Category: Reviews

[Review] Don’t Worry, Be Happy – SF9

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I’m unsure if I am starting to become out of the loop with KPOP news, but SF9’s comeback surprised me. It came out of the blue one day 2 weeks ago when SF9 dropped their first music video teaser. The lead single of this comeback is titled Don’t Worry, Be Happy and is featured on their 14th mini-album, FANTASY. This comeback is the first time the group is promoted as a 5-member group – consisting of Youngbin, Inseong, Yoo Taeyang, Hwiyoung and Chani. ZUHO left FNC Entertainment (though he remains part of the group, but plans for participating in this comeback apparently fell through), while Jaeyoon and Dawon are currently serving their military enlistments.

Don’t Worry, Be Happy is a pleasant pop number. It has the necessary elements to make it a dance track, while the funky and groovy undertones in the instrumentation bring out a cheerful and happy pop demeanour. The latter is perfect for Don’t Worry, Be Happy, whose lyrics advocate being happy for a former partner while letting go of your feelings for them. The pleasantness I mentioned before comes from everything instrumental-wise being light and not in your face like other funky and groovy tracks. The same can be said about the song’s melodies and hooks. As so much of Don’t Worry, Be Happy does come off as pleasant, I want to pull up a discussion I wrote in another review recently. Pleasantness can be a double-edged sword. On the one hand, it fits in with the intent and messaging behind Don’t Worry, Be Happy (which is understandable as to why the producers would go down this direction for this track). On the other hand, the pleasant nature of Don’t Worry, Be Happy limits the song’s potential to be different and stand out. While it is good, Don’t Worry, Be Happy does come off like every other pop song, making it standard and generic. The same can be said about the members. I found them to also be another pleasant constant in Don’t Worry, Be Happy. While they sound good throughout the song. But in keeping with the pleasantness of the song, this somewhat stifles the members’ potential, and we don’t get to hear anything interesting from them. Overall, pleasant is good and appropriate in Don’t Worry, Be Happy, but it does come with some set-backs.

The music video concept for Don’t Worry, Be Happy is a user manual for getting over a breakup. Based on what I see in the video, the recommended steps are to visit the diner serving food that erases memories, go to the coin laundry for a fresh start, take your car for a wash to wash the pain away, leave one last message to your former lover on the pay phone, and celebrate your breakup. The SF9 members become happier as the video progresses, so these steps will work for everyone else.

The choreography isn’t the most memorable piece from the group, but I think it fits the bill. It also feels relatively light, which works with the pleasantness of the song. This also helps bring a refreshing vibe into the choreography, which works for this time of the year.

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

[Review] Shh.. – IU (ft. HYEIN (NewJeans), JOE WON SUN & Narr. by Patti Kim)

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It has been a couple of weeks since I posted my review for Holssi. In that review, I promised a review for another side track off IU’s sixth mini-album, The Winning. That song in question is Shh..., which features IU (of course), HYEIN from NewJeans, JOE WON SUN and Patti Kim (as a narrator). Following this review, I will combine all the pieces (including a brief review of one final track) to form an album review post for The Winning. Definitely long overdue, but better late than never.

Shh.. is quite a unique track that piqued my interest when the mini-album was first released. My interest in Shh.. has simmered since then, as the mini-album did fall out of rotation. But this has nothing to do with the track itself; other comebacks replaced the mini-album in my playlists and listening rotations. The uniqueness of Shh.. stems from the sound profile it had tapped into, a slow, jazzy R&B style brought to our ears with some rock band instrumentation. This combination was quite prolific and oozed so much charisma musically. IU’s familiar vocals fit into this jazzy style so well, and I enjoyed the vibrancy she brought to her own track. If I were hearing the track for the first time and playing a game of ‘Guess who sang the song’, I think my mind would have been drawn to IU as she is the only artist in KPOP who would probably be daring to release a song of this niche and do it so well. Shh.., it doesn’t only feature IU, however. Shh.. also features HYEIN from NewJeans, JOE WON SUN, and narrator Patti Kim. Most are probably familiar with HYEIN because she hails from the popular girl group NewJeans. I quite like the freshness and youthful tone she brings to the song. JOE WON SUN and Patti Kim are probably the more unfamiliar names – the former is a soloist who was also once part of a Korean rock group, Roller Coaster. The latter is a retired Korean singer who was popular back in the 1950s and 1960s. JOE WON SUN’s vocals had an incredible nasal sound, bringing so much character to Shh… Patti Kim’s narration ends Shh.. with an airy and suspenseful tone, which makes it all the more intriguing and forces me to investigate the track further.

The collaborative nature of Shh.. continues into the music video, as well! Alongside IU, we see Tang Wei in the music video. Now, I will not pretend I know what the music video is about. So, I have relied on some interpretations I found on the Internet to help develop my own understanding. Essentially, the video speaks to the complex relationship between a mother (played by IU) and her daughter (played by Tang Wei). The versions of the pair we see in the video do not co-exist with one another but are instead a depiction of the two coming to terms with their relationship. There is a lot of emotion when the pair meet on the streets/in the car, and IU and Tang Wei’s acting throughout the video (but particularly in the car) was very profound. While catching up, the pair shows each other that they have each ‘hidden’ each other throughout their life, for one reason or another, as mentioned in the text on the orange background. For Tang Wei, she had hidden her mother in a warm place, as depicted in the video, under the floorboards. The warmer colours under the floorboards depict love, and the fact we see a younger version of Tang Wei with IU in this scene shows how much the daughter loves the mother despite whatever has happened between them. Conversely, IU confesses during the music video that she has hidden Tang Wei before. The location where IU had hidden her daughter in the car’s boot is colder and isolating. This probably depicts that the mother had done something to the daughter that filled her with regret and sadness. At the end of the video, the beginning of IU/Tang Wei’s story recurs, but with another mother and daughter pair. I feel like a lot is happening in the video regarding storytelling and emotions. Still, the way it is depicted is really artistic and feels entirely meaningful for those who can relate to the relationship being shown.

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

[Double Review] Dandelion + Roses – JAEHYUN (NCT)

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Earlier this week, JAEHYUN (from NCT) pre-released two songs, Dandelion and Roses, before his upcoming solo debut on 26 August. The music video released alongside the two songs features both tracks, creating a unique situation. Because of this, I will review both songs, Dandelion and Roses, in a double review format.

Dandelion

If you want to listen to Dandelion’s full version – click here.

Dandelion is a bright, mid-tempo R&B track with a good rhythm and a pronounced beat that brings out an upbeat energy. But despite being the more upbeat track of the two songs, Dandelion’s mid-tempo pace makes it feel standard and generic. As such, I feel it falls behind in the ‘appeal’ department. Don’t get me wrong, Dandelion is still a good song, but it’s just not as strong in this area as compared to the next song. I did appreciate the brief spurts of the string synth towards the end of the song, which served well as a strong hallmark of the impending end of Dandelion alongside JAEHYUN’s ad-libs. On the topic of JAEHYUN’s vocals, it must be mentioned that he was clear throughout this track, and the melodies made Dandelion feel smooth. The latter actually contrasts nicely with the backing of the song.

Roses

If you want to listen to Roses‘ full version, click here.

The stand-out element that gives Roses an edge is the chorus. The choruses sounded so good, especially the choral vocals echoing JAEHYUN’s delivery of the song’s title. It just makes Roses so impactful and memorable. The melodies also evoke a sensual swaying motion, making the song stick even more in my head. JAEHYUN’s airy delivery and the variety of sounds throughout Roses strengthen the song. His falsettos just oozed so much charisma. Thanks to the synths, the instrumental features some extra texture, making Roses a compelling listen. All in all, Roses was just the superior track by my standards – so much so that I returned to Roses more times throughout this week than compared to Dandelion.

Music Video

The music video features a small segment of each song. First up is Dandelion, which is the brighter portion of the video. It looks at the idea of love blooming. The contextual text at the bottom of the screen, while the images flash at the start of the video, speaks to this. We see a couple holding hands and embracing each other while JAEHYUN is all smiles and hangs out with small children. The children’s presence suggests purity and innocence, which we associate with the idea of new love. At the mid-point of the video, JAEHYUN takes a dive, and we see a quick montage of the couple pulling apart and releasing each other’s hands (amongst other things). From there, we enter the Roses portion of the music video, which takes on a darker and moodier atmosphere. Captioning this section of the video is the line ‘Even the things that love can hurt you‘, giving you a strong idea of what Roses is about. Here, JAEHYUN (who looks very handsome during this portion of the video) stands on top of a building at night with the cityscape behind him. I liked the idea of the bounce that he and the background people do, emphasising the choral parts of the choruses. The video ends with JAEHYUN taking another plunge, which may represent the idea of new love and love being a source of pain occurs in a continuous cycle. The contrast between the two sides of the music video made for an interesting watch, and the concept was quite unique.

Dandelion
Song – 7/10
Music Video – 9/10
Overall Rating – 7.8/10

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

[Review] Tell My Momma – KARD

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It has been over a year since May 2023’s ICKY. Since then, they have been on a world tour, and BM released his first solo mini-album, Element, led by the single Nectar (which features Jay Park and is a single I have yet to review – check back in the future for that review). Earlier this week, the co-ed group returned with Tell Me Momma.

I will always support artists trying something new, but it must be compelling enough to get me coming back. Tell My Momma is KARD’s most subdued and softest title track yet. It is an interesting deviation from their usual output, which has been much more intense and powerful. When they hadn’t gone down that route, they kept their music upbeat, which has enticed me to return for more. Tell My Momma ventures into new territory but doesn’t compel me to return. I found everything up until the BM’s section to be quite good. JIWOO’s opening lines made for a good start, and the first run at the chorus built up the song with a heavier beat. But when the song reverted to the verse for BM’s rap, Tell My Momma became stuck for the rest of the track and never found its way out of the same sound. Very quickly, it became unexciting and bland. From there, I found the melodies and hooks to be forgettable. The instrumental felt generic and offered nothing new or different to make Tell My Momma interesting. While the arrangement of Tell My Momma enables a greater focus on JIWOO and SOMIN (the group’s vocalists, who both sounded decent throughout), it also served as a double-edged sword for BM and J.Seph. Underwhelming delivery with autotune used to ‘fit them into’ with the song, constriction of their parts, and generally poor usage of the two rappers just didn’t help the song grow on me. Truthfully, I held myself back from making these exact comments immediately after Tell My Momma‘s release on Tuesday. I hoped (for KARD’s sake) that Tell My Momma was a slow grower, even if it did so slightly. But unfortunately, the song has not budged from these thoughts even days after Tell My Momma’s release and I found no reason to hold onto these thoughts. I doubt it would change into the future.

Just like the song, the music video for Tell My Momma felt generic and didn’t offer anything that I thought was interesting—just closeups and choreography scenes. The video could have been a little creative, perhaps building on the fourth wall perspective we got during BM’s solo shots and extending that to the other members’ shots. I think that would have made the video interesting. Besides that, all four members looked good throughout the video despite all going blonde for this comeback. I liked how there was still variety in their looks, which helped the members bring a bit of individuality to the all-blonde concept they have going on. There were also some visually appealing shots, especially of JIWOO and the outside of the building where the video is predominantly shot.

The song’s softer tone and slower pace allow KARD to explore a somewhat sensual energy in its choreography. It is definitely not full-blown sensual, but the swaying movements do bring on a flirty atmosphere and a subtle sensual touch, which goes hand-in-hand with the song’s lyrics about taking the next step in a relationship.

Song – 5.5/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 6.5/10

[Review] Supersonic – fromis_9

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It has been over a year since we last heard from fromis_9 through their #menow comeback and Unlock My World album. While a comeback for this group should have been sooner, it took one member (Chaeyoung) to complain publicly in May about their lack of comebacks for their company to announce the group’s comeback for this month. That resulted in the release of Supersonic, which is the focus of this review.

It took me two listens to fall for Supersonic. I acknowledged how good the song was on the first listen, but Supersonic hit really hard upon the second listen. It has been on repeat since. The instrumental is a relatively simple aspect of Supersonic. The pulsing Miami bass beats give Supersonic so much body, while the percussive synths are wonderfully light yet textural enough to give the track added vibrancy. One of the things that surprised me was how much I enjoyed the consistent instrumental. It was all very similar throughout Supersonic. Normally, I would have commented on how it negatively impacts the quality of the song. But the producers of Supersonic do just enough in that space to ensure it doesn’t feel that way. A good example is the backing of Jiwon’s part in the second verse. It ‘roughened’ the trajectory of Supersonic briefly, with Jiwon’s lines delivering her lines perfectly. Talking about delivery, the standout elements in Supersonic are the members, who were extremely charming throughout. Once Supersonic‘s chorus started, Supersonic felt like a fromis_9 song to me. DM flashed into my mind during my first listen, and it is always the first song that comes to mind when I think of fromis_9’s sound. The melodies of the two songs are different, but their delicateness is a common factor throughout both songs. The dragged-out words in the opening line of the chorus were done so well and emphasised a refreshing vibe in the song. Supersonic manages to also infuse a slightly edgier vibe to it, which was intriguing. Even the ‘Super Super, Supersonic, Supersonic‘ rap-speak hook was done so softly (which aligns with the idea of fromis_9’s sound being delicate) but yet so punchy simultaneously. Put all of this together, and Supersonic is a strong addition to fromis_9’s repertoire.

The video captures Supersonic‘s refreshing vibes extremely well. The slight breeze in the music video, the group’s casual attire, and the water explosions provide a sprinkle in the final set of choreography scenes. All of this just makes Supersonic an ideal video for the summer season. The members themselves look amazing throughout the video. I just kind of wished there was a bit more to the video. It just doesn’t feel complete to me. But truthfully, I am not entirely sure what the music video lacks.

Choreography-wise, I thought it was good. That delicateness that I mentioned in the song portion of this post felt reflected and worked nicely with the song’s vocals. The first move during the ‘Super Super, Supersonic Supersonic‘ part was somewhat familiar – NewJeans’ Super Shy came to mind. BUT fromis_9 took it in a completely different direction after that move, so don’t get me wrong. I also liked how the members ended the performance, standing in a singular line and walking off to the sides like models as the song finished.

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

[Review] Sweet Dreams – Red Velvet

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At the start of this month, Red Velvet celebrated its 10th year as a KPOP group! A huge congratulations for reaching this milestone! As part of the celebrations, Red Velvet released Sweet Dreams as part of a newer version of Cosmic (their 7th mini-album released in June this year, led by the same-name single).

Sweet Dreams is indeed a sweet song. The group sings about their journey with their fans, likening it to a child who has reached the age of 10 alongside them. For long-term ReVeluvs, this is sure to be a heartfelt song. Sweet Dream‘s instrumentation is a mellow and hopeful pop track. While the instrumentation isn’t exactly the most riveting piece of music out there, I did like the use of the heavy beats and synths. The song is already quite light overall, so the heavy beats were helpful in anchoring Sweet Dreams down, while the synths provided a nice complexity and texture to the song. As mentioned earlier, the song is sweet, and this comes down to the members’ vocals. Very light and airy on this side of Sweet Dreams as well. Like the heavy beats, the rap-like deliveries we get interlaced throughout Sweet Dreams help anchor the track down, while their high ranges bring out that high range quite nicely. I can’t pinpoint exactly if it is the instrumentation or melody, but something within Sweet Dreams reminds me of a nursery rhyme of some kind. Given the song’s analogy towards a 10-year-old kid growing up alongside Red Velvet, this felt appropriate for Sweet Dreams.

There isn’t a formal music video for this release. Instead, we got a ‘special video’ of Red Velvet recording Sweet Dreams, presented in a scrapbook format. Around these recordings were moments from past music videos, behind-the-scenes shots and the song’s lyrics, all presented in the same format. This concept worked well with the song and was a nice way to reflect on 10 years of music videos and other content. A proper music video would have been more satisfying if I were honest. But this works just as fine.

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

[Review] Dive – YOON SAN-HA (ASTRO)

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YOON SAN-HA made his solo debut eight years after debuting as part of ASTRO. His debut consists of the mini-album Dusk and the lead single Dive. This follows ASTRO’s surprise 8th-anniversary song Circles and their strong focus on solo work—CHA EUNWOO’s solo debut with STAY, a string of songs released by JinJin through his JIN LAB Project, MJ’s musical/OST works and a drama for the member of focus of today’s review.

It is great to hear from YOON SAN-HA after so long. I honestly thought Fantagio had forgotten about him – especially since he has grown considerably as a vocalist since ASTRO’s debut in 2016. It would be a pity for him to be absent from the music scene any longer. Dive is an alternative R&B track with a prolific chorus and heavy bass that gives so much definition to the song. I quite enjoyed the instrumentation as it is. I like how the verses simmer while Dive‘s full potential is reached in the chorus. YOON SAN-HA’s vocals can be described similarly. There is a nice deep tone to the new soloist’s vocals during the verses that match the tone of the background wonderfully. As for the chorus, YOON SAN-HA soars up high alongside the background when its powerfulness kicks in. I also like the emotions he puts into his delivery throughout Dive. It makes the song sound so much more powerful and passionate. However, Dive does have two problems in my mind. The first is the lack of a strong hook or clean melody to make the Dive more memorable. Everything I heard in Dive that could have served as a strong hook or clean melody just doesn’t feel fruitful enough. Secondly, I continually expect a bridge and final chorus once Dive ends. I don’t know if this feeling will be lost with further listens, but I keep expecting something more at the end of Dive to finish the song satisfyingly. But what we do get in Dive already makes it a strong solo debut release.

Dive expresses the loneliness caused by the departure of a loved one from one’s life. From what I got from the lyrics, his feelings for that person linger, and he regrets how things ended between them. In the music video, we see YOON SAN-HA alone in all of the scenes, depicting the loneliness he continually mentions in the song. But his acting really shows the emotional fatigue one gets following a breakup, and in the context of the song, processing that lonely feeling. With that in mind, however, I am not exactly sure what in the video would make me want to revisit it down the track. It is one of those videos you need to watch once, and you know the gist of things. It doesn’t help that it is straightforward and has only one constant theme throughout the scenes.

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

[Review] MOUNTAINS – Stray Kids

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Over the last week, Stray Kids have celebrated STAYs in their annual STAYweeK event. Amid the behind-the-scenes video, special dance practice of their latest single, Chk Chk Boom, and other special videos, Stray Kids have also released music videos for two side tracks from their recently released ATE mini-album. The first was MOUNTAINS, which is the first song on the mini-album.

Stray Kids knows how to select a song to kick off the album! MOUNTAINS is an explosive hype track that will undoubtedly get the crowd roaring when performed live during their world tour later this year. One thing that has me addicted to MOUNTAINS is its instrumentation, which features a mixture of rock influences and some hip-hop on the side. The stomping drum beats definitely bring on the adrenaline, while the electric guitar keeps an ongoing vibrant and electrifying factor in MOUNTAINS. The rapping from CHANGBIN, HYUNJIN and HAN was very boastful and powerful. If you have been a Stray Kids listener for a while now, you would know they are more than capable of this. But something in MOUNTAINS just took their delivery to a whole new level. BANGCHAN, LEE KNOW, SEUNGMIN and I.N’s vocals sounded very crisp and fresh. Some of their parts coincided with the less powerful moments of MOUNTAINS, giving us great moments of reprieve from the explosiveness of the track. But later on, they roared when carrying us through the chorus and delivering shouty yet memorable lines like “Mountains, Mountains, I woke up on the mountain“. But FELIX’s deeper and raspier vocals were the best out of the team. It gave MOUNTAINS an aggressive texture suitable for the rock influences that MOUNTAINS channelled. With the praises (and the lack of criticisms), it is safe to say that MOUNTAINS is one of my favourites from the ATE mini-album, for the hype it brings and how well Stray Kids executed it!

MOUNTAINS speaks to where Stray Kids are now in their careers—their journey now leads them to the top of the mountain. In the video, FELIX and HYUNJIN create their own content, alluding to their self-producing reputation. HAN roams around people who aren’t interested in them (which speaks to their beginnings in the industry), while BANGCHAN has lasers pointing at him, representing the hate and criticisms that Stray Kids got. I also like how the lasers are pointed at him only and not the rest of the group, indicating that he would do anything to protect the rest of his team. Later in the video, the same people HAN was walking around join Stray Kids at the foot of the mountains, creating a path for Stray Kids to walk up the mountain to reach the top, which is undoubtedly where they are in their careers. Elsewhere in the video, some other members are playing chess with buildings and interacting with a smaller city. I’m not sure the exact meaning of this, but I think it has something to do with the power they feel they have now – they can control the weather and the city. The ending (per the featured image) shows the group peering over a bright, cloudless city, which I assume represents their fandom. On their faces are proud looks. I’m not sure if my interpretation is correct, but I like the confident messaging that the video sends and the energy it boasts throughout the video.

Song – 10/10
Music Video – 9/10
Overall Rating – 9.6/10

[Review] TANG TANG TANG – 90TAN (BTOB)

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Late last year, it was announced that BTOB was leaving CUBE Entertainment after 11 years and setting up their company (BTOB Company) for group and members’ EUNKWANG, MINHYUK (otherwise known as HUTA), LEE HYUNSIK, and PENIEL solo activities. YOOK SUNGJAE and LEE CHANG SUB remained part of the group but took their solo activities elsewhere. Since then, there has been a steady stream of music from all BTOB members (one of which I have reviewed – YOOK SUNGJAE’s BE SOMEBODY). Earlier this week, two members (EUNKWANG and MINHYUK) launched a new unit called 90TAN and released their debut single, TANG TANG TANG.

Right off the bat, TANG TANG TANG jumps right at you with its energetic throwback to 90s hip-hop and hype energy. The latter was intentional, as I read from a few sources that the song is freshly minted specifically for HUTA’s recent Waterbomb performance by MINHYUK himself! I like how explosive the track feels. The instrumental is one element behind this explosive energy. But I also put it to the energy that the members bring, which is evident by their individual rap performances in TANG TANG TANG. MINHYUK’s powerful and clean rap performance is something I want to highlight in particular, while EUNKWANG does what he does best and infuses his rapping with singing as he makes his way through the second verse with ease. EUNKWANG also balances the track with smooth vocals during the pre-choruses, leading well into the pair-led chorus. I liked the texture that MINHYUK brings with his vocals in the choruses, while EUNKWANG’s vocals soar up high to further drive the energy of TANG TANG TANG up. My only gripe about the song is the lack of a hook to really sink our teeth in and have it on repeat in our minds after TANG TANG TANG is over. Had said hook has been used in the track, I think TANG TANG TANG would have been more memorable and prolific on our playlists.

A funny music video accompanies the energetic song, channelling the energy of the song in a light-hearted way. In the video, the 90TAN pair go on a heist to steal from the person who stole their heart. I liked the fun bits of the video, such as when EUNKWANG requested tools, and MINHYUK completed the hand heart, the lights-on-off stare-off with the security guards, and the subsequent chase scene between the 90TAN pair and the guards. The good news was it was a successful heist, and the members took back what had been stolen from them – lollies. I would have been right with them had I known that it was stolen in the first place! In the less comedic moments of the song, the pair channelled the 90s with their hip-hop attire. Also, it would have been nice to have Jang Wonyoung appear when she popped up in the lyrics.

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

[Review] Ice Cream – JEON SOMI

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Just a couple of days ago, it was announced that JEON SOMI would be making her comeback in just a few days. Those few days have passed, and JEON SOMI officially returned with a special summer single, Ice Cream, today. This is her first release since Fast Forward last year.

I have given Ice Cream a few listens since its release earlier today. My first impression was that the new song was disappointing. But interestingly, repeat listens have warmed me up to the music – even though that wasn’t the song’s message! Though the one thing I am sure of is Ice Cream won’t be a song I will necessarily go out of my way to listen. I find everything, from the instrumentation to the vocals, too consistent. Ice Cream comprises of constant rhythmic percussion, crunchy brass, and a singular tonal vocal approach from JEON SOMI. Aside from the one-dimensional comment, I am not upset with the instrumental. However, I wish the producers did something more in Ice Cream as it progressed. We got a hint of tropical influences in the pre-choruses and bridge (similar to the style we have heard in What You Waiting For, which I think the producers could have used more of in the song, especially since it worked well with the rest of Ice Cream. JEON SOMI’s vocals are unique, and Ice Cream does show off her vocal tone well. But I wish it wasn’t just the one tone throughout Ice Cream. It also didn’t help that her vocals sounded miles apart from the instrumentation, and they didn’t meld with one another to make Ice Cream a cohesive piece. I also wished her delivery was clearer – what she sings in the pre-choruses sounds different from what the lyrics say. The autotuned line ending the chorus and the chanty end to the song does give some variety, but it all felt the same and never pushed any boundaries. Overall, Ice Cream is a so-so track. It might get a few more listens out of me, but as alluded to above, I don’t think I will be head over heels for it any time soon.

The concept for this release was initially apparent, but then it got weird. Essentially, the song speaks to the hot weather, and the only way to combat it is by seeking ice cream from JEON SOMI herself. We see the people in the video swelter and later cool themselves off with some ice cream. Logical. Then, one of the people in the video drops their ice cream. All hell breaks loose in the community (big furry fake animal catching on fire, fights and the casual astronaut falling from space), causing the heat to rise to ‘heat-warning’ levels. Even JEON SOMI’s ice cream can’t cool them down. But a special appearance from actor Park Seo Joon saves the day, promoting JEON SOMI’s business and getting everyone to cool down again. I suppose the video is meant to be light-hearted and not taken seriously, especially since the song’s message is about cooling down (i.e. being chill).

The few listens I gave the song coincided with the music video, which does feature some choreography in it. At first, I also thought the performance was rather basic and boring. But it has grown on me. I did end up enjoying the shimmy and shakes. I was expecting another Fast Forward routine, which blew me away last year. A definite focus was on being pretty in this routine, which probably preoccupied the choreographer a bit when designing the routine.

Song – 6/10
Music Video – 8/10
Performance – 7.5/10
Overall Rating – 6.9/10

[Review] Brought The Heat Back – ENHYPEN

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Two weeks ago, ENHYPEN returned with XO (Only If You Say Yes) and their second studio album, ROMANCE: UNTOLD. Today, the group dropped a second music video for the side track Brought The Heat Back.

When you compare XO and Brought The Heat Back side by side, the difference between the two is very obvious. The former was more mellow and pleasant, while the latter was more energetic and flirty. I quite liked the upbeat nature of Brought The Heat Back, which feels fitting for the summery season when more dynamic music comes through. This upbeat nature results from the funky disco instrumental that drives the dynamism behind Brought The Heat Back. The members complemented this with their prominent vocals shining through, boldly delivering the song’s hooks and melodies. The “Yeah, Yeah, Yeah” hook was particularly catchy and addictive. I have it on repeat in my mind as I write this review. The flirtiness results from the members’ delivery and the lyrics, which speak to their jealous feelings. For the most part, Brought The Heat Back was a solid track. But Brought The Heat Back has some elements that I find myself on the fence about. The vocal processing felt a bit hit-or-miss to me. During the chorus, the autotune brought character to ENHYPEN’s vocals, which made the chorus and its hooks stand out even more. However, in other parts of Brought The Heat Back, the autotune was applied a little too thickly, slurring their delivery and this did not sound as great. I am in a similar mindset regarding the trap-based instrumental break of Brough The Heat Back. Part of me liked the edgy factor that it brought, but another part felt like it was a drag. Either way, it doesn’t negate the bridge ended with an impressive high note from JAY. Overall, I like Brought The Heat Back – a totally different vibe from their title track, but much appreciated.

The music video for Brought The Heat Back was definitely a fun one. But instead of being visually fun (i.e., through the use of colours, imagery, etc.), the ENHYPEN members took a comedic direction with the video. It is different and somewhat refreshing, as that isn’t done as much in the industry. But the members pulled it off! The jealousy depicted in the lyrics makes them compete with one another to find the black cat ‘missing’ in the video (who I assume represents their lover). Falling coffins, flying fish, elevators turned into freezers and nailing coffin lids with multiple nails so there was one less person to compete with to achieve their goal was quite funny. They are so into this black cat that they all rose from the dead to find it, showing us how infatuated they are with it. This is further backed up by the dance break, where the members don glow-in-the-dark cat eyes in their attire. Remember, their lore is about vampires, not felines. I really liked the members’ acting in the video, which conveyed that jealousy feeling well.

Brought The Heat Back’s performance is much stronger than XO’s. They showed off much more style and encapsulated the funk and groovy vibes. I enjoyed the chorus, which showed us some of ENHYPEN’s style quite well. But the dance for the outro really sold me on the performance and (once again) ENHYPEN’s skills in this department.

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

[Review] WISH – NCT WISH

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This is another review for a newly debuted group: NCT WISH, the final subunit of NCT. They are officially the designated Japanese unit of NCT (like how WayV is the designated Chinese unit of the broader group) but have been active in South Korea (where they are co-managed by SM Entertainment) and Japan (where they are co-managed by AVEX TRAX). The six-member unit, consisting of Sion, Riku, Yushi, Jaehee, Ryo, and Sakuya, made its debut in February of this year with the single WISH. I will return in the near future to review their more recent single Songbird.

Despite being from one of KPOP’s biggest companies, the main reason why I hadn’t reviewed NCT WISH’s debut single, WISH, before today was that I never really connected with the song. Five months later, I feel the same way about it. Don’t get me wrong – WISH isn’t a bad song. It just needs to be better in some departments. WISH is a buoyant dance track with a youthful tone, which suits the group’s current charms and stage in their careers. To complement the WISH‘s youthful tone, it remained light all throughout (for a dance track), which sets it apart from other NCT releases (which nowadays tend to be heavier in both tone and punch). I enjoyed the combination of synths and piano/keyboard in the background, particularly in the pre-chorus, as it had a calmness to it. I also feel there is a bit of funk and groove to the instrumental in the chorus, which was a good direction for WISH to head in. However, I think the producers of WISH missed an opportunity here to capitalise on the funk/groovy elements. This could have made the song go ‘further’, adding definition and colour to the song to make it more memorable. Another element that I thought was particularly weak was the melodies, which have implications on their vocals and rapping. The melodies in the verses were bland, and this resulted in the song downplaying NCT WISH members’ individuality. When the members sang together in the choruses and during the shoutier chants like “Future is in my hands…“, the group had a better hold of my attention. But this was short-lived for one reason or another.

Music videos for the Japanese and Korean versions of WISH were released simultaneously. Both videos contained a mixture of the same and different scenes to tell the same story. If you knew about it, this would have made watching both refreshing. In both music videos, the members of NCT WISH act as not-so-great Cupids. They fall from the sky, inadvertently making an arguing couple fall for each other once again. When they intentionally try to pair a couple up, the two music videos tell you they aren’t great at their jobs. In the Japanese version, one of the members stole a guy who was gifting his partner flowers and positioned him in front of another lady in hopes of encouraging the potential couple to make a move on each other. This ultimately failed when the partner caught her guy on his knee later on, causing them to fight. At the end of the Japanese video, one of the members intentionally shoots his love bullet at a dog. The dog becomes infatuated with the guy, and this leads to another couple forming a relationship – just not the one they intend to pair up. In the Korean version, another member shoots a love bullet into a tree, and this causes one person from the potential couple to fall in love and make out with a tree. At the end of that video, one of the NCT WISH members dives in front of the love bullet, causing the female protagonist to fall in love with him instead. It turns out, as she saved his life earlier in the video and came across her again, he had fallen for her. I really enjoyed the members’ reactions to these different developments and thought the music video was fun to watch.

The choreography for WISH was exciting to watch. I like how it portrayed the group’s youthful charms, as teased out in the song. But they didn’t do it as cringingly as some of their other counterparts, which I appreciate. I really liked the routine during the song’s chanty sequences, which highlights both their synchronisation and sharp movements—which are strong attributes in all of NCT choreographies.

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

[Review] WHERE AM I – CHA EUN WOO (ASTRO)

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Over 5 months ago, CHA EUN WOO from ASTRO made his official solo debut with the mini-album ENTITY. Leading the mini-album was the single STAY. Following the release of ENTITY and STAY, CHA EUN WOO also released music videos for the side tracks WHERE AM I and You’re The Best (thus making both songs eligible for a separate review). Today’s review focuses on the former – WHERE AM I.

CHA EUN WOO takes us down a balladry path with WHERE AM I. The track features an instrumental consisting of alternative rock and stilling piano. I liked the presence of the alternative rock, as it a different energy to the genre, as opposed to the usual classical form. Combining it with the piano allowed for the retention and channel of a slow pace and delicateness all throughout to maintain that balladry motif. But while I do like the instrumental, it was not the scene-stealer. Rather, it set the scene up really well for the actual scene stealer – CHA EUN WOO. His vocals are so beautiful in WHERE AM I. I remember being utterly captivated by WHERE AM I whilst checking out his mini-album when it was first released and that was because of the emotions CHA EUN WOO had put into his deliver. I thought the way he did was refined, as it did not sound like he was pouring his feelings into this vocal delivery. Rather, a slight rasp, the airiness and lightness, deeper tone in various parts of WHERE AM I and the pace of his delivery/melodies really highlighted and brought the emotions to me (and the audience) with little effort. He adapted really well with the changes in the instrumentation, and his push to complement the changes remained effortless. I particularly like the ‘Where Am I‘ in the choruses, and how heartfelt these 3 words sounded. Overall, a very stunning and mesmerising ballad.

The lyrics talk about to void that is left behind and the feelings following the departure of someone important from one’s life. I can only imagine what CHA EUN WOO (and the other ASTRO members – past and present) had gone through, but you can’t help and make the connection that the song is a tribute to his fellow member and friend MOONBIN, who passed away last year. The last line “I will see you again” definitely makes me eyes well up. In the video, we see CHA EUN WOO give into his desire to drift away upon remembering that someone. To me, it represents his longing for the person and that he wants to reach out and be with them. At the start of the video, he is seen wandering the streets alone and in his own bubble. But at the end, he comes back to the surface and continuing on with his life as he continues to comes to terms with the fact that someone is no longer in his life. It is definitely a thought provoking and emotional music video, so have a box of tissues next to you when do watch it!

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

[Review] I Do I Do – KARA

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KARA returned to the stage at the end of 2022 with WHEN I MOVE to celebrate their 15th anniversary together, 6 years after disbanding. We haven’t had a KARA comeback since. But that changed earlier this week, when KARA returned with the single I Do I Do. A pre-release single titled Hello was released two weeks ago ahead of this comeback and featured vocals by the late member Hara.

If I could sum up I Do I Do in one word, ‘pleasant’ is what I would use. There isn’t anything innovative or new brought to the table through I Do I Do, but it is still quite a pleasing pop single. I liked the upbeatness of the instrumental and how solid the vocal work in the verses were. Both of these sets up I Do I Do quite well for its nostalgic, reflective and cheerful atmosphere that runs through the entirety of the song. The pre-choruses briefly moved the song to a dreamy affair, which I quite enjoyed. But it is the choruses that took most of my attention in I Do I Do. The centrepiece builds on the pre-existing instrumental and vocal work to make it punchy and catchy. The additional definition heard in the choruses just makes I Do I Do feel more charged, energised and exciting. I liked the added touch of the electric guitar at the end of I Do I Do, which gives a bit more zing to the song. The weakest part of I Do I Do is the rapping in the second verse. I am a bit torn whether it is needed. Had it not been there, I might have pulled out the ‘too consistent’ card. But at the same time, the rapping felt like it was needlessly rushing through the song. But apart from that small dilemma, I Do I Do remains a pleasant listen.

Through the lyrics, the KARA members were reliving some good memories about their time together. Similarly, the music video shows the members reliving those exact same memories with one another. Overall, it is a cute video that goes well with the music video. I would have preferred more vibrant colours, rather than the vintage look we got. I think this could have supported the song better and made it more vibrant to the listener.

There is some choreography that accompanies this comeback shown in the video, but I am not sure if we will be seeing more of it in the future. Because of that, I have decided to combine it with the music video portion of the review to be on the safe side. Not much to say here, other than it looks good and works well with the music.

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

[Review] SHOCK – ALL(H)OURS

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It is time to finally review a release from a new group – ALL(H)OURS, a seven member male group (consisting of Kunho, Youmin, Xayden, Minje, Masami, Hyunbin, and On:N) under EDEN Entertainment. They officially debuted back in January 2024 with the single GOTCHA and mini-album ALL OURS. Unfortunately, I have not reviewed that release yet and will return to review it in the future. Today’s focus is on their latest release, SHOCK, which is the title track off their 2nd mini-album WITNESS. This dropped earlier in the month.

Very noisy is the first thing that comes to mind when I think of SHOCK. But for some reason, many people associate noisy with a bad song. That isn’t the case with SHOCK. Rather, I find the entire track to be super powerful from the get-go. The instrumental itself is one layer to this powerfulness – appearing quite boastful from the onset. The more electronic leaning synth work is super riveting, engaging me from the very first second it appears. The heavy beats give the background a compelling factor, while the chorus has this super defined trance-like synth that gives so much body to SHOCK. Another layer to the powerfulness is the shouty and chanty nature of ALL(H)OURS’ delivery. This is a style of delivery that doesn’t work in some songs, but I find it was well used in SHOCK. Firstly, the members needed to be heard over the background. Secondly, they needed to complement the high-octane energy that SHOCK exudes. Thirdly, it gives definition to song, which is already quite full-on, as you can hear. ALL(H)OURS’ aggressive rapping fits in well in SHOCK, as well. SHOCK‘s various hooks also manage to stand out, thanks to the group’s delivery. The “Woop Woop” in the chorus is definitely my favourite. Probably the most uninteresting part of the song is its bridge, which allows the vocalists to shine. It did bring some relief in this energetic track, but my attention is always reverted on SHOCK‘s chorus when the energy is at its highest.

The music video for SHOCK adopts a choreography and closeup formula that I have always mentioned is a bland approach. In this instance, I might go back on that mentality, as I thought the music video ALL(H)OURS had released for this comeback worked really well. Part of it was the fact the song was high-octane, so the different shots just kept on moving onto the next. Nothing felt dragged out for a second longer than it should be. Secondly, the post-production actually made it look cool. I particularly thought the spikes coming out of one of the members was an intriguing moment. Finally, the styling was interesting (in a good way). The colour was more reserved for the background, and the members wore outfits that were bland or predominately beige to allow said colour to pop out further. A different approach to what we have seen previously in KPOP.

If this performance was anything to go by, ALL(H)OURS is a rookie group to watch out for! The start of the routine with the finger tutting (I think that is what you call it) was a really bold and intriguing way to start the performance. Throughout the routine, the members really matched the energy of the song with their moves and aggressive demeanor. It was a really captivating stage performance to watch!

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

[Review] Blessed – HA SUNG WOON

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Back in 2022, HA SUNG WOON made his solo comeback with FOCUS and his 8th mini-album Strange World. A couple of months following that, HA SUNG WOON enlisted into the military. It has been almost 2 years since that last comeback, but HA SUNG WOON finally made his solo return last week with his 9th mini-album and a lead single, both titled Blessed.

The hip-hop genre that Blessed goes with stands out very strongly, which isn’t what I usually associate with HA SUNG WOON. I had to fact-check that to be sure, just to make sure I hadn’t forgotten all of HA SUNG WOON’s past tracks. Though, I wouldn’t put it pass me – a lot has happened in KPOP since HA SUNG WOON’s last comeback. I am not exactly put off by the direction of Blessed. I feel like I should be, based on my past experience. But HA SUNG WOON’s handles it well. Just some of Blessed could have been better executed, in my opinion. Starting off with the positives, his vocals in the verses were quite good, particularly the way he transitions from more a hip-hop to a R&B delivery. The instrumentation was quite engaging, despite it not bring anything new or different to the table. I did like the little synth blasts behind HA SUNG WOON’s utterances of the song’s title. I also like how the instrumental smooths itself out as part of the pre-choruses to match with the R&B motif of his vocals. As for the chorus, this is where Blessed falters the most for me. Currently, I am on the fence about it, which is the resultant of multiple listens to Blessed. The “I’m so blessed, uh, uh, uh” hook itself comes off as unimaginative and becomes obnoxious as Blessed goes on. But without it, Blessed would be without some much needed attitude and sass that HA SUNG WOON does delivers the hook with. This ultimately would have made the song less impactful, compared to how it is at the moment. I would liked something a little more developed on this front. Similarly, I would have liked the instrumental and delivery of the final chorus and instrumental break to not feel the same as earlier in the song. This could drive up the dynamism of Blessed and closed out the song in both a more satisfying and bolder way.

I liked the darker style that HA SUNG WOON goes for in the music video. It brings out a more seductive and alluring side to the soloist, which I can’t remember if we have seen before. It also works with the hip-hop style that the song leans towards. But the darker style does contrast with the more hopeful message of the song, which is about feeling blessed for living one’s dream. This contrast does make the video feel aesthetic and interesting to watch. I liked the various solo shots we see of HA SUNG WOON, as well as the post-production effects. I also enjoyed the subliminal messaging that he is the missing piece to this own puzzle, as revealed in the end.

The performance for this comeback is very good. I found the entire routine from start to end is worth watching. HA SUNG WOON and his dancers hold their ground really well, bouncing along when the song is most dynamic and smoothing out their moves when the instrumental goes down that same path. He also shows off some footwork towards the end which looks really good.

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