Category: Reviews

[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

[Review] Combo – RIIZE

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Making their comeback earlier this month was RIIZE, who returned with the repackaged version of their 1st mini-album. Titled Riizing: Epilogue, the new mini-album consists of all the songs from their Riizing mini-album (released back in June of this year), the latest single Combo (the focus of this review) and an orchestral version of Boom Boom Bass (to be released on 13 September 2024).

You only need to listen to Combo once to understand why it stands out among the many newly released KPOP songs. The vocal delivery in this track, particularly in the chorus, differentiates itself from the pack and makes Combo feel so prolific. Particular shoutout to SOHEE and WONBIN, whose hoarse and raspy vocals in Combo made the song memorable and attention-grabbing. Truthfully, it is rather unexpected and might be too much for some. But I appreciated the earthiness and grunginess the pair brought to the song. The rest of RIIZE did exceptionally well. I also really enjoyed the insertion of rap-speak or relatively softer vocals in the choruses, which brought forth some exciting depth and gave the rest of the members a chance to add to the already expressive choruses. As for the instrumentation, Combo takes on a grungy 90s punk-rock genre. The crunchy texture for the guitar work and the heavy drumming just sound so good and give Combo so much oomph, just like the vocals in the choruses. Together, you have a winning Combo. Pity that this isn’t being promoted (as far as I am aware) because they totally should!

According to Soompi, Combo‘s lyrics tell the story of an extraordinary love in which two different people turn each other’s worlds upside down but ultimately complete one another. In the music video, the idea of the lyrics is represented by the bond RIIZE shares. Alone, they are sad, lonely and bored. Together, they have fun, light up and are full of energy. What makes this comeback extra special is that Combo and this ‘special video’ (as it is called) was released on their 1st debut anniversary. And a story about their friendship and bond carries much meaning on such a day.

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

[Review] Nice Guy – BOYNEXTDOOR

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BOYNEXTDOOR returned to the music scene yesterday with the new single Nice Guy and the new mini-album 19.99. It follows their earlier 2024 comeback of Earth, Wind & Fire and mini-album How? (which I have yet to review, but I can confirm that it is coming). Ahead of Nice Guy, BOYNEXTDOOR pre-release the single Dangerous last week, which I will be posting a review for later this week (the way I drafted it hinges on the review for Nice Guy to be published first, which is why we are here).

Since its release yesterday, I have given Nice Guy a few listens. Interestingly, the same thoughts have recurred on each occasion. I acknowledge that Nice Guy is funky and groovy, which offers the song a fun exterior. This fits BOYNEXTDOOR’s repertoire of title tracks, which all have this fun element that makes them appealing. But for some reason, my mind keeps settling that the song’s delivery, especially when it comes to the chorus, feels constrained (more than usual, at the very least) and underbaked. I don’t get that same excitement from the members in Nice Guy compared to the other title tracks and even the pre-release Dangerous. Interestingly, I keep missing Nice Guy’s chorus. I think consistency is the issue here, as the chorus and verses all felt similar and didn’t really differentiate much between one another. And the lack of oomph from their delivery doesn’t help out. The only major difference I hear is the presence of Nice Guy‘s hook (i.e., Look at me, Look at my lines my girl…), but even that didn’t feel memorable enough for me. Even the other parts of the song don’t really catch my attention. Ultimately, all of this leaves Nice Guy in an awkward position where I don’t remember much from the song once it wraps, which isn’t the usual reaction to BOYNEXTDOOR’s title tracks.

I am not entirely sure what is going on in the video. At first glance, it looks like a hodgepodge of different scenes. But given the song is about BOYNEXTDOOR trying to get with the person they like, I think my guess is that the guys are trying their best to make the person fall in love with them. Things they have done in the video to win over the person include getting a job at the same workplace as that person (the pizza shop), trying to deliver food to the person they like (but they end up delivering to the wrong person entirely) and taking care of animals to win over the person. I did like the second chorus montage, where the different backgrounds are spinning into one another. It looked cool. The falling through-the-floor montage feels far-fetched, especially since I didn’t see its relevance to the video. But I do like how that led into the final bit, with the group dressed up in a classier way, and it pulled all the characters in the video (including the background characters into one scene).

I liked the choreography for this comeback. It has a lighthearted vibe, which works nicely with the song. We have to wait for more to see, but I think the choreography they perform towards the end of the music video at the party scenes is shaping up to be my favourite part. Again, this sequence embodies that lighthearted vibe but just gives something different that the rest of the choreography (from other parts of the music video) didn’t have.

Song – 6.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.3/10

[Review] Pineapple Slice – BAEKHYUN (EXO)

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Returning for the first time in over three years is BAEKHYUN (from EXO). We last heard a solo release from the EXO member in 2021, when he released Bambi – the title of his lead single and third mini-album. Yesterday, BAEKHYUN returned with his fourth mini-album, Hello, World! and the lead single Pineapple Slice.

If Bambi confirmed anything, R&B is definitely BAEKHYUN’s forte. So, it is no surprise that the new song Pineapple Slice (which has a very intriguing title) ventures into that domain again. And BAEKHYUN pulls it off, as expected. What sets Pineapple Slice apart from his past ventures into the genre is the groovy and textural synthwave instrumental in the background. It is a pretty satisfying piece to listen to, especially when it comes to the bassline, which makes the song pop out even more. BAEKHYUN does amazingly in the vocal department, infusing that sensual vibe associated with the R&B genre effortlessly with the grooviness of the instrumental. It is exciting to hear BAEKHYUN again, especially with his falsetto and charismatic vocals in the choruses. The melodies and hooks ring in my mind even after the song wraps up. Because of these (and practically the entire track), falling asleep last night was challenging. Does anyone have that problem when you listen to BAEKHYUN? No? Just me? Anyway, the music and BAKEHYUN himself slow things down in the pre-chorus. It is well appreciated after it makes the launch back into the chorus and the succeeding sequence much more impactful. I also liked how atmospheric the instrumental got for the bridge, and BAEKHYUN sounds the best in this part of Pineapple Slice. Overall, Pineapple Slice is a robust and solid comeback for BAEKHYUN, and I can’t wait to hit replay to listen to it again.

In the music video, BAEKHYUN plays a vampire who uses his ‘sweet like a pineapple slice’ charms to get with the person he is interested in. He is highly charismatic and flirty in the first montage of scenes. He shows off a more mysterious vibe when he is on the train. The video’s main scenes are the party scenes, demonstrating his control and power. At the start of the video, we see him (or rather, his bats) ravaging the other partygoers and putting them under his spell. Later, he revives them, just moments before he makes his move towards the lady who catches his attention and bites her neck. These scenes, as well as the choreography scenes, have a hint of sensual tension to re-emphasise BAEKHYUN’s charms.

Performance-wise, BAEKHYUN really shows his passion with this routine. He puts a lot of effort into his movements while also effortlessly executing the live vocals. This is what makes BAEKHYUN such a great performer. The routine complemented Pineapple Slice‘s upbeat nature and teased out that sensual tone within the track. BAEKHYUN and his dancers did a great job executing it all.

Song – 9/10
Music Video – 8.5/10
Performance – 9/10
Overall Rating – 8.9/10

[Review] Run Away – TZUYU (TWICE)

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Today, TZUYU made her solo debut with the new single, Run Away, and the mini-album Aboutzu. She is the third TWICE member to make her solo debut, following fellow TWICE members NAYEON (who recently returned with ABCD) and JIHYO (who debuted as a solo artist last year with Killin’ Me Good).

Run Away starts with TZUYU’s vocals and a simple piano riff. This opening sequence was rather intriguing, as there was a subtle emotional touch that grabbed my attention and had me waiting for more. The song then brings in a pounding beat, evolving into a disco-esque pop number once the chorus is reached. This trajectory was very entertaining, which made Run Away‘s instrumental a strong aspect of the new song. It is relatively simple for its style, yet also punchy and addictive. Strangely enough, I enjoyed the clean hollow drum beats at the 0:44 and 1:58 marks of the song. Very specific, but I thought it was worth mentioning. Unfortunately, nothing else stood out in the song. While I liked the opening sequence in terms of TZUYU’s vocals, they stayed in the same gear for the most part. This ultimately made Run Away feel flat and remarkably lacking in the character department. That emotional touch I mentioned is still present throughout the song, but there wasn’t any differentiation or variety in her vocals, effectively reducing that to nought. We did get a slight change in vocals during the pre-choruses, but this needed to be expanded to other parts of Run Away to make it more interesting. And because of the flatness, the melodies and hooks just didn’t stick out. I also hoped for a bridge and flair from a potential final third chorus. But those didn’t eventuate, as well. If it weren’t for the opening sequence and instrumental, I wouldn’t revisit Run Away as much.

In the song’s lyrics, TZUYU gives the person she is interested in a chance to ‘run away’ before entering a relationship with her. She sings about how once they are infatuated with her, she will show a different side of herself that only they will see. Whether this is a K-drama plot about a cold person opening up and falling in love, or the start of a creepy movie, we will never know. In the video, we see TZUYU show two sides of herself. The first is a more loving side of herself, while the second is a colder and more sinister version of herself. Depending on how you interpret the video – these can be two potential sides of TZUYU that the person could come across, or the video is recounting the events of TZUYU alluring the guy in the video into loving her before she reveals her proper darker side. Either way, it is an exciting premise that leaves an open ending. As for the choreography scenes, I liked the contrast in how they showed more elegant sides of TZUYU in the gown and on the red carpet. This probably adds some extra depth and backstory to TZUYU’s character – you never know which version is on our screen.

I often comment on facial expressions regarding this aspect of the review. They can make or break the performance. For today’s Music Bank performance, I felt TZUYU’s facial expressions were stiff and robotic, which affected the actual vibe of the performance. I hope it is nerves and that she becomes more comfortable performing the choreography, as the routine has a cool, sensual vibe that looks good. It just needs swift flow from the leading performer.

Song – 7/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.8/10

[Review] Melt Down – DAY6

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Kicking off the week was DAY6, which dropped its 9th mini-album, Band Aid, led by the single Melt Down. This release comes almost six months after the band’s first return since 2020 with Fourever (their 8th mini-album) and the title track, Welcome To The Show.

Like everyone (based on what I am reading online), Melt Down also reminds me of DAY6’s very own Time Of Our Life era from 2019, which has steadily risen on the charts over the last few months. Melt Down‘s rock-leaning, super energetic and forward-propelling instrumental that makes you want to bang your head or, at the very least, tap your foot along is one of the highlights for me. Like his performance in Time Of Our Life, DOWOON shines the brightest in Melt Down thanks to his prolific drumming, a constant factor in the new song. I also liked how they gave the first verse its own peaks and troughs regarding rock intensity. This instantly gave Melt Down some initial punch, depth and made the song more interesting (which made me inclined to listen to more of the song). I wished something similar was done in the second verse, as that portion didn’t feel like a substantial follow-through. While I did think DAY6’s vocals were strong in Melt Down, I did find the song less memorable. None of the hooks and melodies jumped out at me as ear-catching as Time of Our Life‘s hooks and melodies did. Melt Down‘s melodies and hooks are growing on me, but I don’t think it is the same calibre. Despite its weaker moments, Melt Down proves to me why DAY6 are at their best when it comes to their energetic and upbeat tracks.

Melt Down is about the appreciative feelings one feels toward those who have supported them. In the video, the fact there is an audience part through the video tells me the members are appreciative of their fanbase, MY DAYs. As the video progresses, we see their different locations have colourful explosions. These explosions take us from the cold start of the video (where a snowman can exist, and you can see ice crystals on the members) to a more vibrant and warmer feel. The idea of explosions reflects the energetic bursts and rock intensity that the song features quite well. It isn’t one of those videos that simply (or subtly) infuses a warmer hue as the video progresses.

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

[Review] Smoke – JAEHYUN (NCT)

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I flip back to the start of the week when JAEHYUN made his official solo debut with the single Smoke and his first studio album, J. Previously, JAEHYUN teased his solo debut a week ago through a unique music video combining the tracks Dandelion and Roses into one video. Through the NCT Lab project, he has also released other solo singles (Forever Only and Horizon).

Smoke ventures into the hip-hop side of the R&B genre. This shouldn’t be a surprise, given that JAEHYUN has shone under the R&B spotlight before (see his pre-release singles). And it makes sense for him to do something a little different, like infusing a bit of hip-hop into the folds of Smoke, rather than just doing straightforward R&B (which we got two sides of last week). While this sounds good, I don’t think it is well executed (more on that in a second). I must really highlight the guitar present throughout the track. It added rhythm to push the song along. Towards the end of the song, we hear a jazzy instrumental background come into the mix, which I thought was an excellent trajectory for the track. The piano here really sounded great! The Smoke‘s verses and bridge were fine. R&B comes through strongest during the verses, and JAEHYUN sounds like he is in his element. On the other hand, the choruses of Smoke were questionable. The hip-hop style becomes more prevalent here, and I like the deep, bouncy beat of the central piece. But his spoken delivery just didn’t do it for me. It takes away the sultry flow of the R&B building in the verses and leaves a void that wants to be filled. It also dulls the song, which I found to be an issue in the performances. I get that such a chorus is an attempt to do something different (as noted above), but ‘doing something different’ shouldn’t detract from the rest of the song. Smoke‘s chorus then leaves another problem – how does Smoke reclaim its glory and stand out positively? I don’t think it has the means to. The only logical part of Smoke to look towards is the verses. But while I do like the verses, I don’t think the verses were as memorable as the void-creating choruses and could not have compensated for the choruses. I guess JAEHYUN should have just kept to Roses.

I am confused about how the music video and song relate. The song’s lyrics invite one’s lover on a sexy car trip. But the music video tells a reimagined story of Narcissus, a Greek mythology of someone falling in love with his own reflection. In the video, JAEHYUN plays a narcissist who desires to escape the “suffocating gaze of the outside world and face oneself” (this quote is taken from JAEHYUN’s commentary on the video – see the pinned comment in the YouTube comments for the video). Hence, he tapes or covers up all the gaps, holes, cameras, windows and mirrors in his room. But the narcissist he is, he ends up watching himself in his own mirror and sees his reflection in the bathtub. He is then interrupted by a person knocking on the door. Narcissistic JAEHYUN struggles with the constant knocking (and his desire mentioned above) and escapes through the couch, taking him into a different world to live out his desired life (which I guess replaces the part of Narcissus’ story where he disappears). The person knocking is revealed to be another JAEHYUN (dressed in white), which I guess represents the white flower that sprouts in the same place where Narcissus disappears in Greek mythology. In the video, the JAEHYUN in white ventures out into the world in place of the narcissist JAEHYUN we saw throughout the video. JAEHYUN’s acting throughout the video was very good, particularly when he struggled with his reflection in the mirror. The noir vibe of the video was also quite exciting and an aesthetic way of portraying this story.

I applaud JAEHYUN for performing during a week of turmoil for his group. It definitely would not be easy on JAEHYUN, and he should be acknowledged for that. I like how the choreography vibes with the different parts of the song. While I am not a fan of the choruses in the song, the way that part comes through in the choreography is my favourite part of the routine. And I like how the jazzy instrumental at the end is used for JAEHYUN and his dancers to show their performance skills in this comeback.

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

[Review] Algorithm – CHUNG HA

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During the week, CHUNG HA returned with a special digital single titled Algorithm. It was out of the blue and sudden, in that we only got five days notice of the single. This comeback comes five months after her grand return with EENIE MEENIE (ft. HONGJOONG of ATEEZ).

Just like how the release was unexpected, Algorithm is an unexpectedly fun and light-hearted dance track. I always wondered what her next release would sound like after she released the more hip-hop-driven EENIE MEENIE. I had no expectations, so I found Algorithm an unexpected pleasure. Algorithm leans more into the pop side of dance and fits right into CHUNG HA’s discography. This instrumental gives the track its ‘fun’ descriptor. But I don’t necessarily think Algorithm is title-track material, especially since I initially thought this was a commercial song. That is why the song is light-hearted to me, as it reminds me of past singles used to promote a product. CHUNG HA’s vocals, while really nice and pretty throughout Algorithm, also add to the lightness of the track. It also added a slight cuteness that bodes well. There isn’t anything wrong with being light. But each listen I have given the song since its release made me desire something to be added to the Algorithm to anchor the song and give it some weight so it isn’t just consistently light. A rap sequence, a heavy instrumental break where CHUNG HA and her dancers can show off their dance capabilities, or even an instrumental that goes harder could have been the answer to this. This isn’t a critique of Algorithm, as I gladly accepted and enjoyed the track. It is just something I thought could have boosted the song a little more.

The song likens the idea of falling in love with the algorithm associated with social media that gives you consistent content you like and want to see. CHUNG HA looks stunning as always in the video, and I like how the video touches on some viral trends, like the awkward dancing at the 1:04 mark of the video and the poses in everyday locations that gives off a magazine-esque vibe trend that follows soon after. Of course, CHUNG HA looks amazing despite the cringeiness these trends entail. The video also features fun cameos from GABEE (who appears as friend of CHUNG HA’s who ends up cursing at her), Hyo Kyum (a model who appears as the DJ) and Uhm Jung Hwa (a legendary KPOP artist known as Korea’s Madonna and famous actress who appeared as the titular character in k-drama Doctor Cha) and Bambi (who, according to the YouTube comments, is CHUNG HA’s dog).

The dance aspect of all of CHUNG HA’s comebacks is always the highlight of the comeback. While we haven’t seen a dance performance for Algorithm yet, what we see in the music video is fun and pretty. Nothing feels like a key move for this release, but that doesn’t mean it isn’t a great routine overall. I quite enjoyed the flow of it, and I liked how parts of the routine vibe with the music while other parts showcase sharp movements and formations.

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

[Review] CRAZY – LE SSERAFIM

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From the start of the week, I move to the end of the week to cover LE SSERAFIM’s comeback with CRAZY and their fourth mini-album of the same name. This comeback follows their February comeback with singles EASY, SMART and their third mini-album, EASY.

I personally feel LE SSERAFIM thrives best in a more upbeat environment. As such, I think CRAZY stands out more than their previous subdued comeback. The house EDM used in CRAZY is definitely a vibe and adds fun to the mix. I liked how meaty and heavy the beat felt, making the song robust. The members do follow through with their vocals. Their delivery gives off a serious tone, which contrasts nicely with the upbeat instrumental, adding some quirkiness to CRAZY. The rapping is solid in the track and is probably where LE SSERAFIM stands out best in CRAZY. They had some strong hooks in the song, such as “Act like an angel, Dress like crazy“, and some more grating hooks, like “All the girls are girling girling“. But despite how I perceive them, they all make CRAZY memorable and add flair to the song. When I first listened to CRAZY, two thoughts ran through my mind that still stay true after repeat listens to the song. The first is a lack of melodic material. I think more melodic material would have added some complexity to the track. Some people would argue that the track’s composition is minimalistic, but I feel that it is borderline in some regards. The second is the short length of the song. I know that is the trend nowadays, with most songs released in KPOP now being less than 3 minutes. But some tracks get away with their short length, as they do not feel as short as they are in reality. Unfortunately, CRAZY is short and feels short, a feeling that never sits well with me.

As the title suggests, things need to feel a little crazy. And where else is it best to do that besides the music video? Some of the best examples from this video that highlight the craziness are KIM CHAEWON wearing a satellite dish on her head as she sings about Pikachu, the lampshades in the aquarium, the underwater choreography bits, and HONG EUNCHAE slipping on the soap and ending in a fabulous pose. The craziness does make it a fun video to watch. The music video also features the Iconic House of Juicy Couture as the dancers in the video. They, too, added a lot of fun to the video, complementing the craziness that the LE SSERAFIM was showcasing. Their dancing was iconic and captivating. Their presence was an excellent way for KPOP to pay homage to the culture and people who form part of it.

A lot is riding on this comeback, particularly after the mixed response to their Coachella performance earlier this year. Based on what I heard in their live performance on Music Bank yesterday, they do not need to worry about those comments. The choreography for this comeback was incredible. There is a lot of inspiration drawn from vogueing and influences that we also saw from the music video, and you could see it come through in this routine. This helped create iconic moves for this comeback, such as the arms around their heads and the lifted legs.

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

[Review] Classified – OH MY GIRL

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Another comeback from earlier in the week is OH MY GIRL’s Classified, the lead single off their 10th mini-album Dreamy Resonance. It comes over a year after their last comeback with their 9th mini-album, Golden Hourglass, and leading single, Summer Comes.

Classified is an intriguing track. It reminds me of Red Velvet’s Feel My Rhythm, another orchestral and synth composition. However, Classified is slightly different, with relatively less texture in its background. Don’t misunderstand — Classified still has plenty of texture through its bass and beat, making for a more pronounced bounce to the music. I enjoyed that side of the song, as it adds a playful element. The orchestral elements of the song make it dreamy and sophisticated. Together, these sides of the instrumental are beautifully balanced, making Classified feel and sound modernly energetic and classically elegant. The vocals in the song are spectacular. OH MY GIRL made their mark in this song, especially with SEUNGHEE, HYOJUNG and their ad-libs in the background of the second and last choruses. I loved the melodies and flow they brought to Classified. Now, the vocal parts are not 100% perfect. Some parts in the verses didn’t meld as nicely with the instrumentation as I had hoped for. And it was these moments that stood out to me in the first listen, which had me thinking it was a questionable song. But repeat listens have definitely warmed me up to those moments. What the repeat listens haven’t warmed me up to in Classified is the rapping. It sounded awkward, making me question why it was even needed in Classified in the first place. MIMI had a good vocal moment that the producers could have continued to explore in place of the rapping. But besides those minor flaws, Classified is still a sound track and an excellent addition to OH MY GIRL’s repertoire of artistic hits.

My understanding of Classified‘s lyrics is about cherishing the memories we made when we were younger, especially when people in those memories grow up and apart. The music video looks to be set in a dollhouse with the OH MY GIRL members acting as dolls who lived in that doll house. The music video interprets the lyrics by focusing on the idea that we all have made memories with our toys as we were growing up. But as we all grow older, we will unlikely play with those toys again. As dolls in the video, OH MY GIRL are wishing us the best and hoping we only remember the good memories. We also see OH MY GIRL venture into the fake outdoors and a fake city, as if they are putting themselves into our shoes and imagining what it is like beyond the dollhouse. I like how the end of the video confirms my interpretation by showing us the plushie’s POV and the young girls running off into the distance, leaving their schoolbags and plushies behind. It is a cute video overall.

The accompanying choreography for this comeback is elegant. However, I don’t find myself focusing too much on the choreography, as I am distracted by OH MY GIRL’s vocals. This limits me to only remembering the introductory sequence. But that is fine, as the intro sequence for this routine is definitely one of the most beautiful intros I have seen to date and is the standout sequence in my mind in this routine.

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

[Review] GOOD SO BAD – ZEROBASEONE

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ZEROBASEONE is back, returning on Monday with their 4th mini-album, CINEMA PARADISE. The lead single for this comeback is GOOD SO BAD. It follows ZEROBASEONE’s earlier 2024 comeback with You Had Me At Hello, led by the singles SWEAT and Feel The POP.

GOOD SO BAD kicks off the week strongly, in my point of view. I was drawn to the song within the first couple of seconds with the electronic muffling of the chorus. This sets up the song exceptionally well. From there, GOOD SO BAD follows through, eventuating it into a great song. This is as good as a first impression gets! I really enjoyed GOOD SO BAD’s electronic synth-pop instrumentation. It is so good that I wouldn’t mind listening to the instrumental version of GOOD SO BAD on loop. There were a few things within it that stood out to me. The first is the retro touches the instrumental had channeling through itself. The second is the forward trajectory of the instrumentation. Both of these, along with some excellent bass, really made the choruses pop out. Smooth melodies also help make GOOD SO BAD feel so satisfying. Put it all together, you get GOOD SO BAD flowing like butter, giving the new song its major selling point. The vocalists brought those smooth melodies to the table, sounding vibrant throughout the rest of the song. The lightness of their vocals made GOOD SO BAD approachable. As for the rapping, I enjoyed the pace of the rapping. The delivery still had a bit of a punch at times, but all fitted in nicely with the song’s tempo. The only lacking part of GOOD SO BAD was the ending, which felt like it was missing elements to draw it to a close. A cliché high note or ad-libs would have been an easy way to signal the end is coming. We got some in the bridge, but it felt too early. If done right, it would have closed out the song in a clean, simple, and satisfying manner and earned the perfect rating from me.

I was surprised to see Yoo Ji Tae feature as a novelist or writer in the music video. He begins the video by writing a line that says to let go of the special someone due to the pain they bring. But the video flips the script, with ZEROBASEONE falling in love with that special someone in a movie or show. In the lyrics, the song tells us to hold onto that special someone (unlike what was written by Yoo Ji Tae’s character in the initial seconds of the video). A singular line in the song’s chorus says it all – “The whole universe is saying ‘Don’t let her go’“. As the movie or show develops, something causes Yoo Ji Tae’s character to rewrite the script to change from ‘letting go’ to ‘Don’t let her go’. In the end, it is revealed that he is the writer of the movie or TV show that ZEROBASEONE acted in throughout the video. I thought it was a fun video with a unique but clever storyline. I also really enjoyed the vibrancy and youthfulness the members brought to the video, which made everything else feel bright and full of life throughout the video.

Like the song and video, I liked the vibrancy and energy the members brought to this performance. The routine also had a fun and light-hearted element, making it feel approachable. This made the whole routine worthwhile to watch. Their synchronisation and how easily they made the choreography flow were probably my highlights.

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

I am unsure if this is the right word to describe the overall song, but what comes to my mind is the word ‘sonic’. But yeah, GOOD SO BAD feels sonic and I like it.

[Review] Sexy In The Air – TAEMIN (SHINee)

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TAEMIN was another comeback that kicked off the week. He returned for the first time since his Guilty era and leaving SM Entertainment, signing on with BPM Entertainment (home to VIVIZ, HA SUNG WOON, BADVILLAIN and a few others) for his solo work. He will continue with SM Entertainment for SHINee promotions. TAEMIN’s latest title track, Sexy In The Air, is featured on his 5th mini-album, Eternal.

Sexy In The Air is probably the most TAEMIN-coded title to date. We all know when TAEMIN’s appeal is most robust, and I feel like a song titled Sexy In The Air calls out that. Intriguingly, the track can be split into two. The first half features a groovier electronic style that feels trendy and upbeat. The second half leans more toward a hip-hop style. Tied together by the title and lyrics, these halves make for an interesting dynamic. But it works, in my opinion, bringing two sides of TAEMIN into one song. Even the transitional part between the two halves felt very clean. TAEMIN himself does an excellent job with his vocals. I like how we are treated to vocals in both halves of the song. I lowkey would have expected the hip-hop side of the song to have more of a spoken motif. But his vocals on either side of Sexy In The Air were smooth and sultry. The choruses and hooks in the song were catchy, though I would have liked something more developed from TAEMIN. The choruses and hook felt a little too simple and safe, especially for a song that innovates like this one. But I guess putting two distinct styles into Sexy In The Air, where the song can easily be split in half, is a gamble, so having other elements of the song feel safe does help reign it in.

Sexy is indeed in the air throughout TAEMIN’s music video for this comeback. Part of this comes from the choreography we see throughout the video—I will speak to the choreography in the next section of the review. Another part of the sexy appeal is TAEMIN’s charismatic looks and outfits, such as the one in the featured image of this post. I will admit that the clean and crisp feel of SM Entertainment’s music videos is missing in this one (no-brainer as SM Entertainment is not behind this video). But TAEMIN’s presence compensates for that. The man knows how to captivate and does it well in this video.

We all know where TAEMIN excels during his comebacks, and Sexy In The Air doesn’t deviate. His whole choreography routine was just so captivating to watch. From the footwork to the synchronisation to the punchy moves that fit the groovier style from the first half and the bouncy moves that fit in with the hip-hop style in the second half. All of this was amazing to watch. The best part definitely has to dance solo he has at the end of the routine.

Song – 8/10
Music Video – 8.5/10
Performance – 10/10
Overall Rating – 8.6/10

[Review] See That? – NMIXX

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NMIXX returned with a new mini-album titled Fe3O4: Stick Out this past week, led by the single See That?. It follows the January release of Fe3O4: Break and DASH.

Even after a few days, See That? remains underwhelming. The new single takes a page from the hip-hop genre but lacks excitement or character. I blame the under-utilisation of their vocals. NMIXX’s vocals have been a significant asset of theirs and have brought me on board with the MIXX pop venture they debuted with. But the material their producers had given NMIXX to work with in See That? was just lacklustre and failed to provide See That? any additional energy. This is disappointing, especially since I enjoyed the hip-hop direction they were going with in See That?. That is something I don’t say often, but I genuinely thought the song’s instrumentation was quite good and that there was potential behind the beat. I believe some buoyancy and vibrancy from the members could have made See That? better and more alive. My favourite bit probably has to be the second verse’s addition of guitars that brought a rock and country twang hybrid sound to the song. This is where NMIXX sounded the best, there was a bit more vibrancy to the music, and I could hear the parallels between this sequence and their past songs. It was a pity that they reverted to the song’s chorus following this sequence, an extension of all that underwhelmingness. It wasn’t all bad news for the choruses, though. There was some interesting delivery in the repetition of some words, which was nice and gave me something to highlight in the song. The same can’t be said about the ending. The instrumental was a little too consistent (sans the second verse) for the length of the track, so a conclusion to See That? was not satisfying, nor did it feel like it was reached.

The music video shows the members taking on a grungier look than usual, fitting the song’s hip-hop vibe. The videos seem to be a lot darker, which matches up with the song’s tone. While I didn’t get what was happening, I liked the post-production. There were parts of it that looked cool, especially when the video zooms out. The same can be said about some of the sets. The lighting and blue colour scheme look slightly more vibrant when the song hits the second verse (i.e. when the song becomes slightly more vibrant). It was a clever way of infusing that into the visuals and not departing too far from the rest of the video. The ending of the video was eerie, and I applaud Sulyoon’s acting in this part of the video.

Despite not being the central part of the comeback, I must say that the choreography was really cool. It embodies the hip-hop vibe really well. I quite like the bounce to the routine. I also like the parts where it turned slightly cutesy and fun, giving it a bit of freshness and a different form of energy. But like in the music video, they didn’t depart too far from the hip-hop roots of the rest of the routine.

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