Category: KPOP

[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

[Album Review] HIDEOUT: BE OUR VOICE – SEASON 3 (3rd Mini Album) – CRAVITY

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I think last week, I mentioned I had one more album from the month of February that I wanted to cover. Well, it turns out that the album is from the month of Janaury. I am talking about none other than CRAVITY’s third mini-album, HIDEOUT: BE OUR VOICE SEASON 3. Can you believe it has already been almost five months since this mini-album’s release! Apologies once again for the very long delay for this album review. Featured on this mini-albim is their title track My Turn, and follow-up promotional track Bad Habits. While I did a full review for My Turn (spoiler: it didn’t fair too well), I have yet to do a review for Bad Habits. I will definitely return one day to look at the music video, but for now, let’s settle on a song review for Bad Habits as part of this album review. Let’s also see how the rest of their 3rd mini-album faired, given that my take on the title track wasn’t that great.

HIDEOUT: BE OUR VOICE – SEASON 3 Album Cover

1. My Turn (Title Track) – Click here to read the full review for My Turn. (5/10)

2. Call My Name – Call My Name takes a diversion away from the harshness and powerful energy that My Turn had going on. Instead, this side track opts for more wispy and soothing instrumentation, all the while still falling into the EDM realm. Similarly, the vocals and rapping are toned down considerably to fit in with the instrumentation. Here, the members bring out sultry vocals – which you would expect with a ballad or other downtempo songs. This hence gives the song that passionate and emotional profile, which in turns makes it impactful. It is a bit standard, but stunning as a whole piece. (8.5/10)

3. Mammoth – Mammoth is a more substantial song, compared to the likes of My Turn (the title track). The main issue I had with the title track was the chorus, which Mammoth takes a more typical approach with. But it pays off as Mammoth’s chorus still ended up being quite dynamic and many times more likeable than what we got in My Turn. I really like the punchy ‘Mammoth’ start of the chorus, which adds a quite memorable element to the video. The intensity of the EDM instrumental and the hip-hop influences of the song were really strong material and helped delivered a filling feeling to the song. (8/10)

4. Bad Habits – Following all promotions of their title tracks, CRAVITY has always selected a side track to follow up promotions, music video and stage performances included! For this release, the hip-hop leaning Bad Habits was selected as the follow-up promotional track. My number one question is why wasn’t Bad Habits selected as the main title track. To me, this is the better cousin of My Turn. The deep tones in which are adopted by the rappers were definitely show-stopping. They also complimented the heavy use of bass in the instrumentation. I also found the rappers’ deep toned whispering when it came to the chorus to be quite sleek. While the vocals took a backseat for this song, they really showcased themselves when their parts came up. Bad Habits is a strong track that really deserves to be in the drivers’ seat of the album. (9/10)

5. Moonlight – Moonlight could have been my favourite track on the album. However, it was a bit much for my liking and hence it wasn’t my final pick for my favourite track on the album. I just wished that Moonlight toned back its energy and intensity behind the chorus be toned back a bit. While I do appreciate the energy, power and abrasiveness of the choruses’ instrumentation, I felt that it was overwhelming for even myself (which is saying something, as I really do like it when songs showcase energy, power and intensity). It is unfortuate, as I couldn’t hear the members in the chorus. But aside from that, everything else earned big ticks from me. From vocals to rapping to instrumentation (aside from the chorus) to melodies, Moonlight had it all. I could imagine a really powerful choreography that shows off CRAVITY’s performance skills to accompany this release. (8.5/10)

6. Dangerous – Right off the bat, Dangerous gives off this addictive groovy energy which really captivated my ears. It is also the reason to why I held so long onto writing a review for this release. I just wanted to talk about it! The grooviness underpins the entire track, with it also peeking through the intense and prevalent house effects we get in the chorus. I liked how the members sounded in this song. The vocals felt very clean, while the rappers brought in dynamic energy through their parts. The chorus itself featured catchy hooks. For the bridge, I thought the suspenseful and haunting nature of the instrumentation to be quite charming. Overall, Dangerous is definitely my pick for favourite track on this album. (10/10)

7. Give Me Your Love – Based on the title of this song, you can tell that CRAVITY was approaching the end of the album with a softer pop release. It was actually quite a track and one that I definitely recommend that you listen to. The instrumental was quite soothing and atmospheric with its pop rock vibes. The vocals gave off this dreamy tone, while the rappers gave the song some needed heft to keep the sound grounded. I wished there were more harmonies between the members (like a sequence in which they all sing together). That would have been a stunning sequence that would have enhanced the sentimental aspect of the song. I also like that additional instrumental piece at the very end, rounding out the song so nicely for me. (8/10)

Overall Album Rating – 8.1/10

HIDEOUT: BE OUR VOICE – SEASON 3 Teaser Image

[Review] M.A.F.I.A (In The Morning) – ITZY

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Rounding out the week and the month is ITZY with their latest comeback single, M.A.F.I.A (In The Morning). This new title track is featured on their fourth mini-album. Guess Who?. Well, the answer to that question is ITZY, and it is a suitable question given that it has been a while since we have heard from the group. This is their first comeback since Not Shy in August of last year. Since that last comeback and a month (to the date) before this comeback, ITZY did release a digital single for their fans, titled Trust Me (MIDZY). But that had no music video, so I skipped over it. And so, we find ourselves here today for the review for M.A.F.I.A.

My first impression of M.A.F.I.A is quite simple – it appears ITZY’s direction for this song follows the big and bold nature of BLACKPINK and not of their own. Personally, I felt disappointed by this. Both are great groups and both have their individual styles. BLACKPINK has this more bombastic and dark energy with their recent releases (i.e. Kill This Love and How You Like That). ITZY differentiates as their music has this energetic colour and vibrancy, which makes their songs quite appealing in its own way (i.e. Wannabe and ICY). I just wished they didn’t tap into each other’s current niche. BLACKPINK, more recently, have not crossed the line. But it is clear with M.A.F.I.A, ITZY have. And I will mention it now, M.A.F.I.A is more of a cheap knock-off than a successful replication. One of the few positives of the song is that there was a good showcase of rapping skills in the song. But that all comes after a spoken syllable-by-syllable delivery that sounded undeniably very BLACKPINK-esquee, courtesy of Ryujin. While the rest of the rapping skills were good, I wished their lines didn’t feel weighed down and boring. It was probably a stylistic choice to fit in the suspenseful and mysterious vibes of the instrumentation, which features that paced and squeaky synth. But it was a choice that really didn’t appeal to my taste. The vocals that followed in the pre-chorus were actually also quite good. It gave the song that stability it needed and added in a splash of needed colour. And I was glad we got some colour into the song in the pre-chorus, as the chorus didn’t really give much of it. Instrumentally, it just felt like an extension of the instrumentation we got in the verses, and the chorus’ hooks were pretty plain and unimaginative. I can see it catching on briefly, but it will probably be forgotten soon after. The second verse was more less the same as the first verse. And well, the rest of the song felt more less the same as the first verse and chorus. Another let-down of M.A.F.I.A is the song lacks a peak. While I think Lia’s bridge was a nice touch to the song melodic-wise, it doesn’t feel in anyway different to the pre-choruses earlier in the song. While you expect her to hit a high note at the end of the bridge, she doesn’t. The instrumental doesn’t build up to the final chorus either. We aren’t pushed into an amplifed mix, nor are we given something to help to make it a memorable closer to the song (or even signal the end of the song is approaching). Overall, M.A.F.I.A is a very flat release that doesn’t live up to the ITZY style that I have associated with the group.

A music video acually comes off a lot better than the song itself. Despite the dark aura and the obvious black and purple colour choices that seems to bring out that ‘influence’ as I mentioned in the above paragraph, I feel that the music video does a good job of showing off that confident side to the group. This is a running theme in their music videos and I am glad they managed to link this video to their past comebacks. I also thought the editing in this video was also a strong positive aspect. But that is all pretty standard. It is that memorability factor that I am looking for, and there doesn’t seem to be much in the video. I guess the opening scene where we are looking from inside the gun barrell at Ryujin in her full red outfit was pretty intriguing. But nothing else really pinged as memorable for me.

The choreography is probably the only stable factor in this entire comeback. The confidence really comes off strongly in the routine, and I also liked the added sexiness that the group brings to the table with this routine.

Song – 5/10
Music Video – 6.5/10
Performance – 7.5/10
Overall Rating – 6/10

[Review] Ugly Dance – ONF

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After Tuesday and yesterday’s intermission from the week, I return to the usual broadcast of reviews for new releases. Today’s review revolves around ONF’s latest release, Ugly Dance. The group returned with a repackaged version of their first studio album, My Name: ONF, and the title track Beautiful Beautiful back in February of this year. It was a very successful comeback for the group with Beautiful Beautiful reach the number one spot on SBS MTV’s The Show, the first time the group has ever reach the number one position on a weekly music show. A month ago, it was announced the group would be return with a repackaged version, which has been retitled as City of ONF, and is headlined with the title track Ugly Dance.

The most intimidating task in the KPOP industry is finding a song that exceeds the standard set by the artist’s best performing and sounding song (to date). For ONF, they successfully one-upped New World with the release of Beautiful Beautiful this year. And now, all eyes are on Ugly Dance to see if it can do the same. It might be the entire reason to why Ugly Dance starts off with a throwback to their previous title track with the song’s main hook. However, Ugly Dance gives it to us in a remixed form, making it to be more orchestral sounding. This is an amazing twist to the really catchy hook from their previous song and it also fits in perfectly with the orchestral approach that parts of the instrumental of Ugly Dance opts for. But that is only the based on the instrumentation that is used to create part of the the background of their new song. The other part takes on a funky hip-hop style, which seems to align with the colourful energy we got from their previous song. Together, Ugly Dance is a very powerful and epic sounding song. In regards to the vocals, ONF really shows off their vocal chops in this song from what I can hear. The instrumentation in this comeback is quite loud, so they really had to ensure they stand out on top of the loud background, And ONF does just that. Everything felt solid and very straightforward on that front, as well. The high notes at the end were probably the most obvious examples of that. For Wyatt’s rapping, his deep spoken tone was very surprising. It felt dynamic despite it coming off as spoken. His deep tone was also very stylish and cool. What I enjoyed the most about the song are the hooks. The ‘1 and 2 and 3 and 4‘ was probably my favourite one as it added a lighthearted and playful vibe to the song. The vocal melodies for the chorus were also quite memorable. The most important question is, however, did Ugly Dance surpass Beautiful Beautiful? My gut (at the present) unfortuately says no. I feel that Beautiful Beautiful had it all, but it edged in front thanks to the colourfulness it brought to the table. But if it is any constaltion, Ugly Dance is defintiely there as one of ONF’s best!

Also lacking colour is the music video for Ugly Dance. The music video isn’t shot in black and white. Rather, it feels quite muted, thanks to the sterile, hospital room-like aesthetic and plainness of the white box ONF got as a set for this music video. They tried to insert some colour in the video (i.e. the alternating black and white outfits; the green borders up top and for the doors; the members’ hair colours), but none of this was really a splash of colour that the video needed to not be as dull as it ended coming off as. It is a bit disappointing, given that the video is the first in KPOP (as far as I can remember) to be shot in 8K. I also didn’t like how the outfits would sudden change between the black and white. It seemed like a bit much for me. But I did like how the music video sits within the same world as the Beautiful Beautiful music video, based on the start. I also liked how the music video captured ONF’s more lighthearted side, with their smiles and interactions playing a part in making this video more appealing to watch.

The choreography for this comeback was a blast! I enjoyed the whole package and the performances so far have been replayed multiple times! Their smiles really give off a playful vibe in the choreography, making the extremely powerful routine a little more lighthearted. And hence, I found the routine to be fitting for the song as a result. I also liked how they inserted elements of Beautiful Beautiful into the routine.

Song – 9/10
Music Video – 6/10
Performance – 10/10
Overall Rating – 8.3/10

[Review] ON&ON – Hong Eunki

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Today is one of the days in which we don’t have any musical release. So I thought I take this opportunity to select a song from my ‘Coming Soon’ list to write a review for, which I seem to touch every blue moon. Today’s choice is actually a release from way back in January. Actually, to be precise, this release dropped on 5 January of this year (almost four months ago). I am talking about Hong Eunki’s ON&ON. It caught my attention a few weeks after its release, and has since been on the ‘Coming Soon’ list. As this is my first time reviewing a Hong Eunki release, here is my short rundown of the soloist. He was a former member of Rainz, a project group formed after Produce 101 Season 2, in which he placed 38th on the show. He made his solo debut in 2019 with Blow, and has since made comebacks with Breath, Flower and now ON&ON.

To me, I find that ON&ON has this fresh mix of the groovy trend and deep house. It isn’t reaally much of an interesting mix, nor is it innovative. However, I do appreciate the remergence of different styles and combination once in a while. ON&ON defintiely benefited from this, as I couldn’t really think of another song from the top of my head that has blended the two together in recent times. What is also great about ON&ON is that while the two is a blend of the groovy trend and deep house, neither really felt like a commitment. It was a relatively light mix that felt pleasant enough to enjoy. And I say that in a positive manner. In addition to the instrumentation, ON&ON has this great upbeat vibe and catchy hooks that really caught on. You might argue that it didn’t have much effect, given how delayed this review is. But that shouldn’t mean anything (given my long and growing list of songs that I personally want to review). When it comes to the vocal front, I think ON&ON could have been more interesting. Hong Eunki has some standard vocals that were able to showcase a bit of vocal variety, such as falesttos throughout the song. There was also some decent effects placed over his vocals to give off some texture. But by the end of ON&ON, I was a little bored with the same techniques on the vocal front. But this didn’t really drag down the song for me. Overall, ON&ON was a nice and decent introduction to Hong Eunki for me. I will definitely keep my eyes open for further comebacks from the soloist in the future and hopefully they catch my attention as this one did.

The music video was okay. It tapped the shoulder of the standard choreography and closeup formula that isn’t that inventive. And while the saving grace of that formula is usually amazing and stunning closeup of the artists the music video features, this one doesn’t get up to that level for me. I did like the subtle emphasis on the colour blue, which is a bit interesting. It wasn’t bold in any way, but rather muted. But you could tell the producers were pushing a blue agenda for this music video.

I think the choreographer missed the opportunity to add a bit of a bounce to the routine. This could have potentially made everything better, given that the performance was focused more on generic output, if you understand what I mean. Everything looked standard and felt more like a clash of moves that didn’t really work with one another. I did like his enthuasism and the energy that he conveyed through the routine, however.

Song – 8/10
Music Video – 7/10
Performance – 6/10
Overall Rating – 7.3/10

[Review] CLOSE – AB6IX

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Also making their comeback today is AB6IX, with the release of CLOSE marking their return. CLOSE is featured on the group’s fourth mini-album, Mo’ Complete: Have a Dream. We last heard from AB6IX through their repackaged 3rd mini-album, Salute: A New Hope and the title track Stay Young in January of this year. This also coincided with the release of a remixed version of Why Don’t We’s Fallin’ (Adrenaline) earlier this year as well that AB6IX and the original artists collaborated with for.

CLOSE is a promised return to deep house, a style that ABNEW and other avid AB6IX listeners may find familiar. For those who are not familar with this group, deep house is the style of EDM that AB6IX debuted and followed up with during their debut year (Breathe and Blind For Love) before embarking on a year of different sounds. CLOSE starts off with twinkling synths and warped effects, before heavier synths and percussion come into play. I find all of this contribute to a somewhat brighter and lighter tone than their earlier works. It is an interesting dynamic for the group. I like how refreshing the members sound in the first verse. The pre-chorus is also quite intriguing, as the members come together to sing the sequence together. This too adds to the refreshing tone of the song. For the chorus, CLOSE delves into the more traditional routes of deep house. But layered on top of that are deep textured synths that added an electric touch to the centrepice of the song. For the second verse, the highlight here is Woojin’s rap sequence. The energy he brings to the song resembles AB6IX’s early days, which is what the song is aiming for. Great success there. For CLOSE‘s bridge, I really liked the delayed return to the final chorus. It was a clean transition that added tinge of suspense to the song. It was also reminiscent of Breathe. For the vocals of the song, we saw a solid showcase of them throughout the song. I do think they could have been a bit more dynamic on the hook front to make CLOSE a little more memorable. But overall, CLOSE is a nice return to roots for AB6IX.

While the music video feels like it is a mixture of different scenes, I think the video is fairly straight forward. From what I could tell from the lyrics, a lot of the song is about not worrying about getting lost when you are in the dark. I assume they are referring to the dark moments in life and feeling lost then in the song. But AB6IX portrays this as the darkness you get when you close your eyes when you sleep, which I think is a clever way of presenting this in a visual manner. We see the members sleeping and then waking up in very different locations. But as the lyrics suggest, everything will be okay. We see the members find each other and then a way out of this dreamland. It is a pretty cool video when it comes together like so. I am not sure about the floating rock we get at the end, whether this links up with another video in the future or if there is a detail hidden in the video that I didn’t catch.

The best part of the choreography for CLOSE is the pre-chorus. I really like how Donghyun in the first verse and Daehwi in the second verse interacted with the other members in the pre-chorus sequences. It looked cool and worked really well with the music. For the chorus, nothing felt out of place. Everything was just clean. I also really like Woojin’s rap sequence, which fitted in so well with his image. It also added some intensity to the performance, which was some icing on the cake for me.

Song – 8/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.3/10

[Review] Drunk-Dazed – ENHYPEN

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New week, new comebacks. First up this week is ENHYPEN’s latest comeback, Drunk-Dazed. It is featured on the group’s second mini-album, Border: Carnival, which also dropped today. This is also the newly debut group’s first comeback since their debut at the very of November of last year, with Border: Day One and Given-Taken. Since their debut, ENHYPEN has scored a number of rookie awards during the KPOP award season that occured throughout December 2020 and January 2021. This is especially an amazing feat, given that they had a month to make an impact on the industry. And with rookie awards coming their way, it seems like ENHYPEN just did. For the KPOPREVIEWED Awards, ENHYPEN wasn’t nominated, nor did they win any awards due to their late debut. Instead, they will be considered as rookies for the upcoming 2021 KPOPREVIEWED Awards later this year. But there is a long way to go, so let’s start off with a review of their latest single.

Drunk-Dazed is a really powerful pop song. I have to start off by focusing on the chorus, which to me, was the best part of the song. The unquestionable blast of energy that we get thrown into from the chorus was very exhilarating and thrilling. Imagine how it would sound when Drunk-Dazed is on full blast! It doesn’t help that the hooks here were super catchy and addictive. Both worked in harmony to create a really relentless and upbeat part of the song that I thoroughly enjoyed. The verses don’t have that same impact or memorability as the chorus, but they had their charm. Both essentially had the same make up, with its consistent thumping and build-up to the chorus. I really like the rock vibes that comes from verses, which made the energy of the chorus feel like it was brewing in the background of the verses. The pre-chorus had a nice nostaligic ring to it. When it came to the bridge, I was a bit let down by the drawn out nature of the part. It just didn’t feel like a right fit for the song, from my prespective. I was glad it was brief and we returned to the familar tune of the chorus. The extension we got at the end of Drunk-Dazed felt appropriate for the group. Throughout Drunk-Dazed, the members sounded mature or at the very least didn’t feel like they were teenagers. But I detected some bright youthfulness in their tone in that final bit that matches the group’s profile given their young age. Overall, Drunk-Dazed is an addictive song full of great energy, fitting for a party vibe.

And I am glad that party vibe was translated into the music video. It appears the members are werewolves (or vampires, not too sure). They lure a fellow school mate to a party they are having, persumably to suck their blood. After all, she was invited to a bloody birthday party. We get a sense they are after blood by drinking it at the party (i.e. one of the members add blood to a glass of water pre-party, plus the raining blood at the end of the video). The member who we see dancing the blood rain falls to the ground to wake up surrounded by the rest of the group. We then see the school mate arrive with the invitation in hand, unsuspecting of what is about to happen to her. It also appears that the members have been around for a while, with scenes at the party were followed up by scenes of the members celebrating a birthday back in the early 1900s, based on the way the yellow filter was added to mimic the video footage of that time period. In the second verse, we see 1980s style effects, mimicing music videos from that era. There also seems to be a bit of telekinesis, teleportation, pyrokinesis (seems all of this is reminding me of American Horror Story: Coven). I like the story and how they conveyed the clues. Though I am still not clear if they are all werewolves, vampires or a mixture of both.

When it comes to the choreography, I have similar thoughts of it as per the song. I really like the routine during the chorus, including the zombie start and the wavy motion they used to represent the second ‘Dazed Dazed Dazed‘ hook. I also thought them lying on the ground and spinning was a cool move in this routine. Overall, a nice routine.

Song – 8.5/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.4/10