Category: Reviews

[Review] ATTITUDE – IVE

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In my review for REBEL HEART, I mentioned my plan to review the second title track from their 3rd mini-album (IVE EMPATHY) soon. Well, ‘soon’ has arrived. The second song is titled ATTITUDE, and it dropped with the rest of the mini-album on Monday this week.

My first impression of ATTITUDE was that it could have used a little more sass or attitude. There are definitely moments in ATTITUDE that give off this tone and energy, like the song’s main hook (sampled from Suzanne Vega and DNA’s Tom’s Diner and the rapping in the second verse. But I wished ATTITUDE went further, as it would have given the song more oomph and further impact. Elsewhere in the song, I enjoyed the instrumental’s dance beat and funky disco undertones. I liked the idea of the ascending notes in the final lines of the pre-choruses – breaking the note was a good idea. I also appreciated them in the choruses, even if it did get slightly unpleasant. On the topic of the choruses, they had good flow and melodies, but the vocals were plain to me. The most questionable element of ATTITUDE was the bridge. I agree ATTITUDE needed a change-up, but I wonder if a relatively toneless shouty delivery was the best way to go about it. Overall, ATTITUDE was a decent song. It is not as strong as their best tracks, but still worth a listen.

Based on the lyrics, the music video shows the members as inhabitants of the ‘Loveless society’. But they know that their time in this location is short. I like the confidence they exude, particularly in contrast to the other inhabitants of the society. Their outfits and styling were very pretty, showcasing their beautiful looks. I also like how the members do their own thing rather than following the norm. Overall, a great video to watch.

Like the song, I felt the choreography could have used more sass and attitude. There were a lot of bright smiles and moves, which was all great. I wished there was more balance with some other sides of the group they have shown before in the routine. For example, when YUJIN stood on top of those desks in the music video. That would have taken the choreography to the next level and worked well with the message behind ATTITUDE.

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

[Review] REBEL HEART – IVE

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Apologies for the lack of reviews this week. Jet lag caught up with me and work got me tired.

One of the releases that came out while I was on vacation was IVE’s single REBEL HEART. It serves as one of the title tracks for their (at the time) upcoming 3rd mini-album IVE Empathy. As of Monday this week, the second title track, ATTITUDE, and the mini-album itself were released. A review for ATTITUDE will be posted soon. IVE Empathy follows from their IVE SWITCH mini-album and HEYA/Accendio comeback in April last year.

I remember listening to REBEL HEART while on vacation and thinking it was a great song, minus one part. REBEL HEART begins with a rock tinge instrumental that develops into a bombastic sound that reminds me of their I AM single from 2 years ago. I like how the members channel and complement the rock sound, sometimes almost turning the song into an anthem. I do acknowledge the chorus is repetitive, but it is also very simple and catchy. The “So you can love me, You will never be never be never me…” definitely makes for an addictive hook. REBEL HEART does falter when it comes to the “Na Na Na” part in the bridge. This moment turned a strong and empowering song into something childish. At least, WONYOUNG and LIZ’s vocal follow-up picked REBEL HEART back up and made the song slightly mature again. Overall, REBEL HEART is a strong first release from IVE Empathy. This makes me excited for their now-released second track, ATTITUDE.

The music video for REBEL HEART features the members rebelling against society but staying true to themselves. After all, they are ‘rebels in their hearts’, and the song’s lyrics express solidarity with those who rebel. The group and ‘friends supporting friends’ scenes reflected the latter message. GAEUL and LIZ were probably the easiest rebels to spot in the video. GAEUL opted for activities like graffiti and hanging out in abandoned buildings. LIZ didn’t attend school on school days and was seen walking in the opposite direction of her peers. The other members’ portrayal of rebels was a little more subtle. REI wore an outfit that made her standout in public. WONYOUNG was an unhappy bride, while YUJIN took part in activities that did not fit the stereotype for her gender. The hardest to make out was LIZ’s portrayal of a rebel, who I guess is representing those who want to make a living through social media rather than other ‘typical’ jobs.

The choreography for REBEL HEART was good. I don’t mind the routine we got. But it could have gone for something punchier, as some moves didn’t fit the song’s rock vibe. It felt more focused on being youthful and pretty than taking advantage of that rock sound.

Song – 8.5/10
Music Video – 9/10
Performance – 7/10
Overall Rating – 8.4/10

[Review] Fraktsiya – MARK (NCT) ft. LEE YOUNG JI

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MARK was originally due to make his solo comeback with his first album this month. But the long-awaited solo return of MARK was unfortunately delayed to April instead. To keep those waiting in anticipation for his solo release, MARK released the single titled Fraktsiya. It features LEE YOUNG JI, who had a successful run this year. This single release follows MARK’s other solo singles, which include Child, Golden Hour and 200.

MARK is well known for his rapping skills, which he has displayed through the abundance of songs he raps in. His rapping in SuperM’s Jopping springs straight to mind. But we have yet to come across a solo song from MARK that really showcases his rapping skills to the same degree. That is until Fraktsiya. It is a rap-based hip-hop track featuring a fast-paced and pulsing instrumental that exudes a dynamic yet lowkey energy. The details in the instrumental give off a prickly feeling, heightening the song’s excitement. MARK and LEE YOUNG JI were super punchy with their delivery through Fraktsiya, which I thought should be commended. Further, MARK’s flow throughout Fraktsiya does not let up and has me vibing along to the song. The same can be said about LEE YOUNG JI. But her style and rapping also bring a brighter-like tone element to Fraktsiya. But the song’s best part is when the pair rounds out with the shoutier “I’m so curious“. That was a great peak to accumulate towards and to end Fraktsiya with. Overall, this track excites me for what will come from MARK in April.

According to Google’s AI, Fraktsiya is the romanisation of the Korean word 쁘락지 (meaning ‘spy’). MARK and LEE YOUNG JI essentially rap about being spies in their respective ‘worlds’ – MARK being KPOP and LEE YOUNG JI being K-Hip-Hop. The video takes on a darker concept than usual for MARK. We see him as a spy in the first part. We then see him in the KPOP world, out of place and calm in the chaos as the staff prepares for a photoshoot. When LEE YOUNG JI appears, she appears out-of-place, as well. She wears a jacket with a touch of green on a green carpet, while everyone else is dressed in black suits on the white background. It was a cool video overall.

Song – 9/10
Music Video – 8.5/10
Overall Rating – 8.8/10

[Review] IZNA – izna

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As we draw to the end to 2024, I do find myself in a reflective mode. An area of the blog I personally felt I did not do a good job delivering on are rookie reviews. So many good rookies made their debut and I just didn’t get around to reviewing them. But I keen on ensuring I cover more rookies in 2025. And while we are not in the new year yet, it is always nice to get a head start. Today, I have picked IZNA’s self-titled debut track. The group hails from the survival show, I-Land 2: N/a, where the 7 top ranking members (Mai, Jeemin, Jiyoon, Koko, Sarang, Jungeun and Saeb) would form a new KPOP group. The first season of the show created ENHYPEN.

izna’s IZNA (this is not going to be confusing whatsoever) is a mixture of R&B and hip hop, but is all kept very minimalistic. For the most part, IZNA features a heavy beat and trap-like percussion. It is an okay production, but it does get flat and dull with repeat listens. Some other synths come into play during the bridge, but they are not pivotal or become the defining sound of IZNA. I just wished the song developed a little as it progressed to cut through the flatness to become more engaging. For example, IZNA potentially could have concentrated itself or give itself a climax of some kind. After all, those repeat listens made IZNA feel very much like a loop. In term of the members, their flat delivery (more on this in a second) was most definitely intentional. And to a degree, I do admit that it did sound intriguing and catchy. Their rapping was on show in IZNA, but the same can’t be said about their vocals, unfortunately.

While the quality of the music video is great, I feel the colour palette and odd dulling filter was a let-down. I don’t know about you, but these contributed to making everything feel opaque and boring. The video also attempted to do pull off a minimalistic concept in some regards. But instead of something striking or aesthetic, I felt even more bored and uninterested in the final product. I am not saying the music video had to be colourful or lively. What the final product did work well with the song. But some refinement would have been made the video better.

If there was anything to take away from this debut, it is that izna has charisma. Their intense facial expressions give the routine some added depth. And the routine itself is the better aspect of their debut. It was powerful and well-synchronised.

Song – 6/10
Music Video – 6/10
Performance – 8/10
Overall Rating – 6.4/10

[Review] Love In My Heart – BABYMONSTER

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BABYMONSTER continues their promotions for their first studio album, DRIP, with the music video release for Love In My Heart on Monday. This release follows the pre-release of FOREVER midyear and the release of the entire album and title tracks CLIK CLAK and DRIP in November.

Love In My Heart is a relatively mellow and heartfelt release from the group compared to the title tracks from the studio album. That being said, the producers of Love In My Heart keep the song contemporary by incorporating EDM backing and club beats together. This combination reminds me of the music I enjoyed from the late 2000s to the early 2010s. And with a mellow and heartfelt descriptor, Love In My Heart is vocal-focused, allowing BABYMONSTER to showcase more of that side of themselves. Rami surprised me with her high note. But despite recognising the group’s opportunity to shine vocally and the nostalgia the instrumental brings, I can’t help but also feel a generic vibe coming off Love In My Heart. And this impacts other aspects of the song that I usually look towards. Love In My Heart‘s melodies were not memorable, and the song’s hook (‘Give you ay ay ay‘) was awkwardly flat. The same can be said about their vocals. They were decent but lacked any shine to them. Overall, Love In My Heart is a decent track. But it could have been better executed.

The music video begins with commentary over the radio and news that the weather hasn’t been so great. This has affected the members’ mood, leading to fighting between two members. But despite that, the song expresses the idea that their love for one another is a strong bond. So soon after their fight, we see the members rejoin and run off together to enjoy the post-rain weather and go on a road trip together (just without a vehicle, at first).

Song – 7/10
Music Video – 8/10
Overall Rating – 7.4/10 [Updated on 22/02/2025 due to calculation error]

[Review] Rupert’s Drop – ONEUS

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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

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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

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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

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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)

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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