Category: Reviews

[Review] Rupert’s Drop – ONEUS

Posted in KPOP, ReviewsTagged Leave a comment
Support your favourite KPOP artists, songs and performances in the 2024 KPOPREVIEWED Awards by clicking here to vote today!

ONEUS is back? I missed the news of their return with the digital single, Rupert’s Drop, which dropped last Monday. It’s not surprising though, since the official announcement of the release didn’t happen until mid-way last week. Still, keep your eyes out for the special album release dropping early next year. We last saw ONEUS through their Now comeback earlier this year and on Road to Kingdom: Ace of Ace.

Compared to their earlier releases (which have been of the dance variety), Rupert’s Drop is a change of pace for ONEUS. It is a mellow and soothing ballad track, with an acoustic-like pop-leaning instrumental and pleasant, straightfoward and easy-going melodies. It isn’t the most mind-blowing track ever, but it is still a really nice listen. The guitars riff in Rupert’s Drop reminds me of the guitar riffs in IU’s Blueming. This evokes a nostalgic feeling for me, which works in Rupert’s Drop‘s favour. I like how the instrumental builds as it progresses, peaking when the electric guitar comes into play in the bridge. Mellow material like Rupert’s Drop allows the song to focus on the vocals. And in Rupert’s Drop, ONEUS executes the track quite well. All the members sound so good in Rupert’s Drop and I particularly like the oomph they give during the choruses. ONEUS also bring a comforting tone to Rupert’s Drop. This makes the track feel warmer and fitting for the colder season in Korea. Overall, a hearty and likable song from ONEUS.

I am unsure if the music video is relevant to the song. The video only features the members singing amongst some flowers. Aesthetic-wise, it is pretty and works well with the likableness of the song. But my understanding of Rupert’s Drop lyrics is it depicts the idea that a connection is formed between two people when they cry. The tears and associated feelings are likened to Rupert Drop’s, the tadpole-like shaped drop that dripped molten glass solidifieds into when its cooled. Apart from falling snowflakes, which is the closest thing in the video we get to ‘drops’ in this video, I can’t see how else the video is relevant to the song.

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

[Review] Walkin On Water – Stray Kids

Posted in KPOP, ReviewsTagged 2 Comments

Yesterday, Stray Kids made their return to the Korean music scene with the single Walkin on Water and their mixtape album Hop. It is their first Korean release since ATE (led by the single Chk Chk Boom) and their Japanese release GIANT last month.

Unsuprisingly, the track Walkin On Water is a hip-hop centric number. You can hear that within an instant. Personally, I quite like the choruses. I felt they were are good embodiment of old-school hip-hop in terms of the members delivery and instrumental-wise. I do find the members’ “Brrkt Brrkt” to be cringy, but the rest of the choruses were fine. I do like the infusion of rock elements in the end, which freshens up Walkin On Water and intensifies the song as it hurtles towards its finish. The verses containing the more interesting material, with CHANGBIN, HAN, HYUNJIN rapping and vocals from SEUNGMIN and I.N. BANGCHAN and LEE KNOW feature more in the choruses, while FELIX’s deep vocals make a presence during the bridge and the end of the choruses. Given that this is a mixtape, I wished they could have experimented a bit more with FELIX, who I think needs to be better utlisied (i.e., more than his deep vocals) and have his own rap sequence. And no offense to HYUNJIN, but I prefer his vocal work in the first chorus compared to his rapping in the song. Overall, Walkin On Water is a good track from Stray Kids.

Despite Walkin On Water is a different song than usual for Stray Kids, I liked how their music video doesn’t really differ. There are a lot more solo moments between each member, but the misplaced background people (which is a recurring element to Stray Kids videos) feature in the music video once again. We have motorcyclists and jet-skiers at the traditional Korean building. We also have horses eating out of the car engine and a basketball court at the same location. I also liked the arrow surrounded dance locations for this music video. The music video set at the traditional Korean buildings and FELIX’s solo moment in the bridge also gives off Thunderous vibes.

The footwork in the performance is a highlight. They add the bounce and embodies that hip-hop energy quite well. The synchonisation of their upper bodies must also be commended. Altogether, a very cool routine.

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

[Review] Now or Never – CRAVITY

Posted in KPOP, ReviewsTagged 2 Comments

CRAVITY returned just over a week ago with their new single, Now or Never, their first single since their EVERSHINE comeback (led by the single Love or Die) and their win on Road To Kingdom: Ace of Ace.

Listening to Now or Never over the last week, I consistently thought that the song could have gone further with its rock influence. Now or Never felt like a song that could have been a powerful song that blows you away, especially after the ticking pre-choruses. But that powerful feeling isn’t realised when we reach Now or Never‘s choruses. Now or Never definitely heads in that direction, but a more electrifying or grungy feeling would have made the song more enticing and exciting in my books. We get closer to that realisation at certain points in Now or Never, such as the first half of the bridge. But it wasn’t enough to tip Now or Never over the line into ‘awesome territory’ for me. Similar comments regarding the choruses can be said about the vocals. While they were good and solid throughout (again, the autotuned vocals during the first part of the pre-choruses were great), I think there were some constraints on the members, which probably contributed to the dampening of the choruses. Stronger melodies and hooks would have helped, as well. I did feel the raps were the more promising aspect of Now or Never, as it helped add some extra power and suspense to the song in their own way. Overall, Now or Never was a decent follow-up to their Love or Die comeback from earlier in the year.

My biggest issue with the music video was the pause in the music. The purpose was to give off suspense, but the subsequent launch back into the music should have been more explosive. What ended up happening was a weak return, which just doesn’t do the music video or song justice. But aside from that, I really enjoyed the aesthetics of the video. Now or Never is about ‘boldly seizing opportunities, reflecting [their] ambition and unwavering determination to take on the world’s challenges fearlessly’. In the video, the challenge is an asteroid that comes crashing into Earth, but the members are able to embrace it and live through the impact with one another. I also really liked the clock (I think this is what it is) set in the video. It looked cool and very futuristic.

I liked the powerful vibe from the choreography and the energy the members put into the chorus sections of the routine. It made it feel jam-packed and very intense. The pre-chorus moves and the outro routine were also highlights. CRAVITY did an awesome job with this part of the comeback.

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

[Review] JJAM – Stray Kids

Posted in KPOP, ReviewsTagged 3 Comments

As part of their ATE album (led by the title track Chk Chk Boom) released earlier this year, Stray Kids released some videos to accompany some of the side tracks on the mini-album (making them eligible for a separate review). Thus far, I have reviewed the side tracks MOUNTAINS and Stray Kids. Today, I am focusing on the final song with a video, JJAM.

JJAM features a strong EDM backing that really defines the song. The EDM, accompanied by the thumping beat, gives JJAM character and personality, similar to how EDM defined and made DOMINO (another Stray Kids track from their NOEASY era). The tight back-and-forth synth in the chorus (which, when paired with the choreography, became the critical point of JJAM) was quite memorable, as was the rest of the chorus. What made JJAM more special was how it features the three units of the group. Following the first chorus, we get solid and refreshing vocals from VOCALRACHA (SEUNGMIN & I.N). This is followed by an instrumental break that allows DANCERACHA (LEE KNOW, HYUNJIN & FELIX) to execute a dance break on stage, while fast-paced EDM that keeps me on my toes each time I listen to JJAM backs 3RACHA’s rap sequence (CHANGBIN & HAN). Leader BANGCHAN gets his own section, bridging the units’ section back to the rest of JJAM. Their delivery elsewhere in JJAM is top-notch. It is an exciting way to present Stray Kids that keeps true to their style and sound.

The music video shows Stray Kids going underground to make some “sticky and attractive” jam, which is probably the code for their music. I did like the killer vibes Stray Kids were giving off, either through vampirism (based on the red substance in the corner of HAN’s mouth or SEUNGMIN/I.N’s scene where they are smashing something up to source the red substance). However, they should have better vetted the place to avoid the ghostly presence that gets them. It is a hodge-podge of a video, but it was a fun and cool concept.

The accompanying choreography proves why Stray Kids’ performances are always something to look forward to. As mentioned above, the vibrating move accompanying the synth in the chorus was the key point of the song. It was such a cool move that it needs to be mentioned again. DANCERACHA’s dance break, as well as the all-member dance break towards the end, was also another highlight in the routine.

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

[Review] toxic til the end – ROSÉ (BLACKPINK)

Posted in Reviews, Western POPTagged , 1 Comment

ROSÉ officially released her solo album, Rosie, alongside the single toxic till the end last week. It follows the very successful APT. collaboration with Bruno Mars and the single number one girl last month, both featured on the new album. It is also ROSÉ’s first album release since her solo debut with R (led by the single On The Ground) almost four years ago.

I quite enjoyed toxic till the end when it was first released. It has good melodies that make the song easy to listen to, some catchy moments (such as the ‘end, end, end‘ line at the end of the choruses) and a punchy pop instrumental that hits all the right spots. These three are a start to a good song. Throw in ROSÉ’s distinct vocals, who does a decent job of showcasing her emotions in toxic till the end, and you have an undeniably fantastic song. Sure, toxic till the end feels very familiar and very Taylor Swift-esque. But I don’t think there is anything wrong with this direction, as it speaks to the masses and feels very appropriate for 2024. Plus, ROSÉ does a good job with the material overall. But there is one thing holding toxic till the end back – the vocal processing. This was felt most during the bridge, where it is very clear that ROSÉ steps up her vocals but is limited in how far her vocals go. I feel like this is a part where she could have given us a lot of emotion and impact. But the vocal processing gets in the way of that. But apart from that, toxic till the end is still a good song to me.

The music video stars ROSÉ and actor Evan Mock, who become a toxic couple. The video begins with Evan Mock’s character hitchhiking. ROSÉ pulls up and offers him a lift, creating the beginnings of a relationship between the two. And the pair appear to be quite in love (kissing at one point), playful with one another, and ROSÉ also shows she cares for Evan’s character following a tumble on a skateboard (which breaks his arm). Partway through the video, Evan Mock’s character gets a text message, which he attempts to hide. But this ends up being ROSÉ’s tipping point, and she tries to leave. Throughout their fight (in which Evan’s character hits his head), there is a montage of flashbacks exposing Evan’s character’s toxicity, where he keeps her from leaving by rigging her car and injuring himself to make her feel bad. And it all continues as we see ROSÉ lying in bed with him after their fight. It is a well-executed video with a thorough storyline, and I really liked the Autumn/Fall elements around the mansion.

Song – 8.5/10
Music Video – 9/10
Overall Rating – 8.7/10

[Review] Strategy – TWICE ft. Megan Thee Stallion

Posted in KPOP, ReviewsTagged , 3 Comments

Over the last two years, we have only observed TWICE making a Korean comeback once a year. So when the group released their With YOU-th mini-album (led by the single ONE SPARK) in February this year, I thought that was it for the group for 2024. However, the group surprised me with an accouncement of a comeback in December comeback back in October. The comeback, which occurred yesterday, is titled Strategy (both the title track and mini-album release), with the title track featuring Megan Thee Stallion.

After a couple of listens to Strategy, I have settled on the song being ‘alright’. It is a good song that strikes a balance through the various elements within it, but I am not blown away by it as past TWICE songs have previously been. I did like how Strategy brings out a mature sound from TWICE with its early 00s hip-hop influences and synth work. The instrumental is a big highlight of Strategy for me. The vocals are good, but I think there is opportunity for the members to be clearer. This would have lifted the song up in my books. As for Megan Thee Stallion’s part in Strategy, it isn’t jarring. Her music tends to be so for me. But in Strategy, she gives the song some edginess and oomph. Along those lines, I wished the rest of Strategy (i.e. TWICE’s parts) had some of this energy, as well. The closest we do get is MOMO’s part following Megan’s, just before those cowbells came into play (which was an instant turn-off for me). I also wished the melodies and hooks were more fleshed out. Strategy does have some foundation in this department, but what we got didn’t appeal to me as strongly as their past songs did. Perhaps some more definition could have been the answer to this.

The music video shows off the group’s alluring charms, which is all part of their plan to get the person they want as expressed in the lyrics. I really liked their styling throughout the video, which compliments the song well. But let’s be honest, the best part of this music video is Megan Thee Stallion’s presence. Featuring artists don’t always appear in their song’s respective videos for one reason or another. But to see TWICE and Megan Thee Stallion in the same video and room (I hope that was the actual case) was actually quite cool. I would have loved to see all the members with Megan (not just 6 of them), vibing along to Megan’s part. Though I suspect MISAMO’s schedules got in the way of making that possible.

Channelling the message of the song, I do like the confidence that the choreography exudes. I really like the chest pop and back kick during the song’s main hook, as well as MOMO and CHAEYOUNG’s part in the bridge (no matter how much I dislike those cowbells).

Song – 7.5/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.9/10

[Review] LAST NIGHT – TREASURE

Posted in KPOP, ReviewsTagged 2 Comments

YG Entertainment promised when TREASURE returned earlier this year, KING KONG (the comeback at the time) would not be their only release this year. And as promised, the group returned with their new single LAST NIGHT yesterday.

LAST NIGHT leans into dance territory, swapping out their usual hip-hop influences for pop melodies. The track is bright, upbeat, and refreshing to my ears. It also has a feel-good energy that makes LAST NIGHT attractive. Vocally and rapping-wise, the members did a great job. I particularly like JIHOON’s fast-paced rapping, which added an interesting element to the middle portion of the song. LAST NIGHT’s hook (‘Ma ma ma my love’) was catchy. The pop melodies were good, and I found them easy to listen to (even as the instrumental blasts its way through). But there is also a side of me that feels the melodies are typical and plain. There could be more flair to make LAST NIGHT even more compelling. Apart from that minor wish, LAST NIGHT was an enjoyable song.

There isn’t too much to the video, but I like the straightforwardness this brings about. The music video shows the members coming together to watch fireworks after a day of having fun and hanging out with one another. Like the song, the video instils feel-good vibes and makes me smile while watching it. It also felt appropriately casual and light-hearted.

Based on what I can see in the music video, the choreography is simple and straightforward. LAST NIGHT doesn’t call for anything too complicated or difficult, so the routine feels fitting for the song. I liked the move that coincides with the hook, which embodies the already mentioned simple and straightforward mantra.

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

[Review] CALL BACK – MINHO (SHINee)

Posted in KPOP, ReviewsTagged , 1 Comment

A month has zipped by since MINHO made his solo comeback with the studio album CALL BACK and the title track of the same name. Today, I will finally get to reviewing the title track. This is MINHO’s first solo comeback since his formal solo debut with Chase in 2022.

Chase received a lukewarm review from me when it was released, and my review questioned whether that song was the ‘best foot forward for MINHO’. While it wasn’t mentioned in that review, I had always expected MINHO to release a dance track. CALL BACK seems to be the answer I was seeking. This pop song, which leans into chill R&B territory for me, was decently good. While it wasn’t as prolific or dynamic as I had hoped for, I appreciate the mid-tempo beat and pleasant instrumentation from the piano and guitar riffs featured in the song. His vocals are good and satisfying in CALL BACK. He doesn’t have the strongest set in SHINee, but he holds up well in CALL BACK. The ‘Will it be, Will it be, Will it be you?‘ hook was quite catchy, and I liked how his vocals carried that line. Similar things can be said with the rest of the choruses. The most disappointing aspect of CALL BACK is the lack of raps. We get some sing-rapping in the second verse, but it didn’t go as hard as we know MINHO could execute. Overall, CALL BACK is a better step in the direction I hoped MINHO would explore for his debut.

My take on the video is that MINHO is both waiting for and looking for the person he loves. In the lyrics, he is talking about his phone lighting up and he is hoping that person is contacting him. In the video, he searches for his lover amongst all the cars in the traffic jam. There is also references to him looking for his missing piece via the puzzle he is completing the video. The choreography scenes looked good. I liked how they weaved some of the choreography shots into the storyline. While it isn’t the best example of so, it is still a decent attempt of making everything feel connected.

As for the choreography, I liked it. But I don’t have much to say about it. I particularly enjoyed how MINHO and the dancers moved around the stage. It gave the choreography a cool flow.

Song – 8/10
Music Video – 7.5/10
Performance – 8/10
Overall Rating – 7.9/10

[Review] PINATA – A.C.E

Posted in KPOP, ReviewsTagged Leave a comment

It has been a while since I last reviewed a song from A.C.E. The last review was for Changer back in 2021. Since then, the group has enlisted in the military and made a comeback earlier this year with My Girl (which I have yet to review), albeit without Kang Yuchan, who was still enlisted while the group was preparing for the comeback. With Kang Yuchan part of this comeback, the group returned with their 7th mini-album, PINATA, and the title track of the same name last month.

A.C.E is no stranger to EDM (see their earlier singles, Cactus or Callin’, as examples of their venture into EDM). But while PINATA follows in that direction of music, its poor execution leaves me wondering what happened to A.C.E from back then. The EDM that PINATA has gone for lacks that memorable factor. Their previous tracks featured a piercing and dynamic form of EDM that created an unforgettable piece. PINATA retains the bombastic and powerfulness their previous takes on EDM always had. But in PINATA, there was no sharpness and a strong muddled feeling. Then, there was the shouty delivery in the chorus, which somehow felt flat and obnoxious. This was by far the most disappointing aspect of PINATA, in my view. The shouty delivery isn’t anything new, but at least it should be dynamic enough to give the chorus some life. The verses and bridge were decent, but they didn’t have much going on for me to remember the song by. The most impressive part of PINATA was the high note at the end of the song and the lead-up to that high note. But while it was a stronger part of the song, it was too late to salvage PINATA by then.

The music video was okay. The dancers give the music video a wow factor, as do the members during their sexier close-ups. But I do feel like there was a limited budget when watching this, especially since the dancers wore the exact same outfit in all of the choreography shots, regardless of whether the members changed outfits or the set/location changed. Also, I am not exactly sure what the connection is between the tactical gear the dancers donned and the member’s suits/corsets, etc. aside from looking cool. Yeah, it is cool to look cool. But for the sake of it, not really. I wished there was a little more variety regarding the dancers’ outfits.

The performance is the strongest aspect of the comeback, with the music lending well to a powerful routine that A.C.E pulls off in a controlled and intense manner. There were aspects in the music video version which I really liked, such as the lifting of the members at the end and the white powder the dancers spit out just before the second chorus. However, I understand those are complex actions to pull off on stage multiple days a week.

Song – 6/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 6.7/10

[Review] LAST PARADE – BAMBAM (GOT7)

Posted in KPOP, ReviewsTagged , 1 Comment

It has been months since BAMBAM made his solo comeback with the single LAST PARADE and mini-album BAMESIS. I am finally reviewing the title track today, ahead of a future album review post focusing on the mini-album. It is the first solo Korean release of BAMBAM’s since early 2023’s Sour & Sweet comeback.

LAST PARADE sees BAMBAM venture into a much darker vibe than ever before. I like the idea of exploring a new side of the artist when it is done well, and I think LAST PARADE is a good example of it being done well. LAST PARADE opens up with some anthemic choir before settling for a hip-hop-centred sound. But the song catches you by surprise. Instead of a punchy or upbeat production, the track holds itself back – maintaining a sparse instrumental and allowing the tension to simmer and build rather than explode. It is an intriguing way to approach things, but this does give LAST PARADE a memorable to let the song linger in my mind once it is complete. But while the instrumental remains sparse, LAST PARADE does allow itself to turn into a dynamic piece via the electronic follow-through of the choruses. The rush of energy in this part of the song contrasts nicely with the rest and feels quite a satisfying release of the tension mentioned above. BAMBAM does well with his rapping and vocals, with the pre-choruses standing out the most to me. The only part of LAST PARADE that I didn’t like was how it ended, which made the song feel incomplete and unsatisfying.

The music video is split into three chapters. The first chapter features BAMBAM as a leader of a city, in an almost dictator-like manner from the looks of it. He has complete control of an army that defends the city. The second chapter features BAMBAM as the leader of a rebel group who isn’t happy with the leader BAMBAM. The third chapter features the rebellion, where both BAMBAMs meet and fight. I am unsure of the intent of the third BAMBAM, who we see at the start of the video yielding the same flag as the dictator version. But he is definitely away from the action and is very blase about what is happening above him at the end of the video. Perhaps he is a more evil ‘all-knowing’ character who tempts the dictator version of BAMBAM to do his dirty work? Aside from that, I really like the epicness of the city, the darker and creepy vibes channelling through the video, as well as the Hieronymus Bosch presentation style of the music video. Put all this together, and you get a cool music video.

I really like the performance. The verses and first part of the choruses really build intensity in the routine, similar to how the song does the exact same thing. But then, when it comes to the second part of the choruses, BAMBAM and his dancers release the pent-up energy to create a powerful waacking-like piece.

Song – 8.5/10
Music Video – 10/10
Performance – 9/10
Overall Rating – 9.1/10

[Review] Shhh! – VIVIZ

Posted in KPOP, ReviewsTagged 2 Comments

It has been over a year since VIVIZ made their comeback with MANIAC. Since then, the trio embarked on and completed their first world tour V.hind: Love and Tears. At the start of the month, they returned with the single Shhh! and their 3rd mini-album VOYAGE.

Shhh! sees VIVIZ return with a more mature and edgy vibe. I like the idea of exploring this side of the group, but I wish the material was more engaging. Weeks after its release, the only memorable element of Shhh! is the pronunciation of “Boy Shhh!“, which is clever if it were intentional (I’m unsure if it was). The repetition also helped in this regard. Anyhow, I realize that the song has potential. But as the other elements don’t stand out independently or together, the biggest problem for Shhh! is that it is underbaked. The Latin influence on the instrumental is good and punchy at times. However, there is an apparent lack of it during the choruses. The front end of the choruses was incredibly plain and didn’t entice me enough to return to the song. More colour or flair could have done wonders for this part of the choruses. The concentration and added definition to the follow-through in the second and third runs of the choruses made these sections better and more engaging. My comment about the front end of the choruses being plain can also apply to the members’ vocals, the rapping and Shhh!‘s melodies.

My understanding of the song is that it speaks to their alluring side and how they use that to get the person they want. As such, the other person doesn’t need to waste time and speak – the members can get straight to the point (unlike me…). The music video comprises many solo and choreography shots, all of which look fine. I did like how the producers embraced more of that mature and edgy feeling of the song in the video. But as always, with music videos that only have solo and choreography shots, I would have liked to see more in this video. If right, my interpretation of the lyrics would have lent well to a plot where the members attract people to be with them, but there could be a consequence for anyone who falls for them (i.e., VIVIZ playing serial killers). Just an idea 🙂

The most defining aspect of the comeback is the body and booty shakes in the performance. They definitely take on that mature and edgy side of the song that I mentioned above. I liked how each section is different from the other body and booty shakes throughout the routine, keeping the performance fresh and exciting at all times.

Song – 7/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 7.4/10

[Review] Like A Flower – IRENE (Red Velvet)

Posted in KPOP, ReviewsTagged , 1 Comment

Tuesday saw IRENE from Red Velvet make her solo debut with the mini-album and lead single of the same name, Like A Flower. This is her first release since Red Velvet’s Cosmic and Sweet Dreams, which were released earlier in the year. Fellow member WENDY also made her solo comeback earlier this year.

Like A Flower is another pleasant song. My use of the word ‘pleasant’ in reviews can either be a good or bad thing. But for the first time, I am unsure what side of the spectrum I fall on. Part of me really likes Like A Flower‘s pop-dance instrumental, which has an excellent rhythmic beat. The percussion was soft yet yielded an upbeatness that felt robust and dynamic. The piano melody that peeks through the backing makes it feel pretty and dreamy. There are also some textural vocal chops in the back of the latter parts of the chorus, which I also enjoyed particularly because they help cut the linear nature of the song. The rest of Like A Flower is where my liking of the song weakens. Mostly, the melodies came off as monotonous, and IRENE’s vocals ultimately felt bland. She does a decent job of making herself sound soft, but that comes at the cost of something riveting or captivating. The English lyrics in Like A Flower‘s chorus suffer a similar fate as ATEEZ’s Ice On My Teeth, though not as bad. Overall, Like A Flower is a decent debut track. However, it could have been more enticing.

The following is just my interpretation of the events in the music video. It starts with IRENE recording different sounds in life, including love. It is all shown in a bright and sunny environment, implying her hobby is innocent. I assume that doing this makes her want to experience her love, so she seeks out a guy she met once. She pleads to the internet to help her find the person, going to lengths of using a computer program to find the person and printing out a huge photo of him. But once she does, things turn a little sinister. The mood shifts from innocent to creepy as she chases after him. At one point, he looks up, and she is staring back down at him. This change in the video’s mood shines a different light on the van as she travels in at the start and stores her tapes. It is suspiciously spacious. Scary movie-loving me now thinks IRENE is a serial killer, and the tape recordings represent a victim, with the guy’s tape being titled ‘See The Sun’. I could be very wrong about the dark twist in the story, but that is what I got out of it.

I quite enjoyed the choreography for IRENE’s solo debut. It fully embraces the rhythmic beat I spoke about earlier, and the routine has a contemporary and elegant feel. There were some glitchy-like hand movements in the routine, which I thought was a standout detail.

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

[Review] Last Festival – TWS:

Posted in KPOP, ReviewsTagged 3 Comments

After snagging the ‘Best New Male Group’ and ‘Best Dance Performance – Male Group’ awards at MAMA this year, TWS is back with a brand new single, Last Festival (or 마지막 축제). This new song is featured on the group’s first single album, titled Last Bell. It also follows their debut with Sparkling Blue (the mini-album) and plot twist (the lead single) and their first comeback with Summer Beat (the mini-album – yet to be reviewed) and If I’m S, Can You Be My N? (the lead single).

Last Festival continues TWS’ strong ‘lead single’ output this year. It is supposedly a remake of Seo Taiji And Boys’ 1993 hit song of the same name, but reinterpreted to be a chill song. It still has an engaging beat and rhythm, which was the first thing I noticed about Last Festival when I checked it out on Monday. I think a pop element could have helped Last Festival stand out more. Not too much is needed but enough to give Last Festival extra energy. But its current form lends well to the wintery season South Korea is heading into. The hooks and melodies are catchy and work well with the chill background. However, I wish they had been a bit more fleshed out and had a punchier feel (the latter would have lent well to the pop tinge I am yearning for in Last Festival). This would have allowed TWS to work with more riveting and engaging material in the new song. I find the vocals and rapping in Last Festival a little dulled – not to the point where it bores me, but it does feel like the song is beginning to head in that direction. But overall, as it is, Last Festival is a great song from the group.

The music video shows the TWS members each realising their feelings for one particular female student in the entire school before the school year ends. However, as the video progresses, it is shown that the female student has feelings for only one of the members. So, we see the members’ reaction to the female student not choosing them, which obviously involves sadness, dejection and tears. The ending is rather bittersweet, as it is revealed that they are all friends based on the events during the end-of-year festivities. I liked the choreography scenes, especially how the sets were part of the school’s end-of-year production. The one which saw the members perform on the structure of the upcoming skyscraper featured some of the members falling gracefully off the sides of the set, which was a cool way to exit the scene.

I quite enjoyed the choreography and can see why the group was recognised for their plot twist choreography at the MAMA Awards this year (aside from the fact that dance performance went viral throughout 2024). I didn’t think it would be as sharp and fast as it was, and I thought it would have embraced more of Last Festival’s chill side. But it leans more toward the song’s beat and rhythm, which works well for this song.

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

[Review] Get Loud – KISS OF LIFE

Posted in KPOP, ReviewsTagged Leave a comment

KISS OF LIFE returned to the stage a month ago before embarking on their first world tour! The comeback features the group’s third mini-album, Lose Yourself, which features the title track Get Loud (the focus of this post), the pre-release single R.E.M (which I have not reviewed yet) and the follow-up single IGLOO. This comeback follows a busy year for the group, which started with their Midas Touch and then Sticky comebacks.

Every time I play Get Loud, I recognise it as a fun and upbeat track from the group. The energy exuded from Get Loud is refreshing for this time of the year. The same can be said with the bright blend of hip-hop and Latin influences in the instrumentation. The vocal work and rapping were solid, and I liked the sleek nature of the raps in the song. All of this should make Get Loud another promising KISS OF LIFE song, making 2024 an even more exceptional year for the female group. But something holds Get Loud back for me. Since its release, I have never found myself drawn to go back to Get Loud, nor does it have that memorable factor that keeps it in my mind. Upon reflection, I put this down to weak melodies and hooks that don’t have the right punch. I wish the choruses had been more prolific; something like Midas Touch’s style would have worked amazingly in this song. Or perhaps, since the song is titled Get Loud, something concentrated and shouty that embraces the song’s title.

At first glance, the music video mostly consists of solo and choreography shots. However, Get Loud‘s video appears to have a reality vs. dream concept, which might explain how some of the solo shorts merge together around the start of the second chorus mark and how two versions of the group perform together at one point. Aside from that, I’m not entirely sure what inspired or how to interpret this video. What I do like is the high-quality nature of the video and how sophisticated it looks. NATTY’s look in the blue fur coat with her hair pinned up was fabulous and classy.

As for the choreography, I liked the tinge of attitude the members added to the routine. It just lifts up the routine and makes it more engaging. I enjoyed the complexity of the footwork, which keeps the routine on its toes. Overall, it was great and showcases why we should pay more attention to this KISS OF LIFE in the choreography department.

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

[Review] Letter To Myself – TAEYEON (SNSD)

Posted in KPOP, ReviewsTagged , 2 Comments

The last time I reviewed a song from TAEYEON was for Heaven in July. But it has felt even longer ago as I initially put down her To. X comeback in my initial draft of this review. Yesterday, TAEYEON made her solo comeback with her 8th mini-album and new lead single, both titled Letter To Myself.

Letter To Myself is a pop-rock track. While the verses were quite good, I didn’t get into the Letter To Myself until the moment the first chorus steps itself up (i.e., the ‘My head, my head‘ part of the central piece). This gives the song quite an explosive feel that makes Letter To Myself a memorable track in my mind. It also feels quite refreshing, despite delving into a sound profile done numerous times before and TAEYEON’s well-established vocals. From then on, Letter To Myself embraces the rock sound and TAEYEON’s stunning-as-usual vocals. Her ad-libs towards the end of Letter To Myself were fantastic, and you can hear the passion behind her vocals throughout the song. I would pay to listen to this song live one day just to hear TAEYEON belt out those ad-libs at the end. I liked how there is no official bridge or final chorus to this song, yet the song feels complete. Letter To Myself maintains that rock sound from the second chorus to the end, thus making the song feel whole. It also was a way to tap into the ongoing trend of forgoing those parts of the song structure. I am sure that will make the 3-minute song attractive (if that is what listeners really want). Overall, Letter To Myself is a great song.

I am unsure if my interpretation of the music video is right, but I understood this from it. Letter To Myself is about a letter she has written to comfort her past self. The video shows a version of TAEYEON in the past before the letter and in the present after the letter. Before the letter, it looks like TAEYEON was more timid and quiet, as shown via her ‘speech’ on the bus, which no one is listening to. After the letter, she finds her voice and takes over the bus by embracing that rock sound I mentioned earlier to get people’s attention. Later on in the video, we see a similar concept. The bus itself breaks down, and TAEYEON hops off the bus to fix it, whilst everyone else is unappreciative and mocks her. The lyrics at this point in time have the line ‘I’m done being used’, which prompts (though this is done visually by the human-sized teddy bear) everyone to hop off the bus and push it while TAEYEON finds herself steering the bus with that teddy bear. If my interpretation is correct, I think it is quite a simple yet cool video.

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

[Review] TOXIC – MEOVV

Posted in KPOP, ReviewsTagged 3 Comments

MEOVV kicks off the new week with their first comeback, TOXIC. The latest release follows on from their September debut with MEOW.

TOXIC keeps it simple with a vocal focus and minimalistic electronic instrumental. It’s so simple that the song has barely anything to it instrumentally, and I have yet to decide whether this is a good thing. The instrumental comprises a paced beat and a consistent soft bubbling effect for most of the song. Occasionally, an atmospheric sheen comes into play for certain parts of TOXIC, such as during the choruses and the end of the song. All is good, but it is so beige at the same time. Keeping TOXIC‘s instrumental bare allows MEOVV’s vocals to shine and be heard unfiltered. It is a risk, as there isn’t anything to hide behind. But listening to TOXIC a few times since its release, I don’t see that being a problem for MEOVV in this R&B ballad track, which is about realising how much one depends on a relationship despite it being so toxic. You can hear how stable the rookie group sounds, and you can also hear the emotions behind the voices, which makes the subdued TOXIC more impactful. I am drawn to the members’ falsetto in the choruses and vocals in the pre-choruses. But I wish the melodies and verses were more riveting.

My take on the video is that it shows two sides of MEOVV—once innocent angels (dressed in white and light colours) who have fallen due to a toxic relationship (dressed in black and with black wings). But regardless of whether they are innocent angels or fallen angels, they continue to do everything they used to do before, indicating that they prefer the status quo and hence can’t leave the toxic relationship (as depicted in the song lyrics). However, the fallen angel version of the group does have the added pensive moment. At the end of the video, we see a glimpse of one member trying to ascend back to Heaven via the elevators, which might be the code for escaping the toxic relationship.

Song – 8/10
Music Video – 9/10
Overall Rating – 8.4/10