Category: Reviews

[Review] Love Language – TXT

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TXT returned at the end of last week with their new single Love Language. This latest release follows their 7th mini-album, The Star Chapter: Sanctuary, from the end of last year and the title track Over The Moon. It also follows a well-deserved extended break for the group.

Love Language is a pleasant release from TXT, but I wish there was more to Love Language than what it had to offer. Everything from the darting synths in the background, the members’ sweet vocals, and the contrasting deeper spoken tone of the post-chorus sequence from YEONJUN, SOOBIN, and BEOMGYU was all fine. The opening line to the choruses was memorable, and I liked the extra raspiness from TAEHYUN and HEUINGKAI. But Love Language is such a safe release (relative to the rest of their discography, which has been bold and striking at times) that it feels extremely basic. I can’t hear anything exciting enough in Love Language to attract and grab my attention, aside from this being a TXT release. This will put the song’s longevity at risk. I feel like that exciting element is what Love Language is missing. But I am not entirely sure what could be used (perhaps a different texture or something that builds on the edginess that the post-chorus sequences attempt to get across), given the mellowness of Love Language, which restricts their options.

The music video shows TXT in a very cutesy light, searching for their special someone’s love language. It is interesting yet different from the usual portrayal of the members, but I thought it was quite a good watch. The video style and creative decisions really complement the song quite well. I particularly liked the scenes where one member would be at the forefront of the screen, and the rest would be just doing their own thing in the background.

I don’t think we expected to see SOOBIN’s abs as part of the choreography for this comeback, especially with such a sweet song and cutesy video. But I am sure no one is complaining about its appearance in the routine. I actually quite liked the sharp and fast movements during the chorus. It added a little visual oomph to the routine and offered the comeback a little more intensity and dynamic flair.

Song – 7/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.5/10

[Review] Bag Bad Back – RIIZE

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RIIZE is also gearing up for a comeback with their first studio album, ODYSSEY, later this month. But ahead of the comeback, the group is teasing us with Bag Bad Back. It is the first comeback from the group since the release of the repackaged version of their first mini-album, Riizing: Epilogue, and the single Combo. It is also the first release following the official withdrawal of SEUNGHAN from the group.

Before I get on with the main parts of the review, I just have one thing to get off my chest – what on earth do they mean by Bag Bad Back? I don’t have the slightest clue. However, according to Soompi, the lyrics “makes a witty comparison between the essentials we carry in our bags and RIIZE’s own drive—their metaphorical bag filled with ambition and a shared vision to grow into shining artists”.

Anyhow, Bag Bad Back is a decent song. However, comparing this hip-hop sound with their previous works, I’d take their previous ’emotional pop’ numbers any day. I just find Bag Bad Back hard to vibe with, and I put it down to personal preference. After all, I have always been more pop-leaning compared to hip-hop. When I break down Bag Bad Back, there is definitely a likable quantity of energy and edge present in Bag Bad Back. I thought the instrumental was rather cool, with a nice simmering underlay that gives the track subtle amount of texture and the piano that kicks in at the bridge was very beautiful. Their vocals and rapping was quite good, though I think I would have liked a stronger and meatier hook in the song. The “Bag Bag Bag” chant felt a little too basic and straightforward for my liking. SOHEE’s high note was great peak for a low-tone song. Separately, I liked the elements. But together, Bag Bad Back doesn’t resonate with me. But I want to emphasis – it is not because the song is bad, but it is because it is simply not my style.

As for the music video, I thought it very cool. It took Bag Bad Back‘s hip-hop sound and translated it well into a visual piece. The video features a bag that represents RIIZE’s ambition, per the lyrics of the song. But for a bag carrying such an important aspect of RIIZE’s career, that bag is definitely not treated as well. It is chucked around a lot. I also liked the dance practice concept, as well as the suited look in the alley. The only thing I am uncertain about is what the accumulating classical instrumentals that concentrates as SOHEE’s delivers his high note represents.

Amazing choreography, with thanks going towards SHOTARO, Lee Bada, J BLAZE, and THE BIPS for choreographing it (this information was also taken from Soompi’s article). I really enjoyed the hip-hop flair that formed part of the routine, as well as the different bag references (backpacks, duffel bags etc) throughout it. II also like it how the moves constantly keep the members on their toes, creating an exciting and energetic routine that shows off RIIZE’s dance capabilities once again.

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

[Review] TIPI-TAP – Kep1er

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Let’s cast our minds back to November 2024, when Kep1er made their comeback with the mini-album and single of the same name, TIPI-TAP. I apologise for the delay in reviewing the single. TIPI-TAP was Kep1er’s first comeback since becoming a seven-member group, following the departure of Mashiro and Yeseo, who did not renew their contracts and left both Wake One Entertainment and the group. It also follows their Shooting Star single and their first full-length album Kep1going On.

While there are some remaining songs from 2024 that I am eager to review, TIPI-TAP isn’t one of them. Well, if I do not pick it up today, I don’t know when I will. Again, it is a song with certain elements I liked. For example, I liked the warmth of the members’ vocals. I liked how the chorus ended up having some bite to it, thanks to the catchy “Crush on you” hook. And I appreciated the soft tune. But being a soft song does have its limitations, and TIPI-TAP realises some of those limitations. Again, I don’t remember much else from the song aside from the above. Even the repetition of the song’s title wasn’t that much of a draw for me. And don’t get me started on TIPI-TAP‘s attempts to beef up this repetition. The softness also means TIPI-TAP is very ‘light on’, in that there isn’t much to ground the song. To me, this makes the song feel very fleeting and forgettable. There isn’t anything memorable about the DnB instrumental, and I can make similar comments about the vocals, though I will admit the cuter motif works well for them (and is not annoying). I am not a fan of their layering of vocals and rapping in the bridge, but the ‘remixed’ instrumental was a good way to change up the song. Overall, TIPI-TAP gave me things to like and things to forget, resulting in an ‘alright’ from me.

I also find the music video for this comeback to be rather forgettable. It matches up with their cutesy vocals and features a dreamy motif. But I feel everything is just a touch too youthful. The colour palette is vibrant, but feels more suited for the younger kids. In Australia, there is a children’s TV show that I grew up with called Play School, and the colours in the music video remind me of that TV show. The outfits exude a pure and innocent aura, which I find fine. However, some of the styling, such as Hikaru’s headpiece, is more suitable for a very young audience. And the whole ‘bag on the back’ trend throughout K-pop more recently feels very elementary or primary school-like. The wings do not help.

The choreography looks nice. It is quite cutesy and youthful. But like the rest of the comeback, there really wasn’t a standout moment in the routine, and so it was easily swept from our minds once promotions ended or you had moved on to another stage.

Song – 6/10
Music Video – 6/10
Performance – 7/10
Overall Rating – 6.2/10

[Review] HANDS UP – MEOVV

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MEOVV is gearing up for a comeback in May. But before we can hear their 1st mini-album, MY EYES OPEN VVIDE, the group pre-released the single HANDS UP (the focus of this post) on Monday. The future album release will follow their TOXIC and BODY comeback from November 2024.

HANDS UP has garnered a lukewarm response from me since its release. I liked certain elements, while other parts of the song felt very beige. Let’s start with what I liked, namely the delivery of the chorus. I really enjoyed the hooks, and MEOVV’s deadpan delivery of them was actually quite effective. It forges a catchy and memorable element in HANDS UP. I also enjoyed the momentum behind the song. That really helped me get through the song. I also liked how cool the ending of HANDS UP sounded, with what felt like a remix of everything before it. Beyond that, I felt HANDS UP was stuck in a bit of a rut. I find the vocals to be over-processed, particularly when they do the longer notes in the choruses. I am not convinced as to why they needed to do this, and I’m unsure of its effectiveness. It did help with that deadpanness, but I am sure the members could handle that part without the autotune. HANDS UP also has a beige problem with its instrumental, where everything felt overly similar throughout the song until the final moment. I wish there were more variety in the music and that it wasn’t linear as it was. The verses, as well as the rapping, were also dull and unimaginative. Overall, what I liked from HANDS UP has helped the song grow on me ever so slowly, but I don’t think I will reach the point of really enjoying the track.

The music video revolves around the Korean game arkkagi, where players flick their own stones to knock off their opponent’s stones off the board. I really like the aesthetic of the setting, which felt very clean and modern. The intense focus on the members and various hand formations displayed prominently throughout the video are probably representative of the intense focus needed to play the game and the necessary hand formations to flick a stone (particularly when it is in a precarious location on the board). I also like how, during the second verse, the stones are flying by the members as per the game. But interestingly, the most memorable moment for me was watching the kid feel so stressed about his next move against another MEOVV member during the second chorus. For some unknown reason, that scene spoke to me and was memorable.

The choreography for HANDS UP was actually quite cool. Obviously, there were a lot of arms and hands up in the air throughout the routine. But there was also an element of intensity, attitude and sassiness from the members that I quite enjoyed.

Song – 6.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 7.8/10

[Review] Chains – HIGHLIGHT

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HIGHLIGHT is back with their new single, Chains, from their 6th mini-album, From Real to Surreal. This is their first comeback since their Switch On mini-album and BODY single from last year. It is also the first release since the group announced that they had regained their former name, BEAST, a massive win for the group. The pre-release Endless Ending was released under the name BEAST (HIGHLIGHT), but the group has chosen to keep and promote under their current name, HIGHLIGHT.

My initial impression of Chains was that it was decent. The chorus was my main favourite segment by far, especially with that deep pounding beat that kicks it off. The melodies and hooks in Chain‘s centrepiece were pretty prolific. I wish the same could be said about the clarinet sound (which I previously described as ‘flute-like’ in other reviews) in the background. There was potential for it to be a standout element in the Chains that really pulls the audience in. However, although it is audible and detectable, I find that it is often masked by the rest of the instrumentation and doesn’t get much opportunity to truly stand out. Another weak aspect of Chains is the verses. I didn’t remember much from these segments aside from being chic and sleek. Each time I have listened to Chains since its release (it has only been two hours, but I had to replay it several times to write this review), I have been anticipating the chorus more than the verses and have not paid much attention to the verses. HIGHLIGHT/BEAST songs, in the past, have had much stronger verses that add significantly to the songs. But in Chains, I didn’t get that same feeling from the verses. Overall, my initial impression of Chains still stands even after consolidating my thoughts into this review.

Chains conveys the feeling of a “mad all-consuming love” (taken from Soompi). While I am unsure of what the video shows, my best guess is that it depicts the influence the person has on the members, leading them to engage in some sort of heist together. Gikwang kills or knocks out a bunch of guards on the inside; Dongwoon blocks the police from coming in; Dojoon keeps watch from afar, and I think Yoseob steals whatever the lover wants. I could be entirely wrong, but that is what I got out of the music video. I like the black outfits they wore throughout the video, which match that chic and sleek vibe I mentioned earlier about the song. Keeping the amount of colour (and their prominence) also matches the same vibes.

The choreography also gives me a similar decent impression. It is not their best or most memorable work, from what I could see in the music video, but it isn’t terrible. I think more can be said once they perform Chains for the first time, and I may return to review the choreography again. For the time being, the choreography remains on par with the above, at this stage.

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

[Review] Beautiful Life – Xdinary Heroes

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Aside from their previous single, Night Before The End, I know I have yet to review any of their singles from their Open ♭eta series, which are featured on their 5th mini-album Live and Fall from October last year. I will get to them eventually ahead of a future album review post for Live and Fall. But more recently (end of March), Xdinary Heroes returned with their 6th mini-album, Beautiful Mind. Today’s review focuses on the lead single Beautiful Life.

Beautiful Life is a bold track from Xdinary Heroes. Right from the start (and throughout various moments of the song), Xdinary Heroes draws inspiration from the legendary rock band Queen. This in itself is an ambitious direction. And yet, they nailed it! Xdinary Heroes’ take on rock opera is infused with contemporary and modern rock influences, giving the nostalgic aspect of Beautiful Life a fresh spin. I quite liked the combination, and it feels very cohesive. I really like it when the song picks up and intensifies, it takes the song up a notch. And that is what I call an amazing rock song. Even the Queen-inspired moments of Beautiful Life were really stunning, and the vocals during those parts were really nice. Talking about the vocals, Xdinary Heroes were consistently strong throughout the song and I liked the raspy touch they add to the song. More prolific melodies and hooks in Beautiful Life would have benefited the song. While I appreciate Beautiful Life musically, I don’t recall much beyond the surface of the song. It is only when I really focus on the song, such as when writing this review, do I notice these elements. They do sound good, but they are not the exact stand outs Beautiful Life calls for.

The music video depicts a dystopian reality where Xdinary Heroes are hunted down for playing music. They go on the run, but are tracked down by the masked man and completely bashed up by them. Xdinary Heroes put up a fight, but they don’t win. Towards the end of the video, the masked men are revealed to be Xdinary Heroes themselves, and the ones playing music or being bashed are virtual forms of themselves. I am not entirely sure what this suggests exactly, but it appears they are protecting their right to play music by being part of the forces that are against it. After all, there is that say “if you can’t beat them, join them”. I really liked Xdinary Heroes’ acting and the make-up department for making the injuries appear very real. Definitely a cool video, and the music just makes it more dramatic and impactful at certain points.

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

[Review] Countdown – TWS:

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TWS: is back with a new single titled Countdown, which comes off their 3rd mini-album, Try With Us. Both song and mini-album officially dropped this past Monday. This release is TWS:’ first major release since 2024, which saw TWS: debut with the highly successful plot twist and return with the equally successful If I’m S, Can You Be My N? and Last Festival.

Countdown very much continues the group’s ‘boyhood pop’ sound that they debuted with. The new song reminded me of plot twist from the first listen, both instrumentally, melodies and brightness wise. There are a few elements that differentiate it from their debut song, namely the deep “ba-bum” that follows some of the second and final choruses and the more intense rapping in the second verse. The former was quite intriguing yet fun, while the latter definitely helps ground the song. I also like how they prolonged the ending by splitting the final line into three parts. It makes the ending of Countdown feel like it offers up a little bit more. I would have appreciated other different elements to help give Countdown its own individuality would have been appreciated, simply because Countdown is very much familiar territory for TWS: and, dare I say, plays it safe. For example, the instrumental shares a similar foundation to plot twist. And their vocal style felt like it was lifted from the earlier song, which raises the “I wished there was more opportunity for the members to shine” comment I made in that review. That being said, Countdown hits the right spot in terms of energy and brightness, making it an ideal release to take us to the more energetic and vibrant summer sounds.

The members wonder what being an adult feels like in the music video, as they move on from their high school days in their previous music videos and into their young adult era. Plot twist – pun fully intended – being an adult isn’t all crack up to be with work, decision making and responsibilities. Just in case TWS: was looking for an answer hahaha…. There are a few different scenes in the video which all adults have experienced in some form, such as moving into your own place, the failed meals and the helplessness of a car breaking down (and your parents/guardians not around as a safety net). I liked the casual wear, which is a nice change up from the school uniform that they previously wore throughout 2024.

The choreography alongside this release is another TWS: routine that impresses. They always manage to make their dances appear fun, despite being super intense and energetic. The moves right after the intro definitely left a mark in my mind, as did the twist and turn in the first pre-choruses and the jumps during the choruses (just to name a few examples of the standout moments).

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

[Review] Wait On Me – KAI (EXO)

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After teasing us with Adult Swim and Walls Don’t Talk, KAI (from EXO) has officially made his first solo comeback since his military enlistment in 2023. The new single, titled Wait On Me, is from his 4th mini-album of the same name. As mentioned previously, his last solo comeback was with Rover in 2023.

Wait On Me continues the subdued nature of the tracks from the mini-album that KAI has unveiled so far. But one of the biggest changes he makes to this sound profile with Wait On Me is his (usual) sexy motif, which makes the new single more alluring. ‘Alluring’ is the exact word I would use to describe his delivery throughout the song. His vocals sound so airy and dreamy throughout Wait On Me, especially as we get to the choruses. This is Wait On Me‘s stand-out element in my mind. His rapping adds some oomph and intensity to the song, giving it some much-needed variety. Otherwise, Wait On Me would have slipped into that neutral gear. Instrumentally, Wait On Me contains a mix of atmospheric synth work and heavy Afrobeats with some groove on the side. They blend together in the bridge to create a really cool instrumental break that doesn’t break the flow or disrupt the song. And like the rapping, I appreciated the intensity this part gives to the song. Unfortunately, Wait On Me falters when it comes to the hooks and melodies department. I think there is a melody in there, but the delivery was so wispy that it was hard to really detect and hear. But the hook was nowhere near strong enough for my liking.

Just like the song, the music video for Wait On Me is just as alluring, and KAI is absolutely sexy throughout the video, just like always. After all, is it a KAI music video without his abs making an appearance? Also (since I am already asking questions), did anyone feel like the silver top he wore at the start reminded them of EXO’s debut era? Anyhow, I liked the use of depth throughout the video, with KAI standing/dancing in the foreground and the dancers in the background. It is a different type of framing that looks cool. The hazy brown colour palette was an interesting choice, but it works well overall.

Choreography-wise, KAI impresses once again with the artistic flair the routine had. It made for a very captivating experience and is easily one of the best solo routines of the year thus far. He pulls it all off so well and charismatically, as well. I really liked the sharp movements that make up the chorus section of the routine. He and the dancers also put so much oomph into the dance break – that was by far the performance’s best section.

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

[Review] poppop – NCT WISH

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Continuing with the supposed SM Entertainment theme is my review of poppop, NCT WISH’s latest single from their new mini-album of the same name. It follows after Dunkshot and Steady from their 1st mini-album, Steady (all of which I have yet to review).

I found poppop to be an okay song. There were aspects that I didn’t enjoy, while there were parts that I liked. The chorus appears to be the most decisive part of poppop, and I completely get why. Launching right into rapping was very unexpected, and the vocal processing applied to the members’ shouty rapping voices in the chorus made the centrepiece feel obnoxious. But this choice of vocal processing was more widespread than just in the chorus, and made most of the other rapping sequences throughout poppop feel subpar. But not all rapping in poppop was disappointing. I don’t feel the same way about poppop‘s final chorus, where all the members do their shouty rap to close out the song. This part felt dynamic, and the vocal processing was less prominent than in earlier parts. I also liked the monotonous “pop, pop, pop” hook in the song, which followed the choruses. This just added a slight deep tone to the song, which offset the bright and bubbly tone of the rest of poppop. The vocal parts in the song were also a strong aspect, but better melodies would have enhanced the song’s quality. And while not as affected, they didn’t escape the vocal processing mentioned, and certain parts still sounded off.

The music video shows SION making a move on someone he has a crush on via message. However, after spending time with the other members of his group, he is almost late for the date. He makes it in time, with the other members running after him and wishing him luck. It’s a cute video, and NCT WISH does a good job of showcasing their youthful charm in the video. Talking about charms, the bubbly charms that appear throughout the video, and to SION once he gets confirmation that the other person is interested, contributed to the cuteness aspect of the music video. Though the scene associated with the second half of the bridge took an odd turn, with what I can assume was (but probably isn’t) the members sacrificing one of the charms for a successful date.

The performance for this comeback was quite good. Again, I enjoyed the “pop, pop, pop” move that accompanies the song’s hook, and I also liked the routine that closed out the song. The end is where the routine really picks up and really puts NCT WISH’s skills and talents on par with the rest of NCT for me.

Song – 7/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.6/10

[Review] Walls Don’t Talk – KAI (EXO)

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A couple of weeks ago, KAI teased his long-awaited return to the stage since Rover and his military enlistment with the single Adult Swim. There are only a couple more sleeps until KAI releases his 4th mini-album, Wait On Me. But ahead of that, KAI unexpectedly dropped another music video for another side track, Walls Don’t Talk, from the new mini-album on Tuesday.

Similar comments regarding Adult Swim can be transferred to Walls Don’t Talk. But I think Walls Don’t Talk has a slight edge over the former song. The minimalistic sound profile that Walls Don’t Talk goes for creates a seamless number. The song’s more consistent and tighter beats made it feel punchy, but I would have loved to hear more in the instrumentation. Repeat listens of Walls Don’t Talk have made, once again, the song’s instrumental feel very linear and neutral. Actually, I might even go to the extent of saying repeated listens have been ‘drying out’ the song for me. There have been a lot of songs with similar effects recently, so Walls Don’t Talk needed something fresh and different for it to stand out. The variety in Walls Don’t Talk actually comes through KAI’s delivery. He showcases nice vocals throughout Walls Don’t Talk, but I liked his rapping and spoken moments more in this song. It added a different tone to the song, which helped it feel a little more engaging.

For a while, I thought Walls Don’t Talk was the actual title track from the upcoming mini-album. I have since realised I was wrong, but this misinformed thought has influenced my perception of the music video. Essentially, I am trying to soften the fact that I still find the home video style the music video goes for disappointing. I have praised this motif previously, but it didn’t feel appropriate for a title track, as that is what I thought Walls Don’t Talk was at the time. It also generally looked incredibly low-budget for SM Entertainment standards. The only element that impressed me was KAI himself, who looked amazingly sexy in a tropical place in Japan.

Song – 7.5/10
Music Video – 6/10
Overall Rating – 6.9/10

[Review] Baby, Not Baby – SEULGI (Red Velvet)

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For some reason, in my mind, I have been reviewing just only SM Entertainment releases. That isn’t true, but I will be continuing this mindset with more SM Entertainment releases from the last couple of weeks to still review. One of them is SEULGI’s long-awaited solo return with Baby, Not Baby, the title track off her 2nd mini-album, Accidentally on Purpose. Her last solo release occurred in 2023, where she debuted with 28 Reasons (title of both her solo debut mini-album and debut single).

Baby, Not Baby is a cool song. It has a complete different aesthetic and sound to SEULGI’s debut single, showcasing variety in her discography and confidence in doing something different. Baby, Not Baby is a pop dance track, with a blend of orchestral and rock elements that come together to give the song a groovy and funky sound profile. I like the boldness that comes from the instrumental, especially when the orchestral elements give off a dramatic flair. This complements well with SEULGI’s sassy and attitude-heavy delivery style. Altogether, Baby, Not Baby has so much oomph and character. In addition to be sassy and attitude heavy, SEULGI manages to infuse a lot of charisma into her vocals, which just makes Baby, Not Baby‘s hooks very appealing and catchy. Personally, I was searching for a rap sequence of some kind, perhaps someone featuring in the song who could have given Baby, Not Baby more edge and heightened that sassiness mentioned earlier. While I did like the vocal-forward approach of the song and SEULGI does slip into a rapping motif at time (although briefly), I just felt that was a missing piece of the puzzle that is Baby, Not Baby.

The song itself is about how someone may appear innocent and pure to their lover, but they might not be in reality. The music video portrays SEULGI doing something innocent and cute, but then she switches it up to show her wild side soon after. For example, at the start of the video, she appears injured and about to be hit by a car. But she ends up smashing the car to get someones attention. In the next scene, she gives out free hugs to people in the mall, but no one wants one. She throws a fit, but uses that to capture the ‘perfect selfie’ and disregards everyone around her. We see her smash up a shop soon after. Overall, SEULGI’s acting was pretty good and I enjoyed watching the bold nature of the music video. The video did well in bringing that edgy factor that I wanted in the song to life in a visual manner.

I liked how engaging the performance from multiple standpoints. SEULGI showed off a very confident and sassy vibe that made the focus on her more exciting. I liked how the dancers added to the stage presence of the performance. And the moves showed off a mature and sexy vibe, without it going into that stereotypical domain of showing skin or looking explicit.

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

[Review] STUNNER – TEN (NCT)

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Last month, TEN (from NCT and WayV) returned to the stage with his second solo mini-album and title track of the same name, STUNNER. It is his first solo release since his official solo debut last year with Nightwalker (which I never got around to reviewing) and, the mini-album, TEN.

STUNNER is a great R&B pop number that shows off TEN’s mature vibe. The latter is definitely the track’s strongest asset, and the producers definitely took great advantage of this. His vocals and rapping were really nicely done. In addition, I liked the groovy sound profile that comes with STUNNER, which is another reason I found the track to be quite appealing. This just melds so well into the R&B pop genre and TEN’s style. But as the song progressed, I would have liked a little more to the instrumentation. By the time we got to the end of STUNNER, the instrumental sounded the same as everything that proceeded before we got to that bit and felt neutrally geared. Given this is TEN, a likely solution could have been the incorporation of an edgy instrumental break that keeps to the R&B motif, which then could have doubled as a dance break. But where STUNNER felt stagnant, certain parts of the song made up for it. The start of the pre-choruses, when the vocal lines were packed in, were an instantaneous highlight that caught my attention from the first listen. The simply spoken repetition of the song’s title in the post-chorus hook was also super catchy. Overall, STUNNER falls slightly short of being a stunner, but definitely had the potential to reach that status.

The music video sees TEN play a man with a magnetic charm that no one can resist. Everywhere he goes, the people around him are physically drawn to him. Even in the inanimate objects in his home have a hard time copying with his magnetic charming and are also drawn to him. It was quite a cool concept. But while the concept was cool, I did think the visuals could have been a little more complementary to the sound profile of the song. Mature yes, but I felt the music video really understated the groovy nature of STUNNER.

Through his stage performances for STUNNER, I could see TEN’s stage presence and chemistry with his dancers. This made for a strong and captivating performance, which is already powerful thanks to the defined body waves and sharp movements that make up the routine.

Song – 8.5/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.7/10

[Review] Check Pattern – SUNGJIN (DAY6)

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Due to my poor time management, I have yet to review a few 2024 releases. One of them is SUNGJIN’s (from DAY6) solo debut with Check Pattern and the studio album 30. Today, I am finally reviewing Check Pattern, which will make things much easier when reviewing 30.

Check Pattern is a stunning rock ballad. I remember it being so captivating when I first checked it out upon its release, and it remains captivating even to this day. There are a few reasons for this. The flow of the song is one of these reasons. I love a song that can really hold my attention, and Check Pattern does it well. The moment I find myself captivated by the rest of the song, the flow pulls me along. I love how the pre-choruses deliberately still the song slightly before returning to the chorus. This gives Check Pattern some natural rhythm that helps it become a neutral piece. Another reason for Check Pattern’s captivating appeal is SUNGJIN himself. The hoarseness of his vocals just gives Check Pattern some emotional impact and tone. There is also a warmth to his vocals that I find very comforting. But the main reason I am so captivated by Check Pattern is its lyrics. It speaks to the emotions of meeting and separating from the person we are meant to be with for various reasons in life and the hope of meeting each other again one day. This was very thought-provoking, as it made me think about my experiences.

This is my attempt to explain the music video, as the idea is a little abstract and hard to explain in words. I might not have it 100% right, so I do recommend you watch this equally stunning and captivating music video to make sense of it. It shows SUNGJIN as a director, bringing a play that depicts the song’s lyrics to life. The play shows the audience (including us) the abovementioned emotions from many walks of life. Essentially, one person is in one season/location and the other in a different season/location. There is an idea that both know each other and want to meet but just can’t because they are in different times, places, or circumstances. They come close to meeting on some occasions (depicted by the hands reaching out). But they just can’t get there (as shown by the hands close to touching). However, like how the song speaks to the wish or idea of meeting the other person again, the play shows a happy ending where the individuals meet and be with one another. I love how this story was drawn from people’s experiences that they wrote down for SUNGJIN (as shown at the start of the video).

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

[Review] 1999 – MARK (NCT)

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SM Entertainment has been teasing MARK’s solo debut album since what felt like forever. The album was announced in May 2024, with the intentions to release the album in February 2025. But it was later announced that the album would be delayed to April 2025 to “ensure a better quality”. Since the announcement last year, MARK released three singles – 200, Fraktsiya ft. LEE YOUNG JI and +82 Pressin’ ft. HAECHAN. All these singles are included on MARK’s debut studio album, The Firstfruit, which is led by the single 1999.

MARK’s 1999 (and the rest of the album) has been out since Monday. But don’t take the time it has taken me to write this review as an indicator towards my thoughts on 1999. I have been really enjoying 1999 since my first listen. The fantastic blend of grand orchestra, funky guitar, brass sounds and whistling with the modern soft beats drew my attention from the get-go. It sounds like there is a lot going on in the background, but they all came together to create such a cool and unique instrumental backing. MARK impresses with his vocals in 1999. The melodies that come through during the chorus helps make 1999 smooth and velvety, overall. This gives 1999 a very unique style and I just love that. The chorus ends up being such a strong drawing point of the song, for me, thanks to the catchy repetition hook ‘99 yeah 99‘. I would gladly replay the song to just listen to the chorus. His rapping in 1999 is great, though it isn’t as memorable as compared to the vocal work. Even his rap-speak motif was more memorable than his actual rapping sequences. The end of 1999 is also a rather weak moment of the song. I do like how it attempts to give 1999 its last hurrah and close out the song in an a dynamic and energetic manner, but I felt the rapping here and instrumentation was a little muddled. Had 1999 closed out with a stronger, bolder and satisfying end and MARK’s raps were memorable throughout the song to the same level as his vocals were, 1999 would have been the near-perfect song.

My best guess of what is going on in the music video involves MARK traveling back in time to 1999 when it all started for him (i.e., his birth year). I am assuming he goes back to show the world what they are currently have to offer. And he brings all of his music (including his own debut studio album) to help him make his mark. I like the different MARKs we see in the video, from the time traveling MARK who is the main show, 1999 VJ MARK who helps spreads the news, and Fraktisya MARK who is flying the UFO/hockey puck. I also like the little inclusion of Canada MARK and New York MARK, which speaks to his birth country and childhood.

The blend of different instruments lends well to an interesting performance piece. I like the start of the routine, with the dancers emerging from behind MARK in a contemporary fashion. The chorus routine looked very cool. I liked how clean the execution was, and I am digging the “99 yeah 99” move (especially when it involves moving around the stage, as it just depicts the smoothness so well). I am also impressed with the footwork involved, particularly during the final sequence of 1999.

Song – 9/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 9.2/10

[Review] BREATHE – xikers

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The last time we heard from xikers was through their WITCH era from their House of Tricky: Watch Out mini-album. A review for WITCH is long overdue, as is the mini-album. But that is not why we are here today. This past week, xikers released their 5th mini-album, House of Tricky: Spur, with the lead single BREATHE. As you can tell by the title of this post, that is today’s focus.

I might have a theory as to why I haven’t gotten around to writing a review for WITCH just yet (aside from time being a factor). BREATHE seems to confirm this theory – xikers’ output hasn’t been the same as in their earlier days. BREATHE is a loud and textural hip-hop dance track. While crunchy, it lacks personality, something xikers’s music featured a lot of in their debut year. Instead, I find it now just feels like any other song from a male group. BREATHE‘s instrumental conforms similarly. I did like the boisterous instrumental break we get in the bridge. Some of xikers’ rapping in BREATHE is powerful and prolific. But for some of the other rappers and the entirety of the vocal line, I don’t even remember anything from them. The repetitive ‘Breathe, Breathe‘ chant also doesn’t do much for me. Overall, BREATHE is not xikers’ best foot forward, especially since we know what they are capable of.

The music video opens with a scene showing HUNTER becoming possessed by the other members, passing on their fiery charisma. From then on, everyone is literally on fire (a visual representation of that fiery charisma). We see some members developing superpowers and being on fire (which might explain why SEEUN is holding a BBQ lamb chop). Set-wise, I think the exhaust set looked cool. The plain green background also looked good, especially with the black outfits – a classic pairing.

The accompanying choreography for this comeback looks super cool. I liked the intensity and robust nature of the choreography. With the energy going into it and how it never let up, the routine looked like a workout. My favourite bit has to be the dance break we get in the bridge, serving as the peak of the entire routine.

Song – 6.5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 7.5/10

[Review] BEBE – STAYC

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STAYC returned a few weeks ago with their 6th single album S, and the new single BEBE. Today, I am getting around to writing a review for it. This is STAYC’s first release since GPT in October of last year.

BEBE is a strong track from STAYC. It is probably their most serious and mature-sounding title track yet. Their delivery of BEBE has so much attitude and sassiness, which is a whole new side to the group (for me, at least). I like the sing/rap-talk style the members use throughout the track. It helped make BEBE feel jam-packed and loaded, driving the song forward. This is further heightened by BEBE‘s instrumental, which carries a bold and prolific club vibe with so much oomph and style. I also like how the instrumentation doesn’t hold back or get in the way of the members. The hooks made BEBE catchy, and so I have been constantly revisiting BEBE since its release. Everything in BEBE melded together really well, creating a very cohesive track. I am a bit uncertain about the end, which to me felt abrupt. But at the same time, I am unsure if they could have ended it another way to maintain the bold nature of BEBE.

You will notice a consistent theme of me liking everything in the music video. I like how a part of the video shows the members strutting the stage in their outfits. It just fits the vibes of the song so well. I also enjoyed how the footage revolves around fashion, and the members looked fantastic. The sets were simplistic, allowing the focus to be on the members. I liked the framing over ISA and YOON’s lines in the first choruses and the whole magazine-like filter applied to J’s opening line at the start of the second verse (probably my favourite bit of the entire video). Everything was very cool.

I liked the stomping move they do at the start of the choruses. Something about that move and the flirty arm on the neck move got me. I thought better synchronisation between the members would have enhanced the overall performance. But what we got looks excellent!

Song – 9/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.8/10