Category: Reviews

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

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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

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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

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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)

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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

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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)

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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

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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)

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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:

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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

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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)

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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

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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

[Review] When I’m With You – NCT DREAM

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Moving back to the start of the week, NCT DREAM also returned with their fourth studio album DREAMSCAPE, led by the single When I’m With You. The album also features the pre-release single Flying Kiss (yet to be reviewed on the blog) and their first English track Rains In Heaven. DREAMSCAPE is not to be confused with their DREAM()SCAPE mini-album from earlier this year (led by Smoothie).

Compared to their previous comeback, When I’m With You is a bright and vibrant track. At first glance, the brightness made it feel like When I’m With You could have been a song from earlier in their career. But with where they are at (and this was definitely obsered), the new song has a mature focus and delivery. But there is a distinct difference between When I’m With You and the tracks from their earlier days. When I’m With You is a house-based electronic song with both a 90s and disco-pop tinge. I quite like this blend of styles as it has nostalgia, and it served as a solid upbeat base to the song. NCT DREAM’s vocals are good throughout When I’m With You. I like how melody-driven the song is and how well each member did on their own. When they come together for the chorus, When I’m With You felt wholesome. That being said, there were raps in the song and the sequence at the end of the song was very punchy. But while it sounds like it is all praises for the song, I also feel When I’m With You is too safe of a song for NCT DREAM. It lacks innovative or uniqueness that would help distinguish it from its competition, and this is that distinct difference I observed when I made that comparison to their earlier works. NCT DREAM was definitely known for a youthful and fresh sound when they started out. But I also associate an outgoing charm to them back then. In When I’m With You, I don’t feel it as much. The melodies in When I’m With You are ordinary at best, and they felt limited in their delivery. Had there been more dynamic melodies, or more substantial raps, or even allowed to flourish more vocally, these would have done wonders to When I’m With You.

The video shows the members depend on one another and working as a team to resolve their problems. The toy train set on the train represents the train they are on (how Inception is that?). Renjun’s apple drops onto the toy train tracks, causing the train to brake hard. Puzzle pieces and water go flying on the train, which become obstacles the members must overcome in their dreamscape (confirmed at the end when JAEMIN wakes up from his slumber at the end of the video) later on. But they work together to dodge the heavy puzzle pieces, reboard the train, get the train running again, and escape the carriage filling up with water. This is a slightly different interpretation of the lyrics of the song, which portrays the complicated emotions as one becomes irresistibly drawn to someone in the “DREAMSCAPE.” (taken from Soompi). The video just represents that someone as each other.

The all-smiles aspect of the performance helps makes the song come off a lot more vibrant and energetic. It also continues that youthful charm that NCT DREAM has long been associated with the group since their debut (as already mentioned).

Song – 7.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.8/10

[Review] Ice On My Teeth – ATEEZ

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Following their earlier 2024 comeback with WORK and the first part of their Golden Hour series (yet to be reviewed, but it is incoming), ATEEZ has returned with the second instalment of the series. As part of that new mini-album is the new single Ice On My Teeth.

Elegant hip-hop is the first thing that came to mind when I heard Ice On My Teeth. The combination of the hip-hop beat and the classical elements melds together extremely well and created a very unique atmopshere. I do like how the song outros itself, re-emphasing the smoothness of Ice On My Teeth. But while I really liked the production of Ice On My Teeth, I did think the song could have gone further. It is quite subdued in its current state and the track really needed something to break this. I lowkey was expecting an explosive peak of some kind (perhaps an explosive high note from JONGHO or a really bold concentration of the music towards the end), just to really drive home the song. But we never got there. I can say the exact same thing about their vocals and rapping. They very much embrace the elegance and made sure they fit that vibe of Ice On My Teeth. But in doing so, they keep themselves so subdued and they needed some more oomph to break this consistency. The biggest issue I have with Ice On My Teeth are the lyrics. They stuck out from the very first listen, but not in a good way. If anyone can tell me what “I brought diamonds at my dentist, I’ve been playing like tennis” means, that would be much appreciated.

Just the song, the music video also goes down the elegant route. And there isn’t anything as elegant as a big mansion they are in. Throw in some renaissance art, ballerinas, chandeliers, headbusts – you pretty much get the picture. I do like how the video keeps it edgy (as this is ATEEZ we are talking about) by having everyone else in the video don balacavas (including the headbusts). The bonfire and setting the place alight also lends well to this edginess. All the members looks so good visually, as well as the camera work in the video.

For the performance, I really find their movement on stage to be so smooth. From the backwards shuffle to the slant crab-like walk (think there is a proper name for this move, but I cannot think of it), everything looked sleek and goes well with that elegance that is channeled through all aspects of the comeback. As for the rest of it, I liked how ATEEZ finds the balance to make sure it looks intense (like their other routines) without being visually intense. Their aura and charisma on stage must also be commended.

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

[Review] Running Wild – JIN (BTS)

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I only started covering the week’s newest releases yesterday, yet I am now jumping to the end of the week to cover JIN’s official solo comeback, Running Wild. This new song is featured on his first solo studio album, Happy, which makes him the final BTS member to release a solo album. Previously, JIN pre-released the single I’ll Be There and made his solo debut with The Astronaut back in 2022.

I never anticipated a full English track from JIN. So that aspect of Running Wild caught me by surprise. Neither did I expect a Britpop song from the BTS member, but I had no expectations as to what genre we would find JIN delving into for this solo comeback. Running Wild is a pleasant song, breezy and airy for the entirety of its run. The band instrumental is great, and I liked the uptick in its upbeatness during the chorus. Definitely makes for a gratifying track. Running Wild features some inviting and comforting vocals from JIN, which was great in helping Running Wild deliver its message of running towards hope and love. I do prefer his delivery in the verses more than the choruses, as you can hear his vocal colours and tone in those parts of the song. He handles the choruses’ falsettos just fine, but they do hide JIN’s distinct vocals. Also, I wish there was some stronger melodies and hooks, just to give Running Wild some more compelling moments to remember it by. In my mind, this was the primary issue for Running Wild. Pleasant, breezy and airy is all good and nice, but Running Wild is another song that just doesn’t linger around after it ends.

The music video opens up with a meteor shower. While the rest of the world panics and run, JIN is calm and collected. He ends up going in the opposite direction, opting for a roadtrip with his canine companion. He is definitely riding out the apocalyptic event in the way he wants to. He also drives by a family reuniting, indicating the path he is taking is one of hope and love, just like the message he conveys in the song’s lyrics. The whole montage at the end with JIN swerving his car to avoid the meteors as they hit the Earth was the unexpected. It resembled an action movie sequence. Something less intense would have been the expected path towards the end for this video. However, it was definitely cool and fun to watch.

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

[Review] No Doubt – ENHYPEN

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ENHYPEN was one of the groups to make their comeback earlier this week with the new single No Doubt and Romance: Untold -Daydream-, the repackaged version of Romance: Untold from July (which I have yet to review, but will do so soon). The original album was led by the singles XO (Only If You Say Yes) and Brought The Heat Back.

No Doubt takes ENHYPEN into R&B pop territory. In a few ways, No Doubt feels similar to XO (Only If You Say So). This new track also feels mellow and fluid track, brought on by the smooth and airy instrumentation. The big difference is No Doubt features a very slight funky tinge, which gives both the beat and instrumentation a little more bite and body. The same can be said about that whisliting-like effect in the background. It doesn’t explore anything new, but it is enough to make No Doubt feel upbeat. There is a refined and polished vibe exuding from the song, which helps ENHYPEN bring a more mature vibe to life elsewhere in the comeback. But despite smooth being a constant factor of No Doubt, I do find the textural aspect of their vocals to be somewhat ill-matched. I wished the vocals were not subjected to as much autotune and processing to better compliment the rest of No Doubt. In terms of memorability, No Doubt sits on the fence for me. Part of me likes the direction in which the melodies and hooks of No Doubt goes and sounds. But another part of me realizes, once the song ends, they just don’t seem to stick and is easily forgotten. Maybe more listens will help grow No Doubt on me. For now, No Doubt is a good song, but could have been better.

The song is about the changing feelings in a relationship. And the video depicts this through multiple scenarios. At the beginning of the video, the members are office workers exposed to sweltering temperatures and weather. Nothing feels as long as a hot day with poor climate control in the workplace, and the members liken this to a long day that occurs as a result of missing their lover. The boxing ring scenes are a bit more obscure, but the song does have a line that says “I want you, it’s so painful but, Oh, I’d burn myself to prove it baby, no doubt“, which indicates their willingness to go through something painful (like boxing) to be with their partner. Though the most obscure part of the video is the lobster hand that Niki is seen growing and donning at the end of the video to punch a whole in the wall. No clue as to what that represents.

The most memorable aspect of this comeback has to be the choreography. The key move is, without a doubt, the should movement with ENHYPEN’s hands in their back pocket (as per my featured image for the post – it is also the only group moment with all the members in the shot that I could find without a member being covered up or behind another member). But there is something about Heeseung’s forward body roll during the choruses in the music video that also grabs my attention.

Song – 8/10
Music Video – 8/10
Performance – 910
Overall Rating – 8.2/10