportunity to be different. What I liked about Free Pass‘ choreography is the formations they had during the first verse.

Song – 6/10
Music Video – 6.5/10
Performance – 7.5/10
Overall Rating – 6.5/10

[Review] DAMAGE – JUST B

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Time for the final review of this focused weekend. Firstly, I want to say that I enjoyed this intensive reviewing weekend and will probably do it again in the foreseeable future when I know I don’t have much going on. But next weekend, it back to the usual transmission of album reviews (and I believe I had promised some International Song Reviews – a lot of big names to cover). But before I can get to next weekend and the week ahead, I have to complete one more rookie review. The artist is JUST B, who debuted at the very end of June with DAMAGE. It is a song produced by former B.A.P member Bang Yong Guk (one name that I have not heard for a while). JUST B is a six member male group (consisting of Geonu, Bain, Lim Jimin, JM, DY and Sangwoo) under Bluedot Entertainment.

DAMAGE is a powerful debut track that really thrives on intensity. Listening to this track was a thrilling experience and I liked how the energy kept me on the edge of my seat. And once again, leaving such an impression is a great start to ones career. DAMAGE starts off with this distorted vocal ‘Heya‘ that finds itself present throughout the track. It is quite catchy. Opening up with that was pretty smart. We are then taken into a pretty standard dance track verse. I didn’t find anything worth mentioning here, aside from the use of the opening in the background which I had already mentioned. But I was still keen on the rest of the track. Alongside powerful vocals in the pre-chorus is a rap sequence that I find reminiscent of Bang Yong Guk’s raspy and deep rap style from back in his B.A.P days (I haven’t been following his solo work, but I imagine he continued with this memorable style). The rest of the rap sequences throughout DAMAGE are of a similar manner, which is a big positive. For those who don’t remember or know, I was a big fan of B.A.P and their discography. And hearing anything that reminds me of those times is bound to get a nod from me. The chorus blasts us with some typical but refreshing EDM. I found it to be quite effective and really enjoyed the drive it brought to DAMAGE. The chorus also featured vocals and melody, which sets it apart from the releases reviewed today. Though, it was missing a memorable hook, as well. The melody just didn’t seem to be strong enough, despite such a powerful backing. The second chorus is followed up with an extension of the EDM, allowing the members to showcase their performance skills (more on this later). I did enjoy the extra texture it had, giving us a bit more to keep the song interesting and not repetitive. Following the instrumental sequence, the song ends by fading out somewhat. It slows down and we hear a light touch of piano in the background. I think this was an interesting way and place to end the song, given that I expected a final run of the EDM chorus. While it might be weird to some, I actually liked the way the song ended. It was unexpected, but creative and unique. Overall, DAMAGE really hit the mark and definitely introduced JUST B as rookies to look out for.

The music video tells the classic KPOP tale of being trapped and controlled. JUST B are members of a grid iron team, who are controlled by whoever (never revealed or touched on). Everyday, they are stuck in a routine of class (i.e. where I assume they are brainwashed) and training. They also have to take these blue and red pills, which I think enables them to be brainwashed and controlled. One member mistakenly drops one of these pills one day (and subsequently doesn’t take it) and notices that they were being watched. He rallies the members together and they all choose not take the blue pill. They rebel once whoever is controlling them activates alarms (i.e. the warning sign on the screen) and runs away from the facility to a stormy city. I hope their next comeback continues the story and sees the members in a different world that they are used to (i.e. the outside world). I do wish that we got to see a hint of who is controlling them or the people who were chasing after the members at the end. In addition to the plotline, I also liked the choreography scenes. I am not a fan of the football outfits, though the black and red suits look really good on them!

I liked how the performance emphasizes the intense and aggressive nature of the song. The members’ have this animalistic vibe, which I find extremely fitting for a song like this. Aside from that, I feel that this performance looks like a good thigh workout. The routine during the performance break was also quite thrilling to watch, while the ending had a very soft vibe and dififerent feel from the rest of the performance.

Song – 9/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.7/10

[Review] Breathe Again – BLITZERS

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Another group to make their debut this year is BLITZERS, debuting mid-May with Breathe Again. The group is currently under WUZO Entertainment, and consist of seven members (Go-U, Juhan, Jinhwa, Sya, Chris, Lutan and Wooju). Prior to their debut in May, the group has been active with pre-debut singles in 2020 (title of these songs were BLITZ and Drawing Paper, and both of which were re-released on the group’s first mini-album). Back then, the group was vastly different and were known as WUZOCIRCLE. Now that the group has officially debuted, it is time to check out their title track, Breathe Again, which is featured on their Check In (their first mini-album).

Out of all the debuts/comebacks I have reviewed on the blog this weekend, Breathe Again is probably my favourite release of all. It is also the release and group with the most promise, from my point of view. What is really great about Breathe Again is that it is very exciting, which is thanks to the rock elements that are present in the instrumentation. There is a lot of bursts of energy and continuing momentum that makes Breathe Again extremely likable. I will admit the opening seconds of the song was a bit meh, but it did enable a great launch into the rock elements of Breathe Again. In addition to the rock instrumentation, the group also had a hand in amping up the song with their strong vocals and powerful rapping, keeping the song dynamic on many fronts. I quite like this. Not only did the song attract my attention, but it really sold the members’ skillset. This is a really good impression to leave on a listener (not just myself) and it gets me excited for their future works! The chorus is dynamic due to the combination of the vocals and rock instrumentation. But it unfortunately lacks a robust hook to drive the memorability factor up. What we got were powerful backing vocals and electronically muffled rapping. While it was good enough, I did think that Breathe Again would have benefited greatly had it had that addictive hook. Then, it easily would have slipped into the 10/10 region. The bridge slows down before we are launched back into the rock elements. Bridging the slowdown and the final chorus is this very memorable head-banging moment with the repetition of the ‘We Breathe Again‘. It was perfectly executed and brought in at the right time to really allow the song to hit the home stretch and wrap up. And as you you can tell, it is my pick for the song’s highlight. Overall, Breathe Again ticks all the boxes for a debut song and I do look forward to what is to come out next as part of BLITZER’s discography. However, it doesn’t salsify all boxes in being the ideal song.

The music video for this release is appropriately edgy, which compliments the rock sound. I am a bit unsure if the group is leading a rebellion or just making themselves known. It seems like a lot of work for the latter, but we didn’t actually see the former happening. Other than the plot, the settings chosen for this video were really good, matching up with the edgy feel. I particularly liked how they took it to that mining site. Even though there was a lot of dirt and brown to this selection, they went all out in this setting. The use of pyrotechnics and their hoodie outfits gave the video an additional cool feel. And the cinematography made this video even more breathtaking. Overall, a good video.

I liked how they channeled the edgy vibes of the song into the choreography. They also did a good job of channeling the energy of the song. To me, the best part of the choreography is when they pull their hoodies over their heads at the start of the chorus. It is different, but gave off that edgy feel in a matter of seconds. The flip at the start and the human staircase were also memorable moments in the choreography.

Song – 9/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.7/10

[Review] VAMOS – OMEGA X

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Next up this weekend is OMEGA X, which is a fairly recent debut (two weeks ago, actually). OMEGA X launches their career with the single VAMOS and mini-album which shares the same name. What makes OMEGA X’s debut interesting is that the members of the group are all former members of groups that unfortunately never took off. It is quite disappointing to hear that some of these groups are now defunct or disbanded, as they released catchy and great tracks back when they were active. OMEGA X’s lineup include Hangyeom (former member of Seven O’Clock), Jaehan (former member of Spectrum), Hwichan (former member of LIMITLESS), Sebin (former member of SNUPER), Taedong (former member of pre-debut group GIDONGDAE), Xen and Jehyun (both of which former members of 1TEAM), Kevin, Junghoon and Hyuk (all former members of ENOi) and Yechan (former member of 1THE9). Let’s see if VAMOS has what it takes to relaunch their careers once again.

VAMOS (which is ‘go’ in Spanish) is a pretty plain song. And this would be troublesome for a debut song (let alone a redebut for the case of OMEGA X). It features an repetitive instrumentation and lacks a lot of elements to make VAMOS memorable. The main star of the song isn’t the members. They were unfortunately very forgettable and didn’t stand out. I did like how the rest of the members echoed the lyrics by shouting them out. But that was an echo, and intended to be in the background, not the foreground where the vocals/raps should have really been prominent. Rather, the ‘main character’ of VAMOS are the heavy brass synths that dominates the instrumental. They were off-putting when I first heard the song. But because the song doesn’t really have much to work with, the synths interestingly emerges as the song’s memorable aspect. Not only do the synths start the song, they actually feature in the chorus, as well. This pretty much dulls whatever intended effect it was supposed to deliver. The chorus also lacks a strong hook, making those synths do the talking, rather than the members. The second chorus attempts to change the song up by incorporating pan-flutes, but they replicate the same sounds of the primary brassy synths, and hence delivers no further impact. The bridge of the song is where things get a bit more interesting. The use of the whiny electric guitars is a bit different from any release in general, and gave me something to ponder about briefly. The chorus returns, once again. But rather than leaving it there, VAMOS ends with an ending sequence that reminds me of how iKON ends their songs. It gave the song that breath of life that it needed. But sadly, it was too late to really leave any lasting impression on the song. Overall, OMEGA X’s redebut doesn’t really live up to my standards. I do hope that the group are given another chance to release something else. And hopefully that something else is more dynamic and memorable.

What a great music video! While I didn’t have high expectations given that they were from a much smaller company (SPIRE Entertainment), I was pleasantly surprised at how good the video watch. Even their use of green screen puts a much larger company to shame! I really liked all their choreography scenes. Some of them were set up to mimic the outdoors, and these actually looked good. The best was the circular set, with the gold detailing, black and white visuals on the screens and the red lighting used in the background. It all gave off the impression of depth and that there was more to the set than just the circular stage. I also thought the members looked great, especially in their red and black outfits.

The routine was good and energetic. But it was riddle with the same issues experienced by the song itself. It was plain and didn’t have anything memorable within it. If I did have to point out which section I did like best, it would be the bridge. I think it was the most appealing part of the choreography.

Song – 5/10
Music Video – 9/10
Performance – 6.5/10
Overall Rating – 6.5/10

[Review] Lock Down – EPEX

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Yesterday, I focused on the female rookie groups that debuted this year. Today, the focus will shift to male groups. And there is a fair bit to cover in this space. First up is EPEX, the latest male group to debut under C9 Entertainment, which is also the home of CIX. They are made up of 8 members in total, including Wish, Keum, MU, A-Min, Baekseung, Ayden, Yewang and Jeff. ‘EPEX’ stands for eight apexes, with each member representing an apex. They debuted more ‘recently’ at the start of June with their single Lock Down and the mini-album, BIPOLAR Pt.1 : 불안의 서 (BIPOLAR Pt.1: Prelude of Anxiety).

To me, I find that EPEX’s Lock Down gives me P1Harmony’s Scared vibes. However, the more recent release (i.e. Lock Down) is plainer and doesn’t really have that memorable factor that Scared had via its instrumentation. This doesn’t mean it is a bad song. EPEX’s debut single still manages to hit the mark as a hip-hop dance track, heavy with its sound that helps deliver an edgy sound. This also makes way for the showcase of rapping abilities, which (based on this release) appears to be EPEX’s greatest asset (I think over half of the members were rappers in this song). I just really like how the rappers of the group are continuously coming at you with their delivery, particularly in the first verse. Definitely a great first impression to make. Furthermore, the energy they channel is relentless. One of the rappers (Baeksung I think is his name – sorry if I got it wrong) also brought a wow factor to the song with his fast rapping. It was brief, but it is an attraction in this song. While it isn’t the first time we have heard such delivery before, it is also amazing and literally breathtaking to hear someone rap so quickly. While the rappers were showcased, the vocalists of the group also did a good job. As Lock Down opted for hip-hop dance influences, they really didn’t have much opportunity to show their abilities. However, with the parts they did have, they made really good use of their parts. Props to the members who partook in the bridge of the song. Just that part alone tells me that there is some unexplored talents in this group that I hope they bring forward in future releases. I also liked how the bridge slowed down the song, and brought in classical and music-box-like instrumentation. It was bit of a change, but it made the final chorus that bit more impactful. Talking about the chorus, it is a very forgettable sequence and wished it was more dynamic. Their shouty style was monotonous and just didn’t appeal to me. Maybe a chorus hook with a powerful melody could have done the job. For me, the best hook in the song ended up being the whispering of ‘Everybody Lock Down‘. Effective and got my attention. But as a whole, Lock Down is a good first step for EPEX.

I am not entirely sure what is going on in the video. Based on the lyrics, the song is all about the bad side of the social media. I guess they liken social media to locking down (as we have been doing since last year due to the pandemic). The isolation caused by social media being a prime example of this. Based on this interpretation, I figure the members are going to the extreme to get back control of their lives. They trade out the ‘million dollar hoodie and padding’ for bombs to make their statement against the evils of social media. Not sure if my interpretation is right, though that is what I have managed to make sense of the video and lyrics. Aside from the ‘story’, I liked the moodiness of the video and the use of the abandoned buildings to heighten that edgy feel. In addition to that, I think their main choreography set (i.e. the one in the thumbnail for their YouTube video) was nicely designed and fitted in with the rest of the industrial look of the video.

I really like how the choreography for this comeback was continuous and never really stopped. It really fitted in with the song’s aggressive nature. Even during the slower moments of the song, the members continued moving. I particularly enjoyed the bridge of the performance, with the members following and pausing in various positions to show pain, before regrouping to do that turn when the music box-like sequence and ending up in that kneeling position before the final sequence.

Song – 7/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] RUB-A-DUM – TRI.BE

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Next up is a review for a group that debuted in February of this year and (gasps!) a group that I actually reviewed before (check out their debut single DOOM DOOM TA and my review for their debut). TRI.BE made their first comeback since their debut with RUB-A-DUM mid-May. Since then, the music video for RUB-A-DUM has garnered almost 12 million views, which is a remarkable feat for a rookie group from an agency that isn’t that well-known. This is also just under double the amount of views their debut music video got! Amazing! it is definitely a sign that this group is garnering interest, which is definitely what a rookie wants to do in such a competitive industry. Let’s see what TRI.BE’s new track has to offer.

RUB-A-DUM is a very energetic and fun track. That was my initial impression of the song when it was first released (hard to forget such a song like this, for reasons that will become apparent) and it still forms part of my impression now. Currently, not only do I find RUB-A-DUM energetic and fun, I also find it overwhelmingly so. The song is a bit much. I am not one to be overwhelmed that easily. But I reckon RUB-A-DUM could have been toned back a bit and it still would have been as energetic and fun. Moderation, as they all say. There was also a lot going in the song, especially in the body. And I feel this is a main reason to why I feel that the producers of RUB-A-DUM could have toned it back. It would have made everything a lot more enjoyable and less overwhelming. So what do we get in RUB-A-DUM? Well, you get this Middle-Eastern influence in the instrumentation. I am assuming the high pitch whistling/flute we get is also a Middle-Eastern influence, though it was carried over to be a centerpiece in the instrumentation. We also get some deep bass, giving the song some depth and channels some energy. In addition, we get a bit of a pop melody for the chorus, a sudden move from chorus to the second verse with no break, and a slowdown to let us to listen to smooth vocals, before returning with the pre-chorus, But wait there is more. What was supposed to be the second chorus was replaced with lighter vocals and less harsh raps in which all the members participated in (I assume is the bridge), before the second chorus kicks in to end the song. If you think all of the above is a bit much, well, join the club. It is quite a mess and I also wish the producers of the song really cleaned it up to make it more inviting to listen to. On a more positive note, all those elements above are actually quite good on their own. RUB-A-DUM also features good vocals and rapping from the members, and the energy that comes off the combination of Middle-Eastern influences and that deep bass is quite prolific and powerful. But a neater and cohesive track would have been better and still would have retained that fun impression that you get when you listen to RUB-A-DUM.

The members of TRI.BE just continually multiply in this music video. First there is just the group. Another another copy of the group appears. Then we see three, four and fives times the same member. By the end of the video, we see 98 of them. Needless to say, it is a freaky video. The concept of the spaceship from their DOOM DOOM TA music video appears here, which is the cause of how the members multiply, zapping them into existence as we see at one point in the music. Other than the freaky generation of TRI.BE, we get a well put together music video that compliments the music and looks good as well.

The choreography for this comeback has this hip-hop style to it, whilst also bringing out the fun vibes of the song. There is also a playful energy to it, which makes it really appealing to watch. I really like the crab bounce they do during the chorus. I also really like the ending, when they make that ring with their thumbs and fist around on the members. It would have been cool for the move to be dynamic, with a different member in the centre at the end of each performance.

Song – 6.5/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 7.2/10