Category: KPOP

[Review] Dangerous – E’LAST

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Time to cast our minds back to 13th of January 2021. A few comebacks from some artists happened on that day (one of which is Yubin, and her song Perfume – and that is a review coming your way some time in the near distant future). One of the releases that day was a music video from E’LAST for the single Dangerous. Dangerous was selected from the group’s Awake mini-album to be a follow-up promotional track following promotions for Tears of Chaos, which was released back in November 2020. Member Wonhyuk rejoined the group for promotions of Dangerous, after sitting out of promotions for the main title track as a result of scheduling conflicts. Four months on, I am finally getting around to writing a review for the song/music video/performance!

I can’t actually recall my initial thoughts regarding Dangerous when it was first released in November (that was six months ago!). I do remember checking out the album but I am guessing that nothing really stood out of me from the mini-album, based on the fact that I don’t remember anything from it. When the song resurfaced in January thanks to the follow-up promotions that E’LAST proceeded with, the song attracted my attention and earned itself a position on my ‘Coming Soon’ list, which is why I am writing a review for it today. To me, Dangerous really yells out title track material. It might not be as impactful as Tears of Chaos was for me, but Dangerous felt overly substantial to be just a side track in retrospect now. The song taps into deep house for the bulk of its instrumentation. I really liked the roughness it gave the chorus and the edgy vibes from the song’s post-chorus dance break at the end of the first and last choruses But there is a bit more to the song than just deep house. I really like how they set up the bridge of the song which features classical piano and strings. Coming off the intensity high from the chorus, the contrast felt bold and gave us a brief moments of relief from the EDM. Dangerous also benefited from amazing vocals from the members, especially when it came to the chorus. There was this electrifying energy that came from the chorus from the instrumentation and the member’s vocals really managed to pierce through. Sometimes intense backdrops tend to cover up vocals in some songs, but the producers and E’LAST themselves did a good job of ensuring they could be heard. The melody that the member’s brought to the chorus was also catchy for me. The rapping was also really good. I wasn’t much of a fan of the rapping in the first verse (sorry Wonhyuk), but I was floored by the rapping in the second verse by Rano. That was extremely cool sequence! Overall, powerful and intense track that you should totally put on your playlist now if this style is your jam.

The music video is okay. It uses the typical formula of choreography and close up. But I will be fair and assume that this music video was probably shot in the midst or soon after promotions for Tears of Chaos wrapped, which doesn’t give much time to put together something substantial (i.e. plot lines, acting etc.). But there is this dullness to the video that really drags it down for me. I wished the music video was more dynamic that what we got served. I think when it comes to powerful and intense songs like this, you would expect flashy lights and a bit more vibrant colours in the set design to really uplift the video and compliment the song. But here, we didn’t get much of that, aside from the intense red light and plain/monotone cream colour of their set.

Like the song, the choreography is definitely powerful and intense. It is actually a great routine that does a good job of reflecting the song’s nature. The synchronisation looks cool and does wonders to this routine.

Song – 8.5/10
Music Video – 5/10
Performance – 8/10
Overall Rating – 7.4/10

[Review] Next Level – aespa

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Taking their careers to the ‘next level’ today is aespa, with their third comeback since their debut with Black Mamba in October of 2020. You may have missed their first comeback occurred earlier this year and through a remake single titled Forever. Interestingly, it didn’t attract as much attention as you would have expected for SM Entertainment’s newest group. But don’t fret, aespa has a long career ahead of them. And that next step comes today with the comeback Next Level. It is another digital single from the female group (no album release just yet). But hopefully they will get one for their next comeback. But in the meanwhile, let’s check out Next Level.

Next Level is the type of songs that jams a lot of styles into one song. Sometimes it works fine, but other times, it doesn’t. For me personally, Next Level falls into the latter category. The individual styles themselves all sound great in their own right. But the issue is when they are all strung together. It is a bit of a reach to make it one whole piece. I personally feel these parts differ in a very distinct manners. Let’s break down the various parts of Next Level. The song starts and ends with this electronic background that reminds me of the soundtracks for those scenes in action movies where the main character is riding the motorcycle in a very cool manner (we will call this Part 1). This makes sense as the original version was from one of the Fast and Furious movies. Part 1 also features the chorus – the ‘Next Level‘ repetition hook, which is a really simple chorus. But one that works extremely well and catches on. While I did enjoy Part 1, the enjoyment unraveled briefly when this cutesy and innocent ‘Lalalala’ sequence was brought in. The original version has this sequence, but it kept it at a low tone. I think aespa’s version pushed for a more innocent style, which didn’t fit the cool sounding profile that kickstarted and ended the song. The atmosphere and style of Part 1 returns briefly, before we are handed the ‘Watch it while I make it out‘ repetition. To me, aespa’s version of this sequence fits with the cool side of the song. But because of ‘Lalalala‘ still fresh in my mind, this repetition carries the same effect which is unfortunate. aespa’s version of Next Level starts to divert from the original here. Part 2 seems to be a transitional piece and maintains the cool thumping beat of Part 1, but features a bit more percussion and textures. In addition to the instrumental change in Part 2, we get a greater focus on vocals, which were powerful and well executed by the members. Ninging and Winter’s vocals here reminds me of S.E.S’s Bada’s vocals (which is a huge compliment). Part 3 comes soon after with more peppy backing that is full of colour and brings forth urban city vibes. The result is an instrumentally light and cheerful sequence. It seems to merge both the strong rapping from Part 1 and the powerful vocals of Part 2 together. But while I really like this part, I feel this is miles away from the coolness of Part 1 (which returns to end Next Level following Part 3). Overall, I just wished Next Level didn’t flip the switch to suddenly change to Parts 2, 3 and back to 1 out of nowhere. It needed a bridge to glue it altogether and make it more cohesive.

Following the visuals of Black Mamba, I had high expectations on the visual front of the music video. And they delivered! A lot of the stylistic choices from Black Mamba were carried over, which I quite like and it allows the music video to appear connected to one another. (which I believe is intentional as the videos are under one universe). The fantastical colour scheme and some of the sets (the big tree and the rocky set) felt similar to the ones we saw in their previous music video. But Next Level makes sure to be its own standalone music video as well, bringing in a sci-fi futuristic concept, which I think was suitable for the song’s various parts. Also returning are the other four members of the group (i.e. the “æ” members). I liked how they were worked into the video and the transitions between the doppelgangers. I wished they played a bigger parts, especially if they are considered an additional four members. In terms of plot line, Next Level shows us snippet of their travels to “Kwangya to hunt down Black Mamba that estranged us from our avatars”.

Performance wise, I think the routine for this comeback looks awesome. I don’t think there is an iconic move like in their previous dance routine (i.e. the drop lunge). But this performance looks cool and full of confidence nonetheless, which is fitting in with the song.

Song – 6.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.3/10

[Album Review] UNNATURAL (9th Mini Album) – WJSN (Cosmic Girls)

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As promised during last week’s review of WJSN The Black’s review for Easy, I would be looking at WJSN’s latest mini-album this weekend. Well, that review comes today! This full group comeback (excluding Cheng Xiao, Meiqi Xuanyi due to scheduling conflicts) shares the name Unnatural for both the title track and the album’s name. Both of which were released at the end of March. This is another strong comeback from the group, who consistently have put out great title tracks and albums. Their last full group comeback was back in June 2020 with Neverland (headlined by Butterfly). Let’s see how the indivdual songs faired on Unnatural.

Unnnatural Album Cover

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

2. Last Dance – Last Dance continues the mature vibes from Unnatural. It is also my favourite side track from the album. There was a lot to like in this song. To me, the instrumentation in this song was pretty much perfect. Nothing felt out of place, underwhelmed or overwhelmed. The synths employed were more to the harsh side of the spectrum, but they came together to make a fulfilling backdrop. They used this to create the peak of the song, which I thought was smart. I really like the catchy nature of the chorus, and how the melodies came off as soft but you can still hear them over the loudness of the synths. The rapping in this song really showed some edgy flair, which I also really enjoyed. (10/10)

3. Super Moon (원하는 모든 걸) – The next song loses the serious tone that the preceding mature tracks had. Super Moon takes us back to familiar territory for the group, reminding me of their Boogie Up days. The instrumentation is very vibrant and feels fitting for the initial period of Summer. I really like the texture component of the pre-chorus, which brought some depth to the song and contrasts with the light approach WJSN had opted for in the chorus. I also enjoyed the electronic infusion of synths that preceded the final chorus, giving a bit of zing to the song as it approached its end. I just wished Super Moon had a more dynamic and catchier hook to really push this song to a new level of appeal. (9/10)

4. New Me – New Me promises a sexier side of the group, based on how the song sounds. This is probably unexplored territory for the group, given their well-known fantastical sound that they started their careers off with. I can imagine a really sleek and sensual performance to accompany New Me on stage. The retro instrumentation was very alluring. I enjoyed the rapping in this song (particularly just before the first and final choruses), but felt the vocals were a bit plain. I really like the whole concept of that extra bit at the end after they had supposedly wrapped up New Me. It isn’t new per say, but they are rare in KPOP dance music. But it works well with that alluring side of the song, teasing us just a bit longer. (8/10)

5. Yalla (음) – For me, Yalla’s main appeal point is the chorus. The first half of the chorus is made up of broken up synths that come together to create a bold and aesthetically messy centre-piece. This is followed up with bold vocals and sweet harmonies. I also really like the groovy nature of the rest of the instrumentation. But that is if I were to treat the chorus as its own song. When I consider the entire song as a whole, I want the chorus somehow pops out more. It is different, but it lacks definition. It needed to be bolstered up to be more out there. Instead, Yalla stays relatively neutral despite having a potentially mindblowing and wowing arsenal. (8/10)

6. Rewind (잊지 마 (나의 우주)) – The album ends with the mandatory ballad that is expected on all KPOP albums. It is backdropped by a piano-centric instrumental, which built up to include other classical instrumentation. Typical in many ways, but still stunning. Rewind boasts member’s the amazing vocals, which is without a doubt their best on the album. Especially in the chorus, they really  pierced their way through the song. I think the weakest moment of Rewind is the rapping. I don’t think the ballad needed a rap sequence and it disrupted the blissful flow of the song. (8/10)

Overall Album Rating – 8.7/10

Unnatural Teaser Image

[Album Review] Bambi (3rd Mini Album) – Baekhyun (EXO)

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The next album on my reviewing radar is Baekhyun’s third mini-album, Bambi, which was released back in March of this year. Bambi is also the title track of the album. Amusement Park is also featured on the album after its digital release in December of last year. This is a pretty significant release for Baekhyun, with the album selling over a million copies within a few weeks of its release, breaking his personal record which he had set himself with his Delight mini-album from last year. It is also significant in a sense that this is Baekhyun’s final mini-album release before his military enlistment which occurred earlier this month. I believe Baekhyun has hinted at some solo stuff while he is away. But until that is officially confirmed and released, we only have this mini-album to fulfil our Baekhyun cravings for the next two years or so.

Bambi Album Cover

1. Love Scene – The album starts off with Love Scene. This form of R&B isn’t my personal cup of tea, given that there isn’t much going on. However, I felt that Love Scene was quite soothing to listen to. There is something about the consistent guitar work and the soft thumping in the instrumental that carried the song for me. Baekhyun’s vocals were smooth and there was a decent degree of raspiness to it. But as stated a few sentences ago, the song does feel quite consistent and I wished that wasn’t so much the case. (7/10)

2. Bambi (Title Track) – Click here to read the full review for Bambi. (8/10)

3. All I Got – The opening beats of All I Got really perked my attention towards the song. Then comes Baekhyun’s falsetto note, before the R&B genre truly kicks in. In comparison to the opening track, All I Got has heft to it, which is more of my style. I really like the bass that sits under the rest of the song’s instrumentation. I really like the backing vocals in the bridge, giving a choir-like effect to the song. And to add to all of that, Baekhyun constantly returns with his vocals. A combination of falsettos and impressive ad-libs that only Baekhyun is capable of. (9/10)

4. Amusement Park (놀이공원) – Click here to read the full review for Amusement Park. (9/10)

5. Privacy – This song combines jazzy notes and with lo-fi effects to give us Privacy. It is a really nice mix of styles that work really well with one another. And in addition to that, Privacy is really smooth so it is an easy listen. I would have liked to hear more of Baekhyun aligning with the jazz side of the song, rather than the lo-fi side. While I think his vocals in this song are amazing as usual, I felt there was some missed opportunity to do some further exploration in the jazz genre space. (8/10)

6. Cry For Love – The saying ‘saving the best to last’ is applicable for this album. Cry For Love is my personal favourite side track from this mini-album. Like the entirety of this album, Cry For Love falls into the R&B genre. But the song is the heftiest on this list, thanks to the beat of the instrumentation.  What makes this an even better song is Baekhyun’s vocals (per usual). He showed off a lot with his voice. You can hear the emotional drive behind his voice, which was fitting for the lyrics of this song. (9/10)

Overall Album Rating – 8.3/10

Bambi Teaser Image

[Review] Easy – WJSN The Black

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Early last month (more so 31st of March but I am rounding up), WJSN made their return to the stage with Unnatural (the name of both the title track and mini-album) as a full group. I have previously reviewed the title track and will be publishing the album review for Unnatural this weekend. But just a month after wrapping up promotions for Unnatural, WJSN has returned in the form of a second four member unit, named WJSN The Black. This unit is made up of Seola, Exy, Bona and Eunseo, and made their unit debut with the title track Easy. As mentioned, this is WJSN’s second unit, following the likes of another four member subunit WJSN Chocome, which debuted last with Hmph!.

With the teasers that floated around in the weeks before this debut, you could tell that WJSN The Black will be giving us WJSN’s most mature release to date. In retrospect now, Unnatural held that title for a very brief period of time, with the release of Easy taking over. It is easily a more concentrated form of Unnatural, but with added chic and sleek to separate it from the older song. And I quite like this aspect, as it made the instrumental alluring and almost hypnotic. It is also quite fascinating to hear a groovy side to the song. Mature and groovy isn’t a rarity in music or KPOP. But it has been a while since we heard something from the top of my head of this nature. And it also nice to hear something that taps into the ongoing re-emerging trend in KPOP that is somewhat unconventional. Adding to that alluring and hypnotic effect of the song are the member’s vocals, which are best described as blissful and breathy. I really like how they keep this up throughout the entire song. Even Exy gets her moment to shine in the vocal side of the song, distancing herself from her usual hefty tone when it comes to the rapping. That being said, Exy does employ her usual rap style for the song’s rap sequence, which gave the song a much needed edge and moment of relief from the really consistent vocal work throughout the song. So far, all praises. But the song does suffer in the length department. Easy is a standard length song, if we were to say a standard length song is (average) 3:30 seconds in KPOP. But the way the song flows and is stringed together, Easy feels more like a minute long to me. Every part is so close to one another and the consistent vocals don’t really give us an opportunity to differentiate each distinct part, which are the reasons why I am not entirely head over heels for Easy. But without consideration of that flaw, Easy was still a smooth listen.

One of the unit’s lineup (Exy and Bona) is being investigated by the investigators (Seola and Eunseo) for a recent robbery of $3 billion. Unsure why the member’s had to steal that money during a heist of a heavily protected exhibition at a National Museum (seems like an unnecessary hurdle in their pursuit for some cash), but for the sake of the story I will assume the money is tied up in the museum and they had to be on location to get into the system. But the investigation isn’t getting far. Well, it turns out that Exy and Bona are a team with Seola and Eunseo, who on the inside are destroying evidence and leaving fake tips to look like the investigation is hitting dead ends. It was a plot twist that I saw coming, but I still thought it was a good plot line in this video. Aside from that, I would have liked a bit more to the choreography sets to help give the video a little more excitement. But it was still a good watch overall.

I like how the choreography takes advantage of the melodies during the chorus and hence taps into a sensual profile. It compliments the mature side of the four members that the song brings out. On top of that, I really like the outfits they wore for this release. I always find suits to be a visual overload and WJSN The Black proves just why that is the case with their performance while they are wearing suits.

Song – 8/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.2/10

[Review] BLACK MIRROR – ONEUS

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While I need to catch up on reviews for songs released many weeks ago, I also need to do some catching up on some new releases from this week. First up is ONEUS, who returned on Tuesday with their new single BLACK MIRROR. This new single is featured on the group’s fifth mini-album, Binary Code. This comeback follows ONEUS’ recent return with their first studio album, Devil, and its lead single, No Diggity.

BLACK MIRROR adds itself to the re-emerged trend in KPOP of groovy and funky songs. It also continues what was set up through the release of BBUYSEO (a digital single released by the group at the end of 2020 and featured as part of the Devil album). BLACK MIRROR ticks everything that is quite common in this class of songs, aside from the brass component that I enjoyed as part of BBUYSEO. I am a bit disheartened that it was left out of this song. But at the same time, I feel that BLACK MIRROR does a good job of maintaining that level of funk without using brass. Instead, the funkiness and grooviness comes prominently through the use of the deep rythmic guitars and disco-sounding synths. I particularly enjoyed the stripped back formula of the first half of the chorus (i.e. the ‘dudududu‘ part) and how it slowly builds back to the wholesome and upbeat vibes of the second half of the chorus, which felt substantial and fulfilling. The ‘dudududu‘ part was also super catchy, and in combination with the instrumentation, we got a really nice sleekness to the song. Once again, ONEUS showcases strong vocals and rapping throughout the song. I felt this was most evident in the bridge of the song, which had a vocal and a rap half. The latter half really caught my attention. Leedo and Ravn’s deep and raspy voices, along with the energy that really throw behind their delivery, gave the song that extra oomph I wanted. I wished their rapping parts earlier in the song shared more of that same intensity. Overall, I think BLACK MIRROR is an awesome song from ONEUS. I don’t think this is my favourite track from them, but I still find it enjoyable and filled with great energy!

What I really liked about this music video are the sets and the member’s outfits. The black and white sets look really stylish and simple. The light does wonders and really opens up the music video in a physical sense. I also like how the coloured sets don’t really give the video that vibrancy colour tends to beings to music video. Instead, it feels as if the colours in the sets are somehow blended with the other black and white, and you don’t really pick up on a difference. I also like the sets with the mirrors which the reflections are doing somehting else. Gave the video a sense of creepiness, which I thought was a nice contrast to their upbeat vibes! I also liked the outfits the members wore. They too tap into the black and white domain, but the white is more sparkly rather than straight white. Also this comeback is meant to have a Michael Jackson influence, and I feel that the outfits are the best example of this influence coming through. The black and white colours and the sparkly glove are all portrayed in some capacity in their outfits. Also the hats as well!

We got more of that homage to Michael Jackson in the performance. The entire performance defintiely screamed MJ in many ways, but I feel that the actual moves/poses were subtle. I wished those moves are a bit more explicitly shown (who doesn’t love a good full-on moonwalk?). However despite that thought pattern, ONEUS held their ground with their take on a choreography to suit those funky and groovy vibes. The ending sequence after the final chorus was definitely amazing to watch. Those bending knees made my ones hurt (and that is just by watching them). I also thought their charisma and stage presence really made it a captivating performance to watch.

Song – 8.5/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.6/10

[Review] Dun Dun Dance – Oh My Girl

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The next major comeback from today is Dun Dun Dance from Oh My Girl, which is featured on the group’s 8th mini-album since their debut in 2015. This is the group’s first comeback since their mega hit Nonstop topped charts in 2020. It also follows the continous success of their side track Dolphin and YooA’s with Bon Voyage. High expectations as the result of a highly successful year for Oh My Girl are placed on Dun Dun Dance, so let’s see if the new song meets those high expectations.

Right off the bat (and for me at the very least), Dun Dun Dance definitely meets those expectations. And at the moment, judging solely on how much I am enjoying the song, Dun Dun Dance exceeds those very same expectations. A little fun fact about me writing reviews – I usually do so just before going to bed. And so, I am usually very tired while typing up my thoughts for the new releases (sorry for spelling mistakes and if something doesn’t make much sense, I do try to proofread but sometimes some mistakes just sneak into the reviews). But the vibrant and upbeat energy Oh My Girl and Dun Dun Dance‘s producers manages to package into the song’s almost four minute run time was so damn infectious, it literally woke me from my tired state and gave me energy to have a little boogie in my chair. And it is so infectious that I have to stop writing the review because I am too engrossed in the song’s funky and groovy vibes. (I pressed paused so I don’t lose any more focus on the review). It too also brought a smile to my face, which is definitely saying something, especialy after the long day I had. I love the funky instrumentation of the song, which is the main driver of that infectious energy. Dun Dun Dance also benefits from its lightness. It isn’t too heavy of a song, which helps make it so appealing and refreshing to me even in my tired state. The vocal work was really nice, especially when it came to the chorus. I really like the way that Seunghee (for the first and second chorus) and Jiho (in the final chorus) drags out that ‘High~‘ in the lyrics. It is the song’s small detail that I really enjoyed. Even Mimi’s raps weren’t heavy handed despite it opting to feature her deeper tone and the instrumentation tapping into the typical trap base. But what makes Dun Dun Dance memorable for me, and is probably what pushes the song over those expectations that I mentioned at the start are the catchy hooks that are just digging. They are part of the reason to why I now cannot get the song out of my head and I must take a 4 minute breather to have another listen!

For the music video, it appears that Oh My Girl are aliens that are brought to Earth to have some fun. They look pretty normal at first, but I did find their placement alone in each of the settings to be very perculiar. The start looked like a flying saucer was trying to get to them, but in fact was there to collect them. But since Oh My Girl is having so much fun on Earth, they send the flying saucer away at the end. I liked how the indivdual solo shots came out, especially with the various effects we saw (i.e. the camera flying over Mimi and Seunghee during the second post-chorus hook, and small round camera effect that we saw Mimi become part of for her short rap sequence in the final post-chorus hook). I also enjoyed how the camera really made the colours, especially in the choreography scenes pop out, making this one beautiful video as well!

Once again, the choreogeaphy for this comeback is very fitting for the song. I really like the bounce the choreography has, which complimented the upbeat and vibrant feel of the song. I also really l enjoyed the entirity of the chorus’ routine. It looks very fun! It is a pity that Mimi is unwell, as her absence from the showcase was felt while they group was perfoming Dun Dun Dance for the first time. Hope she has a speedy recovery and we see her soon!

Song – 10/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 9.5/10

[Review] Hot Sauce – NCT Dream

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It is a new week and a new lineup of comebacks! First up this week is NCT Dream, who makes their grand return with their very first studio album since debut five years ago. The group has defintiely gone a long way away from their Chewing Gum days. Also based on a food item, this comeback’s title is Hot Sauce, which is the shared name of both the studio album and title track. Their first studio album also marks the return of Mark, who previously graduated from the group back in 2018 as he no longer fitted the age criteria for the group. But in 2020, it was confirmed after the unit’s last comeback (Ridin’ and Reload) that NCT Dream would abolish the graduation system and that the group’s lineup will become fixed with the re-addition of Mark. It also appears that NCT Dream’s comeback is hugely anticipated, with the group already selling more than 1.7 million preordered albums.

After all, we have been deprived of some form of NCT Dream for over a year. And with the re-addition of Mark, it will be interesting to see what direction NCT Dream would take. And based on what I am hearing, it seems like they went with a more trendy number as their main title track. The song taps into the hip-hop genre and it also features Latin influences. While this combines very typical music trends in the wide-ranging genre of KPOP nowadays, the resulting song is actually quite refreshing to me. What makes Hot Sauce really unique is that descending background vocals everytime the chorus comes into play. It adds a unique tinge of colour and texture to the song, but also keeps the instrumentation interesting. The energy that comes from Hot Sauce packs a punch and is quite intense. Just take the instrumental sequence in which they use for the dance break that they peak with as an example. This intensity also compliments NCT Dream’s more recently noticeable asset, their deep and raspy voices (hence my comment about their Chewing Gum days before). The member’s deep vocals have been around since Boom, but I felt Hot Sauce really utilises this asset very well and brings out the raspy side of Jeno and Jisung in their rap sequences. In addition to intensity from the hip-hop and dance side of the song, the Latin influences were also very memorable. I really liked the acoustic guitar that was prevalent during the verses and pre-chorus. It too kept the instrumental mix interesting and gives Hot Sauce some extra ‘spice’ without it just relying on EDM and synths. If I was to pick one thing that I wasn’t necessarily a fan of, that would be the shouty vocals in the chorus. It was a good way to captialise on the energy that was coming off the song, but it overwhelmed me unfortuately. But overall, Hot Sauce delivers a flavour-bomb. Just sometimes, there is that one distinct flavour coming from the mouthful that I am not entirely keen on. But maybe if I keep on tasting, I might grow to like it.

When I first watched the music video earlier today, I thought we were teetering on the edge of a Ko Ko Bop situation. But now that I have rewatched the music video, it appears to be more innocent than what I thought. Essentially, the lyrics say that the members’ charms are addictive as hot sauce. And the video shows the members becoming addicted to the hot sauce (i.e. Haechan and Jaemin’s eyes bulging after consuming some hot sauce, Chenle watching the hot sauce on his phone, the members helping out with the supply chain for the hot sauce, even being part of the commericals for the hot sauce). They even go out of their way to stop Mark from having some straight up, knowing how addictive it could be. In addition to the storyline, the music video also features cool effects that felt appropriate for the concept.

Based on what I can see in the music video, the choreography looks very intense and powerful, which is fitting for the song. I can’t wait to see the entire routine in full, especially when it comes to the dance break! I really like the ‘mixing bowl’ move for some reason. It looks cool, when it doesn’t really sound as cool.

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

[Album Review] The Renaissance (10th Studio Album) – Super Junior

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Keeping in theme with the other reviews this weekend (reviews I should have written sooner), I have decided to review Super Junior’s 10th (!) studio album. It has been almost two months since the release of the album, titled The Renaissance. It features the title track House Party and a whole bunch of other new songs, including all the pre-releases which Super Junior have unvieled since late last year. The reason why I have decided to review this album to continue the theme of this weekend is because I feel I don’t review Super Junior all that often anymore. I have done a couple of album reviews for them previously. But given they have 10 studio albums (and countless mini-albums) under their belt, I feel I have a lot to catch up on. I have also been neglecting their solo work, so I better get to writing those reviews. But in the meantime, here is what I thought of The Renaissance.

The Renaissance Album Cover

1. Super – Super gives us a teaser of what is to come on this album. The track itself is only a minute and half, and acts as the album’s introductory track. I liked the intensity of the track and the chanting delivery which makes Super feel very Super Junior. I just feel the short track was very plain when it came to its instrumentation. I think it would have been better served as a full-length track and was further down the tracklist. (7/10)

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

3. Burn The Floor – Burn The Floor starts off very elegantly with its focus on waltz-like music in the verses. But if the name suggests any clues to you, this whole elegant touch is pretty much a ruse for what is to come. Burn The Floor integrates trap electronic music and a rush of intense energy into the song for the chorus over the top of the strings, keeping true to the start of the song. The transition between classical and electronic was very well done and clean-cut. Burn The Floor also throws a few more curveballs towards the end, such as the haunting bridge and dubstep finisher. The entire song is quite unexpected, but yet is a show stopping piece that has me coming back for more. And this doesn’t even consider the performance, which is really unique and one you ought to check out. (10/10)

4. Paradox – Paradox features a funky background, which is fitting for the current trends of KPOP at the moment. However, the chorus takes more on a percussive route opting for an interesting mix of EDM that I find quite intriguing. In combination with the whispering vocals, the chorus comes off as surprisingly sleek and classy. The vocal work, aside from the chorus, were pretty solid. My biggest issue with the song is that it sounds rather loose, when you consider everything together. I just the various parts blended more with one another continued the momentum from the preceding sections. This would have made the song sound a lot more refined. (8/10)

5. Closer – We move away from the EDM and heavy emphasis on electronics with Closer, a R&B pop track. Closer is a lot easier on the ears and is simpler in terms of its arrangement, compared to the preceding tracks. But Closer has this really catchy underlying beat that makes this song hard to stay away from. With a softer song, the focus is without a doubt more on the vocal works. While all the members sound so nice throughout the song, I have to applaud both Kyuhyun and Ryeowook’s vocals that opened up the song’s two verses. They oozed so much charisma, pulling me into the song from the start. (9/10)

6. The Melody (우리에게) – The Melody has a few great star attractions. The first is being the song’s feel-good melody. It makes the song extremely pleasant and gives off a simple atmosphere. The second is the instrumentation. It is an acoustic pop number, which is quite likeable. The simplistic nature of the song is further emphasized by the whistling and urge to foot-tap along to the beat of the song. The third has to be the vocals. Alone, the members handle their parts effortlessly well. But the harmonies is what gives the song so much depth. Altogether, The Melody brings a smile to your face while listening to it, and is also my favourite side track from this album. (10/10)

7. Raining Spell of Love (사랑이 멎지 않게) (Remake Ver.) – Raining Spell of Love was previously a very emotive dance track from Super Junior’s seventh studio album, Mamacita. For this album, the song was remade into a ballad (piano and soft percussion) but it still retains the song’s original emotive and heart-breaking profile. The vocals in this version are breathtaking, especially when it came to the chorus when they all sang together. Yesung’s high note at the end was also spectacular. Also retained are the rap sequence. I personally felt that this version could have redone this sequence to be delivered by vocals and to make this more fitting in this version’s ballad set-up. (9/10)

8. Mystery – Mystery returns us to the start of the album with the focus on electronic and EDM. Mystery isn’t as explicit with this return however, opting for a more down-tempo atmosphere. I really liked how the vocals sounded in this song, aiding in making the song sound soothing and mature. But it is the instrumentation that I am not entirely sure about. It made the song unnecessarily busy. I would have preferred it if they took out one or two elements from the instrumentation to make the background a bit more fitting for the rest of the song’s atmosphere. (7/10)

9. More Days With You (같이 걸읅까) – More Days With You is your more straightforward and traditional sounding ballad. Once again, the focus is more on the member’s vocals. I really like what they did for the chorus, making it breathy and airy. I also like the instrumentation. Piano, violins and acoustic guitars consistently throughout the song. Unfortunately, the melodies are not as memorable as the previous ballads on the album, which leaves it falling behind the rest on the album. But it still sounds good, nonetheless. (8/10)

10. Tell Me Baby (하얀 거짓말) – The final song on the album is an upbeat pop number. The energy coming from this song brings a smile to your face. It also gives me holiday vibes, as I think there are some instrumental influences in the background. It isn’t the most promising song on the album, but it was nice song to end the album with. Furthermore, there is actually a cute video to accompany this track on Super Junior’s YouTube channel. (8/10)

Overall Album Rating – 8.2/10

The Renaissance Teaser Image

[Weekly Chart] 1st Week of May 2021

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Another week has passed and it is time to look back at that very week. It was a fairly slow week for me. I reviewed only one comeback from the week (HIGLIGHT’s Not The End) and two other songs from last month (STAYC’s ASAP and OnlyOneOf’s libidO). I also have plans for another album review (on top of IU’s 5th studio album that I posted a few hours back) and two other song reviews that I want to post today, in keeping with the last-minute declared theme of the weekend – reviews in which I should have written sooner. So I better get cracking with those posts. But before then, here is my Weekly KPOP Charts for the 1st Week of May 2021.

News songs from this week

As just mentioned, it was a slow week. Aside from HIGHLIGHT’s comeback, there were releases from Yesung (Super Junior), Ailee and a collaboration between Bumkey and Moonbyul.

Throwback Corner

This week’s throwback song is Stray Kids’ Ta, which was a single on Stray Kids’s first album Go Live. The main reason to why this song popped up again on my radar again is because it appeared on my recommended list and why would I refuse a Stray Kids song. And since the energy from this track is so addictive, my mouse cursor found itself on the replay button many times.

The Charts

Big congratulations to ONF and their latest single, Ugly Dance, for topping the charts this week. Definitely a fun a song to listen to! This is ONF’s fourth time at the top of the charts this year, with Beautiful Beautiful topping for the other three works. For more of the charts, see below!

  2nd May – 8th May 2021
Title Artist Status
1 Ugly Dance ONF (▲ 3)
2 CLOSER AB6IX (=)
3 ASAP STAYC (▲ 48)
4 Drunk-Dazed ENHYPEN (▼ 3)
5 You Make Me DAY6 (▲ 7)
6 libidO OnlyOneOf (▲ 14)
7 Not The End HIGHLIGHT (new)
8 Bambi Baekhyun (EXO) (▲ 54)
9 Loved You BAE173 (▼ 6)
10 INSIDE OUT NU’EST (▲ 4)
11 M.A.F.I.A (In The Morning) ITZY (▼ 6)
12 Atlantis SHINee (▲ 7)
13 ONE ASTRO (▼ 6)
14 Do or Not Pentagon (▼ 5)
15 LILAC IU (▼ 9)
16 HUSH Kim Sung Kyu (Infinite) (▲ 30)
17 Antidote Kang Daniel (▼ 9)
18 Seoul GHOST9 (▲ 6)
19 Nothing Happens Hyunseong (▲ 47)
20 10 Times B1A4 (▲ 23)
21 5K Lee Jin Hyuk (UP10TION) (▼ 11)
22 IYAH Kang Seung Yoon (WINNER) (▲ 41)
23 Unnatural WJSN (Cosmic Girls) (▼ 5)
24 On The Ground ROSE (BLACKPINK) (▲ 23)
25 Touch By Touch GreatGuys (▲ 41)
26 Bad Habits CRAVITY (▲ 35)
27 EXIT T1419 (▲ 15)
28 Missing U IZ (▲ 3)
29 Midnight Blue B.I (▲ 20)
30 Call My Name Kim Kyu Jong (SS501) (▲ 36)

Songs leaving the charts this week

  • MOON RIDER – BDC
  • Spit It Out – MAJORS
  • Seoul – GHOST9
  • Good Night MY LOVE – Soyou
  • On The Ground – ROSE
  • Doll – Baekhyun (EXO) & Doyoung (NCT)
  • Bad Habits – CRAVITY

[Album Review] LILAC (5th Studio Album) – IU

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The next album review is fitting for the theme of this week – reviews which I should have written earlier. And while all of the albums that I intend of reviewing do fall into this category, I think the two I have selected for this weekend are most appropriate for this themed weekend. First up is IU. The nation’s little sister, as everyone has nicknamed her. The reason why I should have written this album review sooner is simply because of the fact that this is IU we are talking about. Even over a month after the album’s release, LILAC (the album’s title and title of its title track) is still ranking high on the music charts, which is why IU is considered to be a digital queen! We haven’t spoken much about the other tracks on the album yet (aside from pre-release Celebrity and COIN), so let’s look at those tracks in further detail!

LILAC Album Cover

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

2. Flu – The main element of attraction of Flu, for me, was the pleasantness that the song exuded. Flu is a pop track with a nice bounce to it. It isn’t really an interesting song, but it does also give off some really cheerful energy despite the lyrics are about liken to being in love as like catching the flu. I like how IU keeps consistent throughout the song. Her delivery method, a mixture of whispering and falsettos, really complimented the instrumentation. Altogether, everything worked together in harmony to be pleasant sounding. (8/10)

3. COIN – Click here to read the full review for COIN. (9/10)

4. Hi Spring Bye (봄 안녕 봄) – Hi Spring Bye is a soothing ballad that gets me swaying along to the music and melody. For those who have been following my blog for a while now, you know I liked my ballads. And while Hi Spring Bye ticks my criteria for a good ballad, I found the slow pace of the song to just hold me back from fully liking the song. It is good nonetheless, but it seems like I am just not feeling this style of ballad this time around. (9/10)

5. Celebrity (Pre-release Track) – Click here to read the full review for Celebrity. (9/10)

6. Troll (돌림노래) (ft. Dean) –Troll has this reggae influence that brings a playful tone to the song. I liked the contrast between IU and Dean. IU brings this high tone to the song, while Dean balances it out with his deeper voice. It makes their harmonies quite nice. But while that is the case, I haven’t actually fallen for the song. I don’t really find much of it as memorable as it could be, nor do I have the drive to really return to it after I have finishing listen to one round of it. (7/10)

7. Empty Cup (빈 컵) – Empty Cup is a mid-tempo song that falls into the ballad genre, but also has a R&B influence. It is a relatively short song, in comparison to the rest of the songs on the album. When I listen to the song, I always get caught off guard when the song wraps up quickly. I find her vocals in Empty Cup to be quite captivating, and so I always find the song to seemingly end prematurely. That is Empty Cup’s only flaw! (9/10)

8. My Sea (아이와 나의 바다) – My Sea is another ballad. But what sets My Sea apart from the rest of the internal competition to become the best song on the album is that the ballad is quite atmospheric. And this is largely thanks to the orchestral instrumentation that builds so epically from the start of the song. Her vocals were amazing and stunning in the song. The choir and IU’s spectacular high note (which you know I would be a sucker for) just blows me away. What more can you ask for? (10/10)

9. Ah Puh (어푸) – Ah Puh brings back up the upbeat vibes from the start of the album to the end of the album. But it has a bit of the twist. And that is twist is that there is an indie pop feel. But I feel the indie pop feel is lost as the song progresses and it develops into a straight forward pop song. But I am not too troubled by that. I really like the lines in the song. It is super catchy and makes for an addictive track. (9.5/10)

10. Epilogue (에필로그) – I am very aware that Epilogue has a music video. But due to time constraints, I am holding a review for the music video for the Missed Review segment in the future. In the meanwhile, here are my thoughts on the album’s final song. This is also another pleasant song to end the album with. I really like the acoustic feel of Epilogue along with the vintage touch with some of the instrumentation and the crackles of the record player. The vintage touch also gives off a warm and golden feel, which is definitely a great note to end on. (8.5/10)

Overall Album Rating – 8.9/10

LILAC Teaser Image

[Review] libidO – OnlyOneOf

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Following the previous review for STAYC’s ASAP, I will be focusing on some releases which I should have posted reviews sooner for. Most of these reviews will be for songs released more recently which have garnered some sort of attention directly or indirectly. First up is OnlyOneOf’s libidO. It garnered some shocking attention since its release for one of the comeback’s components. I will delve into what that shocking element later on. But if you know, you know. libidO was released a month ago on 8 April 2021.

When libidO first popped onto my radar, I wasn’t sure what to think of the song. It was definitely intriguing when it came paired with the music video and performance. But on its own back then, I didn’t think much of it. I think I would have described as a blur (which still would be one of the words I would use to describe the song). But since the song’s release a month ago, I have checked it out a bit more and grown to liken its artiness. libidO thrives on percussion and a warped effect on the song’s melodies. Paired with OnlyOneOf’s whipsering and hushed vocals, libidO exudes a strong and hypnotic sensual atmosphere that feels unique in KPOP, especially in the current climate of retro resurgence. That being said, libidO also taps into the groovy side of music. But I feel that this isn’t the song’s main mechanism of reeling listeners in. I think the song’s whole sensual profile is what attacts people’s attention to its release. And this pretty much has me interested in the song as well. But the instrumental element of a song is only one component. While I really liked the aesthetic that the members bring through their vocals and rapping, libidO suffers from a lack of momentum on that front. The hush-hushed nature of their delivery really makes the song feel airy, which in turn doesn’t help push out a strong hook or melodies. As a result, the only memorable line I got from the song was the repetition of the song’s title, libidO. This why I mentioned that I felt the song would still be described as a blur. As I can only remember one line (well, word in this case) from the song, libidO felt like it was over before it got anywhere. But nonetheless, libidO is still a unique listen and one to check out if you are into aesthetics and artsy releases.

The music video for libidO was a surprise, and one that I had to rewatch a couple of times to make sure I was understanding it correctly. Given how conservative South Korea is, a video like libidO that shows LGBTQIA+ themes is rare. It isn’t unheard of, but it isn’t exactly everyday common. But I definitely applaud the members, the company and producers for pushing the boundaries with this music video and taking a bold risk. Aside from the LGBTQIA+ theme, I thought the music video was quite aesthetic. I really like the colour palette for this music video, with the grey filter being applied to the coloured scenes. I also really liked the choreography shots. The black and white really helps create a sleek and sensual atmosphere. THe opening shot for the music video showing the members on top of the white platform (which they shoot their choreography shots on) surrounded by the green foliage was a really striking image to begin with,

What was also really bold was the choreography. Once again, I applaud the members and the choreographer for pulling off this risky yet very striking choreography. I am all for creative freedom and liked how they really emphasised the sensual nature of the song with all those moves such as the sliding knees, the use of rope throughout the routine etc. The choreography has recieved some negative comments for going to far when it came to the bridge, with one member kneeling in a questionable position in front of another member. It was then followed up with hands on the crotch area. It may be explicit, but I don’t see it as an issue. It might be due to the fact that I was raised with Western media and so I am kind of sensistised to some of this stuff. However, the group has responded to concerns with a reasonable response, so check that out if you want to know the internal thought process of those behind the creative direction of this comeback/choreography.

Song – 7.5/10
Music Video – 9/10
Performance – 910
Overall Rating – 8.3/10

[Review] ASAP – STAYC

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It is time to review a song which I should have done so many weeks ago when the song was first released. The song which I am speaking about is STAYC’s ASAP. For those who don’t know, STAYC has been garnering a lot of traction with the release of ASAP. Their song has been rising on the music charts in Korea and their music video has already pulled in over 20 million views since its release a month ago, a rare feat for a newly debut female group. ASAP follows STAYC’s debut with SO BAD, which I have previously reviewed. Their debut song faired fairly well based on my standards. Will ASAP do the same? Continue reading to find out.

The main reason to why I didn’t jump right into reviewing ASAP when it first came out (aside from time constraints) was that the song didn’t really appeal to me at first. It sounded generic initially with its unimaginative pop approach, in combination with the song’s (what I thought at the time) dull instrumentation and synth hook. However, a lot can happen in a month. And since the song’s release, ASAP has managed to weave its way into the category of songs in which I would describe as pleasant. The synth hook (i.e. the short but repetitive flute-like high pitch synth) is literally keyed into your mind after many listens. Instead of the initial plainness the synth featured, it actually had a very appreciable aesthetic, which made the song enjoyable. Similarly, I think the same can be said about the chorus, before and after those multiple listens. There was an extremely pleasing sensation that comes from the melodies of the song, and the metal xylophone they use in the chorus felt similar to ASAP‘s main synth hook. The plainness in which I felt initially from the chorus actually ended up being a charm to the song. I also find the song’s spoken delivery of the title ‘ASAP‘, as emotionless they sound, quite charmful. I also like the distorted piano in the bridge to be an interesting and aesthetic touch towards the end of the song. However, there are some things that the multiple listens just didn’t help resolve. Namely, the verses didn’t (and still does not) sound as nice as they could have been. Am I head over heels for ASAP? No, I am not. But I do think ASAP ended up having its own charms and unexpectedly pulled me in with said charms.

I am not surprised that the music video took a page out of the generic book. No number of listens or views for me would change my mind on the music video. While I appreciate the really bright colours and all the comic special effects, the music video just felt like any other video from a newly debuted female group. I would say that ASAP shows STAYC in cutesy mode, just without going overboard. But I felt the video was heading in that direction, for me at least. For the sets, I thought they were typical and added very little substance to the music video as a whole.

I really liked the cool factor that was present in the choreography, particularly around the song’s main synth hook. The same effect could be felt from the song and the choreography for me. It was plain, but it worked in harmony with the charms of the song, hence I ended up liking it. I also liked how they stayed in sync with one another throughout the choreography, which always gives off a polished look.

Song – 7.5/10
Music Video – 4/10
Performance – 7/10
Overall Rating – 6.4/10

[Review] Not The End – HIGHLIGHT

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Kicking starting this week is HIGHLIGHT. It has been two and a half years since we last heard from this second-generation group in 2018 through the release of Outro and Loved. At the time of that release, HIGHLIGHT was a quintet. Since the group’s hiatus due to military enlistment (which all members have now officially completed), the group reformed into a quartet after the departure of the group’s main rapper, Junhyung, due to a scandal in 2019. The group’s lineup now features only Doojoon, Kikwang, Yoseob and Dongwoon. Today, HIGHLIGHT makes their long awaited return with THE BLOWING, which features the title track Not The End.

Not The End is very fitting song for their return. You can tell this by just referring to one line of the song – the song’s main English hook ‘I’m still here. It is not the end‘ which is repeated throughout the song really hones into the fact that despite being around since 2009, the group is still active and will continue pumping out music for their fans (Light or B2UTY). The song’s entire message is that ‘that this is a new beginning, rather than the end’ (taken from Soompi’s article), which also feels fitting for the occasion. Moving away from the meaning of the song, I really like the atmospheric vibes during the verses. The piano work and percussion was all quite captivating and stilling to listen to. What makes Not The End quite memorable is the contrast between the stillness that comes from the verses and the use of the upbeat electronic synths for the chorus. It makes the chorus quite punchy and exciting to listen to. The synths used in this the chorus drops give off a very notable vibrancy that one would expect with songs as you approach/enter in the Summer season. They are pretty traditional synths and aren’t really mind-blowing on their own. But as a whole picture (i.e. the verses and choruses together), Not The End comes off as memorable as Loved (for me, at least). What makes Not The End even better were the vocals. It is definitely nice to hear their familiar voices, particularly since they were one of the first KPOP groups that I listened to (way back in 2009!). I felt their voices brought this really enjoyable sense of warmth and comfort to the verses. It was interesting to hear they kept the same tone for the chorus. I wished they hadn’t as their voices could have been slightly louder and strengthened to match the energy coming off the chorus’s instrumentation. Unfortunately, they were overshadowed and overpowered by the instrumentation in the chorus. But overall, Not The End still is a touching return for the group.

The music video definitely gets points for being quite aesthetic. I really like how the colours pops out at you, especially when it layered over the white in the video. It really matches the vibrancy of the song. Think of the chorus’s synths and the blue/green that just contrasts so well with the plain white sets during the choreography scenes. I am sure each member’s solo scenes in this video has some sort of purpose that somehow corresponds to the new beginning that the members sing about in this song. But I am entirely sure what I am seeing. I might have a theory that one of Kikwang’s main props is a bare tree in the middle of his set, while Yoseob’s scenes feature a forest mural – showcasing that there is potential for that tree to re-begin its life and become a lush green forest. For Dongwoon, his scene features flowers which are very much alive. But Doojoon repurposes the flowers into perfume, which shows you that even while you may be growing and maturing, you still have that opportunity to change yourself to become something else. It is a wild and out there theory, but that is what I got from the video.

I really like softness that really prevails in this performance. It adds a nice delicate touch to the performance, despite it being quite fitting for the upbeat energy we get from the synths in the chorus. The choreography also looks sharp, which made this performance look even better. I am also impressed that their performance skillset has not been impacted despite a hiatus and the fact that they are in their 30s.

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

[Album Review] SET (1st Single Album) – WOODZ

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Surprise! Another album review this weekend. I felt like I was cheating the system by reviewing just one single album today. So I thought, why not review another single album! Luckily, WOODZ also released a single album around the same time as the album I had just reviewed. WOODZ’s single album is titled SET and features the title track FEEL LIKE. It is, too, his first single album since his solo debut. It also follows the release of Woops, which I had reviewed late last year. The songs on Woops faired quite well, so I couldn’t wait to sit down and write out my thoughts for the new side tracks on this single album, so continue reading on if you want to know what I thought about SET.

SET Album Cover

1. FEEL LIKE (Title Track) – Click here to read the full review for FEEL LIKE. (8.5/10)

2. Touché (ft. Moon) – WOODZ brings out his vocals in Touché. It is one of the highlights of the track for me. I also like the lines in which he finishes off with spoken delivery, which were really smooth and gives the song that depth of dynamism. Aside from the soloist’s vocals, Touché is a sensual R&B track with Latin-influences. Interestingly, the Latin influences don’t really become that prevalent until Moon (the featuring artist) comes into play towards the end of the song. But you can definitely feel those influences bubbling away in the background, waiting for it emerge as a centrepiece. In addition to WOODZ, Moon’s voice is stunning in this song. And their harmonies at the end were really captivating. Overall, Touché was a breathtaking song. (10/10)

3. Rebound – Rebound also taps into the R&B genre. But I feel Rebound is a highly concentrated steamy number that promises a very alluring and captivating performance when the time comes for one. It is also a song sung in English from start to end. Rebound without a doubt showcases his vocals. It not only compliments the sensual nature and pace of the song, but also really emphasise his falsetto vocals. And if you enjoy them, I recommend that you check out WOODZ’s Accident from his first mini-album, which also involves some unique instrumentation. Here Rebound stays more traditional, but definitely captivates. (9/10)

Overall Album Rating – 9.2/10

SET Teaser Image

[Album Review] Won’t Forget You (1st Single Album) – Kim Sung Kyu (Infinite)

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The next album I will looking into is Kim Sung Kyu’s very first single album which features the title track, HUSH. There are a few significant milestones with the release of this single album, titled Won’t Forget You. This is the first single album under his name since his solo debut back in 2012. It is also his last album release under Woolim Entertainment, which he has been signed to as an artist (both solo and as a member of Infinite) since his debut in 2010. The company announced his departure in early March and (as mentioned in HUSH’s review), it appears the two parties mutually parted ways from one another based on the existence of this single album. Let’s wish Kim Sung Kyu good luck to wherever he goes next with his solo career. And while we await for his next solo release, let’s have a deeper listen to Won’t Forget You.

Won’t Forget You Album Cover

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

2. You – You is a very pleasant and likeable track, thanks to the simple instrumentation involving acoustic guitars and consistent percussion. I like how the electric guitar and a very small amount of electronic band styled instrumentation sneaks its way into the song by the time it wraps up. On top of that, we have Kim Sung Kyu’s vocals which are very clear and crisp. There is an appreciable level of sweetness to his voice that really compliments the song’s message of wanting his partner to stay by his side. The backing vocals in You really amplify his vocals and the melodies, along the chorus to be quite memorable. The combination of the backing vocals and melodies also brought out a nostalgic factor, for some of his past singles. Altogether, You is a highly recommended listen from me. (10/10)

3. My Day (나의 하루) – Kim Sung Kyu’s music is heavily influenced on the electronic band style that you would associate with Korean band Nell. While My Day seems to stay within that same area of music, it also seems to be slightly more experimental with its more upbeat and Summery vibes. My Day seems to be the perfect song to use as background music while walking along the beach. Like all his songs, his vocals stand out here. I really like the echo that comes through (thanks to the vocal processing) during the chorus, which enhances those Summery vibes. The layering at the end was really well executed. Overall, My Day comes off as extremely dreamy and is another highly recommended listen. (10/10)

Overall Album Rating – 9.7/10

Won’t Forget You Teaser Image