Category: Reviews

[Review] MEOW – MEOVV

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Over a month ago, MEOVV made their debut with the single MEOW. The five-member female group is the first under THEBLACKLABEL, a label founded by YG Producers Teddy and Kush. Their lineup comprises Sooin, Gawon, Anna, Narin, and Ella. THEBLACKLABEL is also currently home to TAEYANG, JEON SOMI and BLACKPINK’s Rosé (who will be making her long-awaited solo comeback in December).

To be honest, my initial impression of MEOW wasn’t great. A month after its release, I am not yet convinced that MEOVV is the next big thing in KPOP based on MEOW. I recognise some potential behind the group and the song, but neither has won me over nor really put the group on my radar other than that they are attached to one of the Big 4 entertainment companies. Let’s focus on the positives. I have come around to the vocals. When MEOW does give us some melodies, SOOIN and ELLA pull it off well. Something a little more vibrant could have helped MEOW be more appealing (more on this in a second), and I think these vocals, through the melodies, could have been the best conduit for that. I can sense the edginess behind the choruses and the heavy hip-hop influence, and I believe MEOVV could take this to higher levels with the right song. The flute-like instrumental at the end of the song was a great addition and gave the song a little something different to end off the song. The biggest problem with MEOW, for me, is its heaviness. From MEOW‘s main refrain to the serious tone the members exude, it is pretty suffocating. This ultimately served as a barrier for me to get into the song. As mentioned before, the song needed some vibrancy to it. We don’t need much that disrupts the edginess that the group has going for them. But we needed something to balance out MEOW, at least to have it appear in my books.

When I see the music video, I cannot help but think it is a YG video that has been gutted. The quality is there, just like any other YG-produced music video. But many elements that usually make you go wow in a YG video are missing. Instead, MEOW‘s music video attempts to be minimalistic. That can be an aesthetic when done right, but I don’t think it was achieved here. It just feels empty. Instead, the video relies on the members to fill up the space. I like the edgy vibe the members exude through their outfits and demeanour. But it just wasn’t enough. The scenes where the members dance with the Big Foots were a bit fun.

The choreography for MEOVV’s debut was quite powerful and aggressive, making for a compelling case for the group. I did not expect the performance to be as aggressive for some reason, but I guess it makes sense, given the group’s roots and the hip-hop influence on them. That whole dance break at the end of the routine is very worthwhile to watch.

Song – 6.5/10
Music Video – 6.5/10
Performance – 9/10
Overall Rating – 7/10

[Review] LOVE, MONEY & FAME – SEVENTEEN ft. DJ Khaled

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Kicking off the week was SEVENTEEN, who returns with their 13th mini-album SPILL THE FEELS and the title track LOVE, MONEY & FAME (ft. DJ Khaled). We last heard from SEVENTEEN through their 17 IS RIGHT HERE compilation album, led by the single MAESTRO and supplemented by the unit tracks LALALI (Hip-Hop team), Spell (Performance team) and Cheers To Youth (Vocal team). While the mini-album features JEONGHAN and JUN, both are sitting out of promotions of LOVE, MONEY & FAME and their upcoming world tour due to their military enlistment and acting career in China, respectively.

Pleasant was the first impression I had when I listened to LOVE, MONEY & FAME. And since its release two days ago, that impression has barely shifted. It definitely sounds nice and is an easy listen. The song is more vocal-focused than most of their other title tracks, with only VERNON delivering LOVE, MONEY & FAME‘s lone rap sequence. The melodies are enjoyable. The R&B and hip-hop-styled instrumental feels streamlined and sometimes feels dry. Beyond that, I don’t have much to say about LOVE, MONEY & FAME. This is the first time I have been left with little to say about a SEVENTEEN comeback, which feels disappointing. We all know that SEVENTEEN can do so much more, so LOVE, MONEY & FAME feels underwhelming. As you can tell from the song title, LOVE, MONEY & FAME also features DJ Khaled. It has been a while since I have heard his music. While he did come together with SEVENTEEN to make a pleasant song, his line at the start and end of the song was harsh relative to the rest of LOVE, MONEY & FAME, which truthfully started LOVE, MONEY, & FAME on a not-so-good note for me. I wished it wasn’t as full-on in the final product so that it goes with the rest of the song.

LOVE, MONEY & FAME conveys that love comes first, no matter the other options (like money and fame). The video depicts the members putting love first, no matter the circumstance. It could be a car crash or pile-up, an evacuation on a plane, a daytime robbery, or even bouts of fame as depicted in THE8’s heroic scene, WOOZI’s phone call on an interview show, or by JUN walking away from the glamorous lifestyle. All the members choose love in the end. I quite like the montage at the end of the staircase – it gives off maturity in a way that doesn’t overdo it. The members also look quite good in those scenes.

The choreography was good. I liked how the routine captured the easy-going nature of the song and the R&B and hip-hop influence. It also had a nice bounce. It does feel simpler and more casual than usual, but I think these are inherent characteristics that the routine had to lean into due to the music. But it was still a good performance nonetheless.

Song – 7/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.3/10

[Review] NVKED – AB6IX

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I have been so busy with work (and recovering from the overwhelming work) that I completely missed the news that AB6IX (amongst other artists) was making a comeback. During the past week, the four-member boy group returned with the single NVKED and their 9th mini-album, BORN LIKE THIS. It follows their GRAB ME and The Future is Ours: Found mini-album and a special mini-album consisting of the latest batch of the group’s solo tracks from their recent world tour.

NVKED is probably the most unexpected song title for a KPOP group. I was surprised to see it on my YouTube subscription page with the group’s name attached. But rather than being nude, NVKED is a song about being confident and open. But there is more to NVKED than the surprising title. I like the music because of how simplistic yet simultaneously fun and upbeat it is. Funky instrumentation sets up the song to be quite entertaining and energetic. Nothing too complicated here, which helps NVKED achieve its straightforward and easygoing vibe, as already mentioned. The members cleanly deliver NVKED with their vocals and rapping. I particularly enjoyed the falsettos in the chorus, which effortlessly adds complexity to the straightforward pop song. The simplicity of the hooks helps make this part of NVKED stand out even further. The vocals in the bridge from all the members were another part of NVKED that I put on repeat. Overall, NVKED is a well-rounded track that is a great listen when you want something more energetic but not something too loud.

Like the song, the video does not feature nudity. Instead, it looks like the members are preparing for a party—choosing an outfit, decorating the place, and then partying it up with alcohol and friends. There really isn’t much else to the video, which does make it a bit bland. They could have done a bit more with the premise of the video, like have the member do something exciting in the lead-up to the party (other than reading the newspaper) or give the party some more flair (rather than have it look so basic).

I really enjoyed this performance. I like how it embraces the funky and upbeat nature of the song and makes the routine look like a blast. Everything felt lively, fun, and more, from the choruses to the ending. Their live vocals throughout the performance are super stable, considering the routine, which highlights their performance abilities.

Song – 8/10
Music Video – 7/10
Performance – 10/10
Overall Rating – 8.1/10

[Review] NEMONEMO – YENA

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YENA returned to the stage just under two weeks ago with NEMONEMO. It is her first Korean comeback since January’s Good Morning. She also released new music in Japan.

NEMONEMO cannot have come around at a more perfect time. I have been pretty run down the last couple of weeks because of work. However, one of the things that has helped increase my energy levels has been NEMONEMO. The dopamine hit NEMONEMO delivers and the hyper energy from the fast-paced instrumental really impacted me as the listener, especially when the song unexpectedly popped up on the queue. The overly bright synths and the cutesy energy YENA packs into the song also help. Interestingly, this combination should have made NEMONEMO feel artificial and excessive, and I would generally avoid this type of song (with the usual exception or two). But there is something about YENA that somehow makes NEMONEMO okay and standable. It could be that this is YENA’s style, and I know I should expect that. It could also be how YENA still makes it feel like a substantial song. The bridge brought a nice infusion of vocals into the mix, and the verses felt similar. The choruses were fun, and NEMONEMO‘s hook was addictive. My main concern with NEMONEMO is actually its repetitiveness. I can see myself getting tired of the song quite quickly if it were on repeat, which is why I have gone out of my way not to have it on repeat. But for now, listening to NEMONEMO has been a blast.

NEMONEMO compares love to a square. Falling in love should be akin to something warm, fuzzy, and soft. However, YENA has difficulties appealing to her to-be boyfriend, so she describes their love as more like a crooked square. Squares are more rigid and so don’t fit the descriptors above. Plus, a crooked square is nowhere near perfect. In the video, he is more occupied with his phone while she tries to get his attention. He also makes her jealous by meeting other people and is too popular to notice her. So, she hatches a plan to get his attention by kicking a ball (or a cube in the video) into him. As he is rushed to the ambulance, she runs after him and worries about him, which makes him notice her in the moment and fall in love with her. At the end of the video, the guy is revealed to be Park Myungsoo. Overall, cute video.

Just like the rest of the comeback, the choreography is cute. YENA looks the part, too! The square is also present throughout the performance, and some rigid moves resemble a square’s qualities. Also, the fan chants for this comeback were insane.

Song – 8/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.2/10

[Review] Cheers To Youth – SEVENTEEN’s Vocal Team

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I am finally finishing reviewing the newer songs from SEVENTEEN’s 17 is Right Here compilation album. Last up on the list is SEVENTEEN’s vocal team’s Cheers To Youth. Previously, I reviewed the album’s main title track MAESTRO, the Hip-Hop team’s LALALI and the Performance team’s Spell singles. As it is a compilation album, the rest of the two-disc album consists of the Korean versions of all their Japanese singles and every Korean title track released over their careers thus far. And finally, getting around to reviewing the new songs off the album is timely since the group is gearing up for their next comeback ON MONDAY! So more SEVENTEEN to come!

Cheers To Youth delves into the J-Rock genre with a wholesome message that everything will be okay. I really enjoyed this single a lot. There are a few great moments in Cheers To Youth that I must point out. The upbeat instrumentation is definitely the song’s strongest asset. Still, I particularly love the funky direction that bridges the soft piano opening of the song and the launch into the J-Rock genre. It was an entertaining sequence and really lifted up the song. JOSHUA’s part in the second verse when the electric guitar steps up was another moment I found myself gravitating towards repeatedly. The “My, my, my” that follows the second chorus (noting the first chorus occurred during the intro) was also another moment that I found so soothing and peaceful. Elsewhere in Cheers To Youth, I found the vocals, melodies and choruses to be extremely comforting and uplifting, which suits the song’s message mentioned earlier. Overall, Cheers To Youth is a lovely song with a positive message to reflect on.

The video features the five members facing their own internal struggles with themselves. WOOZI has social anxiety that prevents him from going outside, DK is a student in a pressurised education system who is worried about underperforming, JOSHUA is an office worker who is constantly on the lookout, SEUNGKWAN struggles with loneliness, and JEONGHAN worries that he isn’t enough and that there is always something wrong with him that needs fixing (taken from ichsanjulian-ed4so’s YouTube comment). But together, they join the Tiny Issue club, where they can speak to their internal struggles and help each other through them. With each other, WOOZI goes outside, DK is awarded for his academic successes, JOSHUA is praised by his co-workers, JEONGHAN feels better about himself, and SEUNGKWAN (along with the rest of the team) gains life-long friendships with one another. At the end of the video, the club invites a sixth member, a tiger, representative of fellow member HOSHI, whom the song was inspired by.

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

[Review] I Like The Way – KIM WOOJIN

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It took KIM WOOJIN just about two years to make his solo comeback between his debut with Ready Now and Still Dream in 2021 and his first comeback with On My Way last year. For his second comeback earlier this year with I Like The Way, it took him only eight months to return. Today, I will finally review I Like The Way, the lead single off his 3rd mini-album of the same name.

It has taken me many months to finally write a review for I Like The Way, which might indicate my thoughts on the song. But don’t—I actually do like I Like The Way. I didn’t pay much attention to the track when it was first released. But there is something about the unfiltered groove in I Like The Way. Once it caught my attention, I couldn’t get enough of it, and it stuck around. The bass and beat in this song were excellent, and the guitar work was fantastic. There wasn’t anything meddling with the instrumentation, which made it feel simple and such an attractive element of I Like The Way. As for KIM WOOJIN’s vocals were consistently well-executed and sounded very fresh, even 6 months after the song’s release. The way KIM WOOJIN accompanies the instrumental in the verses was my favourite part and my pick for the most memorable moment of the song. The melodies and hooks were also catchy and added more to the addictiveness side of the track. My only wish for I Like The Way was the ad-libs were punchier. Some of the ones we got in the song felt a little forced and unnatural.

In the lyrics of I Like The Way, KIM WOOJIN sings about how certain people drive him to do better and prove his worth. It is a bit ambiguous as to who he is referring to. It could be the fans, which is a natural choice of persons for the song to be about. However, based on what is depicted in the music video, the people in masks represent the haters and try to get to him to hold him back. They have surrounded him with cameras, whispering in his ear, smashing his car or chasing after him. But throughout the video, he out-manoeuvres them and does everything he can to hold them back so he can get back on stage.

The choreography looks good. KIM WOOJIN shows off his performance skills quite well in this routine. His live vocals are stable, which is a definite highlight of the performance. I don’t have much else to say about it, but I like it when the choreography becomes more intense.

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

[Review] Spell – SEVENTEEN’s Performance Team

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Two weeks ago, I started reviewing SEVENTEEN’s unit singles from their compilation album, 17 is RIGHT HERE, released in April of this year. I reviewed the Hip-Hop Team’s LALALI first. Today, I will review the Performance Team’s Spell. I will be back to review the Vocal Team’s Cheers of Youth later this week to be ready to review SEVENTEEN’s next comeback, which is happening in just over a week.

Spell is a sophisticated and elegant dreamy number. It is an interesting sound for the Performance Team, whom I associate with more intricate beats and heavier sounds that lend well to becoming a dance-centric performance track. But I am all for exploring different sounds, and Spell is a successful venture for the unit. The instrumental is soft, uniquely utilising percussion and Afrobeats to help create that dreamy aesthetic that we all feel from Spell. Also soft were the quartet’s vocals, which were superbly hazy and tranquil throughout Spell. Catchy hooks also help make the song even more appealing, even if some of it (the “Adila kiya akiya shurapoeh“) was a made-up language for the song. While listening to the song previously, there were times when I felt the members’ vocals took me away, just like you expect a good dream would do. But while the dreamy motif was a constant throughout Spell, I liked it when their vocals tapped into their lower and deeper registers. It was a good and subtle move from the producers to ensure Spell didn’t stay consistent, which could have been a real danger for this song. From how I heard it, they managed to just do enough to stop Spell from feeling dull and like it didn’t go anywhere. But I do think there is room in the song to do more. Nonetheless, Spell is a very different and unexpected direction for the Performance Team. But one that does pay off.

That dreamy aesthetic is carried over into the music video. The video features a tarot card concept, with the members each being a character on a card (see the featured image for this post)—THE8 being The Heart, HOSHI being The Wings, DINO being The Arrow, and JUN being The Apollo. The outdoor scenes, the sets, the outfits, and the makeup donned by the four members all have this dreaminess that puts you in awe and captivates your attention, just like the song does. Definitely a stunning video and one I recommend you check out down below.

As this is a Performance Team track, a choreography is attached. To match the song, it is smooth and features many soft movements. The Performance Team also adds sexiness to the routine, which just works wonderfully with the song. You can hear the fans go wild during these moments in the stage performance SEVENTEEN has uploaded for our viewing pleasure. But the choreography isn’t the only element to take away from the performance. Their smouldering looks and alluring vibe must also be mentioned and highlighted. It is a big part of the routine and highlights the members’ charisma and charm.

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

[Review] Curious – UNIS

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UNIS is an eight-member female group that debuted earlier this year with Superwoman. It was formed through the show Universe Ticket. The lineup consists of Hyeonju (a member of Cignature), Nana, Gehlee, Kotoko, Yunha, Elisia, Yoona, and Seowon. Now, you might notice that this review isn’t for Superwoman. Instead, I wanted to focus on their first comeback single Curious, which is more recent and was quite popular. I am not exactly sure when I will review Superwoman at this stage.

Curious makes a statement with its electric guitar rock riff from the first second. This rock influence continues throughout the song, giving the single so much potential. For the first verse and until the end of the first part of the chorus, the producers of Curious make good use of the riff. The members brought good energy with their vibrant vocals, which felt on par with the energy from the rock riff. But from then on, Curious didn’t tap into that full potential, which was perplexing. The song’s main refrain (the part following the first section of the choruses) felt too plain and monotone for the intensity of the rock. I will admit that the “Neoman Molla / Why don’t you only know” became quite catchy and addictive, but I felt it could have been so much more. The second verse features a rap-speak section that doesn’t connect with the rock influence in the background, leaving this part of Curious feeling awkward. The bridge recovers some of the momentum through the stomping-like beat, rebuilding the song to a potential peak. Unfortunately, the follow-through never eventuated, and the song reverted back to its plain hook as the ender, which was quite disappointing. Curious needed a meaty final chorus, and what we got did not fit the bill. Curious is a good song, but some parts could have been better.

In the music video, UNIS is curious about what is beyond their world. This curiosity is sparked when the members discover people watching and liking them from above through their screens, making the group realize there is more to the world. They end up tying up the lady, who seems to be controlling of the members, before running off into the world beyond what they are used to. They now have the freedom to do whatever they want – so one steals a sword to become the new production logo, and another plays in the sand (while a producer tells them off). The lady reappears in the store where the members are having fun, but we don’t know what happens to her. Instead, the members run off to build a rocket and let it fly off at the end of the video, creating some confetti and ice cream rain. Overall, it is a video not to be taken seriously and suits the members’ cute and youthful vibes.

The choreography was good and worked well with the beat of the song. However, I felt some moves could have been a bit more intense to match Curious’s power exuded from the guitar riff in the instrumental. Some parts focused on smaller and cutesy movements, which worked for the group but not so much with the song. The bridge was the best part of the routine.

Song – 7.5/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 7.6/10

[Review] SAD SONG – P1Harmony

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Just over a week ago, P1Harmony returned with their 7th mini-album and latest title track, both of which are titled SAD SONG. This latest comeback follows their Killin’ It era earlier this year.

SAD SONG has been growing on me ever since its release. I didn’t think much about the song during my first listen, mainly because SAD SONG‘s Latin-tinged instrumental was on a repetitive loop that didn’t feel all that enticing. However, since its release on 20 September, additional listens have warmed me to the repetitive loop. The repetitiveness is still prevalent, and there will always be the risk of it making SAD SONG feel overdone the more you listen. But I don’t mind it as much now. Instead, I now enjoy SAD SONG‘s upbeat energy, thanks to P1Harmony’s dynamic rhythm and flow during the verses and choruses. They helped compensate for the instrumental’s repetitiveness and keep SAD SONG on its feet. KEEHO and THEO’s vocals in the pre-choruses and the bridge feel so satisfying. There is also a punchy feel from the members during the choruses, which helps drive up the song’s appeal and makes it memorable. I actually find myself humming the choruses’ rhythm a fair bit now. Finally, I feel wrong for saying this, but I find the Latin tinge somewhat refreshing. Don’t misunderstand – there is nothing wrong with the Latin influence. However, it has been so overdone in KPOP so many times before. There is a reason why we don’t hear much of it anymore in KPOP. Overall, SAD SONG is another strong song from P1Harmony.

The video’s official description confirms that the song is about the “emptiness and loneliness that came to P1Harmony, who became a HERO after saving the world and restoring peace.” The video depicts P1Harmony having those feelings, allowing the visual component of this comeback to continue from their DISHARMONY and HARMONY series. I think the members could have done with more emotion in the video. However, the music video does have a hard job of balancing that emotion with the upbeatness of the song.

I liked the choreography for this comeback. I enjoyed the punchiness and sharp movements throughout the routine. The chorus’ routine strongly displays both characteristics.

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

[Review] Pleasure Shop – KEY (SHINee)

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The other comeback at the start of the week was KEY’s solo comeback with Pleasure Shop, the title of both his latest lead single and mini-album. This is his first solo Korean release since Good & Great released a year ago.

Pleasure Shop starts off with atmospheric synths before it developing into a smooth and groovy house track. I quite enjoyed how seamless this transition sounded. The contrast between atmopsheric and house stands out and has some impact. From there, I really liked the glide the instrumental had. This is particularly emphasised during the choruses, where the melodies and smoothness of the instrumental complement each other nicely. On the topic of the choruses, the most memorable element of the Pleasure Shop‘s centrepiece were the opening line (i.e., the “It’s a, it’s the Pleasure Shop“). I wished the rest of the choruses followed through with a more memorable refrain throughout it. This could have taken Pleasure Shop to a new level, especially since the song retains the smooth and groovy house backing for a large part of the song which raises a potential issue of consistency. What we do get presently is fine, but just not there. Moving on from the choruses, I liked how everything felt a tad heavier in terms of instrumental and KEY’s faster delivery. It doesn’t change up Pleasure Shop a whole lot, but it makes the second verse punchier and cuts through the consistency of the song (resolving that concern mentioned earlier). It also gives KEY some oomph, which pays off. Overall, Pleasure Shop is a good solo track for KEY – it just needed a bit a more to the chorus.

I am not exactly sure is going on in this video. After doing some digging, I found this thread on Reddit, which has this comment (screenshot of the comment below – props to kreasburger!) that explains the video much better than I ever would. Aside from the messaging of the video, I liked the visual effects and post-production of the music video. KEY’s range of outfits is also quite a memorable element in the video. All of these other elements definitely makes for a cool video to watch, even if the story isn’t as intuitive as other videos out there.

As for the performance aspect of the comeback, I really like it. It looks fun and uncomplicated. The moves themselves feel very stylish, which matches the song quite well. The entire second verse portion of the choreography was definitely the highlight. That part definitely goes in hard, on par with how ‘heavy’ that sequence got in Pleasure Shop.

Song – 8/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.2/10

[Review] NA – HWASA (MAMAMOO)

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We last saw HWASA a year ago through her I Love My Body comeback. Yesterday, HWASA made her solo comeback with her second mini-album, O, and the title track NA.

To me, NA takes a page from PSY’s, her current label’s founder, discography. NA‘s choruses have that nonsensical vibe that PSY’s music has. The electronic instrumentation of the chorus (and NA in general) also screams PSY. While it is a different dynamic for HWASA, this practically strips HWASA’s personality from the song. I get the desire to do something different and probably something more energetic than usual, but that shouldn’t come at the expense of the unique and individualistic charm that HWASA has. I am unsure if this was her decision or a company one, but either way, HWASA embraces the song and executes it with her signature raspy vocals. For the most part, she sing-talks her way through NA. It’s not exactly the most riveting delivery, but it works. She sounds best during the pre-choruses, giving us a taste of that vocal flair that the song calls for. The melodies here are striking and give NA some stylistic flair. Elsewhere in the song, when HWASA gets a chance to use her vocals (and less of that sing-talk or rapping motif), they come off incredibly plain. The same can be said about NA‘s hooks, which also fail to capture my attention. I wished this aspect of the song was more dynamic and robust. Even NA‘s outro failed to really spark.

The music video shows HWASA embracing herself and feeling uber confident as she takes in all the attention that is on her. Shooting the music video in Paris provides a lovely and rustic background, and where better to love oneself, but in the city of love. Her fashion throughout the video is on point. Noting above where the song reminded me a lot of PSY’s work, there was a similar yet subtle energy coming from the music video, particularly when it comes to the post-chorus sequences.

The choreography routine for this comeback comes off as fun. I like how it retains a bit of HWASA’s sexy style via those butt lift moves she does in the chorus. It is edgy and bound to spark chatter, something HWASA does not shy away from. The rest of the chorus routine was just as awesome. I liked the little leg lift HWASA and the dancers do. It seems out of place, but it just catches your eye in this routine.

Song – 7/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 7.7/10

[Review] GGUM – YEONJUN (TXT)

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Earlier this month, it was confirmed that YEONJUN would make his solo debut with his first mixtape, GGUM. The mixtape consists of only one song with the same title. Meanwhile, TXT is currently in the midst of their third world tour, ACT: PROMISE.

GGUM will be polarising. At the onset, there is a lot within the track that I can see people being against—the song’s shortness, the chorus’s emptiness, and the lack of YEONJUN in a pure and raw form. GGUM is definitely more of a performance piece than a musical piece. Interestingly, I am part of the group that actually enjoyed GGUM. If you have been a long-time reader of my blog, you probably know I like dynamic tracks. If it has an adrenaline-rushing effect, I tend to enjoy it. GGUM has that effect on me. I put it down to a range of factors. The electronic instrumentation, which leans GGUM into hip-hop territory, doesn’t disappoint. It is full of vibrant and edgy energy. The striking piano that forms part of the choruses definitely makes an impression and I cannot stop playing that part of the song. GGUM‘s refrain is very catchy and has me coming back for more. The track also offers various vocal styles – from high-pitch autotuned vocals to YEONJUN’s lower and breathier tones to the grungier “GGUM chomp chomp“. There is a lot of variety in this two and a half minute length song. The only disappointing aspect of GGUM is that it doesn’t utilise all that we know YEONJUN has to offer. But it still has a fair bit to offer.

GGUM is about YEONJUN’s confidence on stage, and the music video shows that confidence. Spitting gum into other people’s hands, putting his feet on the desk, flipping the bird, taking over the microphone, spitting out water, and cursing into a walkie-talkie shows us YEONJUN’s aggressive confidence. His overly confident self puts people off him, but he continues doing what he does. I feel sorry for that host, who got the wrong end of the deal regarding YEONJUN. He pushes her out of the way to take over the microphone and is the first to be exposed to the bubble that YEONJUN blows from his gum.

Elsewhere in the video, he impressively executes the choreography. As mentioned earlier, GGUM lends itself well as a performance piece. The associated routine proves just that. These parts of the music video leave me super impressed. I look forward to the chorus parts of the routine, which screams out confidence (on par with the concept of his solo debut). Meanwhile, the entirety of the routine really shows us what he has to offer in this department. I mean, come on, he effortlessly pulls off that split during the second chorus.

Song – 8/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.4/10 [Updated on 27 October 2024 due to calculation error]

[Review] Nutty Nutty – BAEKHO ft. JESSI

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Next up on the blog for review is BAEKHO and JESSI’s collaborative single Nutty Nutty. It was performed for the first time at the recent Waterbomb Festival in Yeosu, and BAEKHO officially released the single earlier this month as the third single from his ‘the [bæd] time’ Project.

BAEKHO and JESSI knew what music would excite the crowd at the Waterbomb Festival, and they delivered that unfiltered in Nutty Nutty. It has been an addictive song for me over the last few days, with the chorus playing in my head repeatedly. The track’s party anthem nature draws me in. The beat is super punchy, the energy is wild, and the intensity makes the track so thrilling. The heavy beat gives Nutty Nutty drive, while the EDM and flutey synths add a lot of flair to the song that bumps the excitement. The metallic and tinny percussion throughout the track adds texture and helps make the track feel fast-paced. The length of the track might be a problem if it were another song. Nutty Nutty is admittedly repetitive, though this is what makes the track memorable for me. Anything longer might not have worked out in Nutty Nutty‘s favour and appeal. Plus it is short and sweet for the concert format. BAEKHO performed solidly throughout the track, though I wished he was a little louder during the choruses. The instrumentation drowned him out in the first portion of the chorus. He fairs better in the second part of the choruses, where he is noticeably louder. JESSI was definitely the more prolific half of the pair and gave Nutty Nutty a lot of her personality. But I felt like this is expected of JESSI, who tends to have loud hip-hop tracks that really grabs your attention. Overall, Nutty Nutty is a short yet strong collaboration between the pair.

There isn’t a music video for this release. Instead, BAEKHO released a performance version (below) featuring GABEE and a live performance version filmed at the Waterbomb Festival in YEOSU (where he performed the song twice—once without JESSI and a second time with JESSI). The performance version below is fairly simple, with BAEKHO, GABEE and the dancers performing in a dark room with some lighting to give the set some dynamic flair. The camera angles capture BAEKHO and GABEE’s expressions and the performance that makes the video. The performance is sexy and punchy, depending on which point you are tuning in. It plays to BAEKHO’s strength and shows off his appeal, which has been on point throughout his entire Waterbomb Festival campaign. GABEE was very charismatic and bold throughout the routine.

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

[Review] Is This Love? – Moon Byul (MAMAMOO)

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In February, Moon Byul released her first studio album, Starlit of Muse, and the title track TOUCHIN&MOVIN. Last month, the MAMAMOO rapper made her solo comeback with a repackaged version of Starlit of Muse, renamed Starlit of Twinkle. Leading the repackaged album is the title track Is This Love?. And now that I have reviewed the new single, keep your eyes open for the upcoming album review of Starlit of Muse/Starlit of Twinkle.

Is This Love? is a fun and bright pop track. Moon Byul has previously released pop-centric songs before, and Is This Love? follows in the same vein. However, while my thoughts on the song are generally positive, I think Is This Love? does fall short in some regards as it doesn’t steal the throne from Moon Byul’s other pop tracks, such as C.I.T.T (Cheese In The Trap) or LUNATIC (I know I gave the latter an 8/10 in the song department, that can be bumped up to 9/10 upon reflection). My initial impression about the song always featured a passing thought about a slight plainness cloud of some sort is lingering around the song. The chorus is when the music is bubbly and exciting, where you expect it to be. I liked how punchy the central piece was, how the upbeat energy exuded made me smile, and Moon Byul’s vocals pierced through the synths and instrumentation. It was a catchy and well-constructed part of the song, but I think the material could have been more robust. Is This Love?‘s verses were plainer, but they did give the song some variety. Compared to the rest of the song, the pre-chorus does slow things down. But I liked how the song ramped back up to the exciting chorus from the slowed moments. The only thing that I think Is This Love? could have done more fulfilling was the shouty backing that leads into the final chorus. I know – a really super minor detail. But how they cut it off felt incomplete and left me hanging. I wished that wasn’t the case.

Is This Love?’s lyrics speak to the feeling of falling in love, but Moon Byul asks about it ‘for a friend’. With such lyrics, this sounds like quite a cute video. In the music video, we see Moon Byul ‘asking around for that friend’ in a public way – think of a news broadcast, music show, sports, drama, commercial, or home shopping channel. In any media on TV, Moon Byul asks the question about falling in love ‘for her friend’. Towards the end of the video, the public recognises her and chases after her; all the while, she still says it is a misunderstanding and that she isn’t the one asking. It is definitely a fun, eventful and colourful video to watch.

Now that I am watching the performance in detail for this review, I have realized that it has some similarities to TWS: plot twist, which dominated at the start of the year. The song definitely has that plot twist influence, as well, now that I think about it. Moon Byul’s stage adds a slight cutesiness and bubbliness to the routine, making it fun to watch. I wonder what story she is trying to tell on stage, given that she is basically flirting with a male and female dancer as part of the routine.

Song – 8/10
Music Video – 8.5/10
Performance – 8.5/10
Overall Rating – 8.3/10

[Review] LALALI – SEVENTEEN’s Hip Hop Team

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As part of SEVENTEEN’s compilation album, 17 is RIGHT HERE, which dropped in April of this year. The album consisted of the title track MAESTRO, 3 unit tracks (which I will finally start reviewing today) per the group’s hip-hop, performance, and vocal units, Korean versions of all their Japanese singles, and all their title tracks since their debut. The first unit track I will focus on is the Hip-Hop Team’s LALALI.

I will say it now – the Hip-Hop Team’s track is the best of the 3 unit tracks featured on 17 is RIGHT HERE. Maybe I am finally warming up to hip-hop tracks, as there have been some outstanding releases this year. But that might be a discussion for another day. Back to LALALI. I can’t remember if there has been a track from the Hip-Hop Team where each member exuded so much confidence, and their respective deliveries were packed with so much energy. Each member was super engaging in LALALI, and I find myself trying very hard to resist joining the team in a little impromptu concert wherever I am listening to LALALI. If I had to pick a particular unit member who really surprised me, it has to be WONWOO, who went super hard in the second verse. In addition to the members themselves, LALALI wouldn’t be as successful if it hadn’t been for the instrumentation. It was definitely super energetic and loud, but in a fun and dynamic way. The chorus was also super catchy and addictive. I found the more simmering-like sound to be an interesting centrepiece in LALALI. It was suspenseful and created some tension in its own way, but it also made the members stand out when they amped it right back by shouting the song’s title. Honestly, LALALI is a very smashing and memorable track in my books.

LALALI expresses the message that you can do anything you want. They depict this in the music video through the Hip-Hop Team being rebellious and carefree. The quartet breaks the rules and social norms and gets wild throughout the video. I loved how VERNON had the old senior ladies vibing with him, while WONWOO won an arm wrestling contest against a digger. MINGYU was butting into the game that the old men were playing (but earning praise for making the right move), while S.COUPS was busy not sweltering in the sauna with the other men. They are energetic and hyper when they are together, reflecting the energy of the song’s choruses super well.

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

[Review] Dangerous – BOYNEXTDOOR

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Earlier this week, we saw BOYNEXTDOOR return with their 3rd mini-album, 19.99, and the title track Nice Guy. But last week, BOYNEXTDOOR pre-released the single Dangerous. This review focuses on the pre-release single, which also got the music video treatment. As noted in Nice Guy‘s review, we last saw BOYNEXTDOOR through their Earth, Wind & Fire comeback earlier this year.

Right off the bat, I instantly get a sense of goofiness from Dangerous. This is re-confirmed when you read the lyrics, which speak to their rebellious phase, which they do not want their parents to know. Very relatable! The pre-release focuses on the hip-hop genre, a slight deviation from their regular work. But not an extreme deviation – after all, they are produced by ZICO, a well-known hip-hop artist in the KPOP industry. Since Dangerous‘ release, I have been nodding along to the song’s beat. The synths are a bit slinky, but they are backed up with some good bass that makes the beats more pronounced. The members delivered the song with a goofy and playful demeanour, giving Dangerous that personable and relatable feel I mentioned above. Their rapping was solid. However, they could have made Dangerous even more playful if there were a few serious melodies. Again, like most songs released this year, Dangerous is severely short. But I think this plays in BOYNEXTDOOR’s favour. Dangerous is not meant to be taken seriously in any way, and a short pre-release is a good vector for that. It keeps the song short and sweet without directing too much attention towards it, which may be perceived as very immature, which has implications for the artist.

The music video shows one of the members stealing their parents’ car keys (as they sleep) so they can go out and have some fun with the rest of the group at the karaoke. However, they lose the keys in a rubbish skip, leading to a frantic search to find them (otherwise, the poor guy has to return home and explain why the keys are missing). And the night wraps up with a welcomed breakfast featuring some meat. We see some memes in the video, and the members try on their parents’ belongings (which I am sure we all had a snoop around before). It is a fun video, and I like how straightforward and literal they interpreted the lyrics. I also like how the video ends with the parents none the wiser, allowing BOYNEXTDOOR to continue their rebellious phase the next night.

Despite being a pre-release, BOYNEXTDOOR hit the weekly music shows this past week to perform their pre-release single. The members ensure they show just how fun the routine is throughout the performance. I liked the ending the most, with their odd shuffle around the stage.

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