Category: Reviews

[Review] Walk – NCT 127

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NCT 127 returned with their new single and 6th studio album, both titled Walk, yesterday. This is their first comeback following their Fact Check single and their 5th studio album of the same name from last year. The group Leader TAEYONG will not be participating in the comeback promotions for Walk as he is carrying out his military enlistment.

NCT 127 taps into the groovy side of early ’00 hip-hop with Walk. To me, NCT 127 executed this style very coolly. This allows them to stand out instantly from the other currently trending releases and highlights NCT 127’s versatility. One of the most strongest aspects of Walk is its production. It felt very clean and crisp. I really liked the bouncy beat of the song, which is synonymous to the ’00 hip-hop style. I also liked the accents and detailing in Walk‘s instrumental, particularly the emphasised beats in the choruses. They gave off a slight dramatic effect to the song and added a little something different to Walk to keep it from being overly consistent. The instrumental break brings the 90’s disc scratching effect into play, in combination with the pre-existing instrumentation, and this was a very cool change up. I was actually wishing for something dynamic in Walk, and they gave me just that with this segment. In terms of the delivery, this is was definitely another strength of Walk. I really liked the vibe NCT 127 exuded with their lower and deeper rapping. It definitely fits in with the style of music in Walk. The vocals were very clean and the high note ad-libs contrasts with the lower/deeper tones well. Following the instrumental break, I really liked how the vocals had a little more oomph to it. I personally would have liked a little less repetition in Walk, just to further promote a more dynamic flair in the song. A touch more could have really transformed the song for me. But in its current form, Walk is already a top-notch song.

The music video shows the member showing off their foot wear as they sing about walking their own path in life. Very fitting. They also show off their passion, burning the rubber on the soles of their feet as they walk and run down their path. It does appear that TAEIL is still unable to participate in the choreography for this comeback as he is notably absent from the music video’s choreography scenes. But I did like how they managed to still incorporate him into the music video aside from his standalone solo shots. For example, they kept TAEIL in the car as the driver and showed the choreography shot from the driver seat window. In later scenes when he crashes the car into the restaurant, you can see him vibing in the driver seat as the other members dance. I also commend their casual and urban style they had going on in the video. Again, looks very cool.

From what I can see in the music video, the choreography looks to be as cool as the song and the group’s style in the music video. It embodies the hip-hop genre, bouncy beats and low registers of the song quite well. When the song speeds up for the instrumental, the corresponding dance break definitely hastens up and gives the routine some complexity. The footwork is a constant feature in the routine, and I am most excited to see that in the stage performances.

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

[Review] Hmm BOP – HUI (PENTAGON)

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Way back at the start of this year, HUI (the leader of PENTAGON) made his official solo debut after debuting almost 8 years ago as part of PENTAGON. His solo debut consisted of the mini-album titled Whu Is Me: Complex (I can confirm there is an album review coming) and the title track Hmm BOP. My review on Hmm BOP is definitely overdue. The latter was recently named as the best KPOP song of 2024 so far by Billboard. HUI has also been active in the KPOP industry since debuting as a successful music producer (with works such as WANNA ONE’s Energetic and PENTAGON’s hits like Shine and Daisy to his name), and more recently as a trainee on Boys Planet (where he finished 13th).

The song has been out for almost 6 months now and I don’t have a reason as to why I have been putting off reviewing Hmm BOP. I just have. Listening to it today for this review, the song remains just as funky and groovy as I have perceived it back in January. Funky and groovy always translates to fun in my mind, which is undoubtedly hard to deny isn’t the case with Hmm BOP. The beat has foot-tapping energy and the brass just hits right in this retro inspired number. The electric guitar that features in the background blends in effortlessly and gives the track some much needed grit, keeping Hmm BOP from going overboard and feeling unbalanced. As for HUI himself, I still enjoy his expressive, dynamic and exciting delivery in Hmm BOP. His ad-libs throughout the earlier parts of the song were very impressive, but he definitely peaked towards the end when Hmm BOP goes down a chanty anthemic direction. He really shows off his vocal abilities with these ad-libs and it was all captivating to listen to. That chanty line “jiphap the jip to hap the jipjiphap we don’t stop“, which means “Assemble, The A-S-S-E-M To B-L-E The a-assemble, We don’t stop“, is super catchy and an addictive hook. So was the “Hmm BOP” that HUI repeats throughout the song. Altogether, I can see why people have raved about Hmm BOP. And if my praise of the song is saying something, I am most likely there with them.

It would be a complete injustice if the music video did not channel the fun of the song. Good thing that there is no sign of bad news for this release. The whole video is full of fun and colour. No matter what he is doing (ordering a burger in a diner, being the centrepiece at a formal dinner, singing on stage, playing an off-brand Grudge, participating in an aerobics video, controlling puppets, walking on the moon or just having a party), he is bringing the fun to everyone. As it was fun, HUI managed to get away with a few things that I didn’t like – such as the shiny fake tooth, that beanie etc. I mean, the video is intended not to be taken as seriously.

The choreography also promotes that fun, expressive and dynamic side of the song. I actually think it does so in a much better way than the music video does. HUI and his dancer’s expressions were very engaging. The moves were also of the similar nature and I liked the energy that both HUI and the dancers put behind them. I couldn’t remember how many abs reveal he does in the choreography, but rewatching the performance I am glad he didn’t over do it. Too much of them would have raised some questions and lessen the rating of the performance for me. Glad that wasn’t the case. However, I will definitely say that they look great and probably took a lot of work to get it to look like that for this release (which I will applaud him for).

Song – 10/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 9.4/10

[Review] XO (Only If You Say Yes) – ENHYPEN

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ENHYPEN is another group to return this week with their second studio album ROMANCE : UNTOLD and the lead single XO (Only If You Say Yes). Throughout the rest of this review, I will be referring to the song as just XO for simplicity reasons. This release follows from ENHYPEN’s ORANGE BLOOD mini-album (lead by Sweet Venom) and a special mini-album titled Memorabilia (lead by the single Fatal Trouble for their Dark Moon: The Blood Altar webtoon). The group has also been busy embarking on their second world tour, which started back mid-last year and will continue to September of this year.

Despite being just dropped a day ago, I can feel the definite potential behind ENHYPEN’s latest song, XO. It is probably one of their most mellow and fluid title tracks yet. The best part of XO for me is its catchy hook – the “XO, Kiss Me, Don’t Say No“. It is repeated a number of times throughout the track and is delivered in two ways – a smoother and fluid delivery and the slightly bolder version with the vocal chop that feels elongated and prolific. The latter definitely sticks around in my mind after the song wraps up, and this pulls me back to the song (though I am not sure how this will play out with further listens and the fast pace nature of the current KPOP industry – more on this in a bit). The rest of XO does fairly well. There was a decent beat and rhythm that contributes to the flow of XO, with the overall groovy and R&B instrumental feeling very pleasant. There was just enough bounce and charm to the backing of XO to make it feel suitable for the current upbeat and dynamic season. The members sound nice all throughout XO, but I would prefer less autotune during the verses, so that the members do sound clearer. Stronger melodies during the verses would also make them more memorable, with the chorus stealing the limelight from majority of the song. The one other thing I worry about XO is how long the song will stick in my own and the audience’s mind. Despite the song’s catchy hook, XO doesn’t make much else to serve as an anchor, which is a recurring problem for ‘pleasant’ songs. This is particularly true for a song like XO, which I have also described as mellow and fluid earlier on in this section. Sure, the hooks will get XO some repeat listens. But over time as catchier and grabbier songs come out, XO can become lost in the pack. For the time being, I do like XO and will continue to enjoy as much as I can before something better inevitably does come out.

XO’s lyrics tell us of a story of a boy that is willing to do anything for the one he loves. But the story in the music video that accompanies the new release speaks to a slightly different story, according to viewers in the YouTube section. The members play characters who are willing to do anything for the one they love. However, when SUNGHOON mouths “I Like You” to his lover, the world stops and it is presumed that his lover did not hear his love confession (hence why the album is titled ROMANCE : UNTOLD). Similarly, JUNGWON imagines the walk he has with his lover, snapping back to when he was with the rest of ENHYPEN at the start of the video. As for the other members (i.e., JAKE, HEESEUNG and NIKI’s), there are a lot of looks of fondness but no confession, which probably meant their romance remains untold. And for the members were there was some sort of confession (i.e., JAY and SUNOO’s), these scenes might also be imagined like JUNGWON’s. I am not entirely sure what the darker scenes of the video represents. Though it might be a connection to the cool concept trailer that was released a few weeks back where the members were vampires being hunted by the authorities, but they took a risk to return to save the one person who got them. This video in itself also represents that idea of someone willing to do anything for the person they love.

The choreography for this comeback was good. Once again (and it might because of my mood this week) but I personally did not see anything that really stood out to me. But there was a lot to like. The X and O’s moves made sense. I also vividly remember the charismatic (and cuter, depending on the member in question) smiles on ENHYPEN’s faces. These felt fitting for this comeback and resulted in some of the same energy being transferred to the audience. I also liked the various outfits that they donned on stage and during the choreography shots in the music video. The casual one was the best, as it complemented the lightheartedness of the song.

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

[Review] JUSTICE – Dreamcatcher

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Making their comeback just yesterday was Dreamcatcher, with their 10th mini-album titled Virtuous and the lead single JUSTICE. This new release follows on from their 9th mini-album VillainS and the single OOTD, which was released back in November last year.

My final comments in the song section of my OOTD review was that it lacked the spark that makes it feel like a Dreamcatcher song. The first thing that came to my mind when I listened to JUSTICE yesterday was that they regained that missing spark. When you compare the two songs side by side, the main difference (for me, at least) is a powerful force. And JUSTICE is indeed a powerful track. Like all Dreamcatcher title tracks, JUSTICE definitely finds its roots in the rock genre. But the producers do a little more to the edges of the song to make it feel unique, and not a have JUSTICE repeat or rehash the rock genre again and again. The dramatic and sinister percussion that features as the main backing of the verses felt very theatric. There was also a touch of electronic influence in the chorus, as a result of the autotune that made the high notes of the song choppy. The pre-chorus of JUSTICE also brought forth a ‘We Will Rock You‘ type of vibe. All of these were really cool elements in JUSTICE and helps exude that powerful nature I mentioned the song having. Alongside all of that, the successive high notes that make up the chorus also aligns and allows the members (yes, they were pulled off by multiple members, not just one!) to contribute towards that same powerful force that makes JUSTICE empowering. Given the song’s use of high notes in the choruses, I did wonder how the the producers would top them as part of the final chorus, as just maintaining the same chorus without much change have been an injustice (ha!) to the song. But the ad-libs high note on top of the usual high notes in the final chorus worked like a charm and definitely helped sign off the song in a satisfying manner. Overall, I really liked JUSTICE and the return to form it brought along with it.

JUSTICE (the song) conveys the message that all people are heroes, if they fight for their beliefs and idea of justice (taken from SOOMPI). And while the music video doesn’t have much of an explicit plotline, the video does portray the members being limited in the beginning, breaking free and fighting for themselves (and others). We see SIYEON throw away the dark crown, which was shown at the start alongside the words “For the souls swallowed by the abyss of malevolence“, which makes it represent the idea that some people’s souls become corrupt and this cause them to become ‘evil’ people. I did think the video was a little light on the individual shots, which could have portrayed a bit more of that implicit storyline. Also thought the choreography scenes were a little bare, as they were mainly in that big art gallery-like room.

Days before the comeback, it was announced that SIYEON would be sitting out of promotions due to health reasons. That does leaving a gaping hole for the promotions, given SIYEON’s position as main vocalist. However, SUA and HANDONG step to take over SIYEON’s high note without any problems. Good on them! As for the dance, I thought it looked good. Nothing really stood out to me, but it definitely showcased some artistic flair and a powerful side to the group.

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

[Review] Heaven – TAEYEON (SNSD)

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TAEYEON made her comeback on Monday with her latest single Heaven. This latest release follows on from her November 2023 comeback with the single To. X and the mini-album of the same name.

Heaven is a groovy dance pop track, with the synth work giving off a disco pop groove. The upbeat nature, which comes as part of the disco pop groove, gives Heaven a brightness that feels positive (despite the sinister and creepy visuals of the music video – more on that in the next section of the review). This brightness goes well with the lyrics, which speaks to the feeling of heaven when desires and wants are fulfilled. I also liked the lightness of the arrangement, which makes Heaven an easy-on-the-ears listen. And Heaven glides along with TAEYEON’s effortless and smooth vocals and melodies. Overall, I enjoyed the song. But I think there are ways to make the track stronger. Making it longer could do some wonders to the song. Heaven is over before you realize, spanning just over 2:30 minutes long. It doesn’t help that a light arrangement and smoothness comes with some disadvantages, such as potentially making a song forgettable. You ought to really pay attention to the song to register that it is Heaven. And a short length doesn’t really help with that. I do think Heaven could also benefit from something to anchor us with, such as stronger melodies, given the light/smooth/short approach. The way TAEYEON starts off Heaven‘s chorus was amazing, but I don’t get that same energy through the rest of the chorus.

Despite the song itself showcasing a positive message of what heaven feels like, the music video goes in a different and much darker direction. The contrast is interesting, but worth exploring. In the video, we see TAEYEON prepare food for her lover, so they can experience the same feeling of heaven that she has experienced. The dish in question does involve a few interesting ingredients (she is holding an apple that skin is made from hair, and she chases down a bear) and preparation methods (such as chopping ingredients with an axe). She cooks up a storm, present the dish to her partner, who she watches over whilst they eat her creation. In the end, the partner does experience the same heaven she experiences, but for some reason neither have that same euphoria that she experienced earlier in the video. It does make me wonder if TAEYEON’s character is some sort of serial killer, who gets a high off killing (i.e. the feeling of heaven). And the victim is the lover, who is unable to provide the same high anymore after they are dead, so she moves onto the next person. This theory might explain the final scenes of the music video.

Song – 8/10
Music Video – 9/10
Overall Rating – 8.4/10

[Review] Klaxon – (G)I-DLE

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(G)I-DLE started the year strong with their 2nd studio album, 2, lead by the pre-release single Wife, title track Super Lady and the unexpecting hit single Fate. The group has now returned with a new mini-album titled I Sway, which is lead by the single Klaxon. Following promotions for Klaxon, the group will embark on their third world tour, as announced back in May.

I am a bit torn as to whether I like Klaxon. It has potential to be a hit and there are some likeable elements in the song, but it doesn’t surpass the likes of DUMDi DUMDi (a (G)I-DLE summer time hit from 2020). The track itself had brightness and energy. But it felt held back and Klaxon didn’t fully embrace these summer time essentials. On the other hand, Klaxon also features brass elements and upbeatness, and these definitely helped sell Klaxon as a summer time song. But beyond that, the backing of Klaxon does still feel rather basic and not as bold as (G)I-DLE’s more recent tracks. Had Klaxon embraced some boldness (perhaps accented the background a bit better) and maintained the current summery vibes, the song would have a lot more bite to it and it could have rivaled the other Summer time hit (G)I-DLE already have under their belt. As for their vocals and rapping, I thought they were good. Again, basic melodies. But the members delivered those well. An awkward aspect of Klaxon are the hooks. The song’s two main hooks were rather lackluster and not as enticing as in the past. These dry out the song, though I have to admit the randomness of the “Hon hon hon hon hon honk” hook does keep things a bit interesting. Without any context (like how Klaxon is another word for horn), it feels like an odd choice. I just wished it was delivered with a little more emotion. The other hook in the song, the “Oo, Oo, Wa-Oo“, was indeed much better in terms of effect and delivery, but also lacked innovation and felt typical. Overall, another song that has resulted in mixed feelings.

As for the music video, the members fully embraced the summer heat and made it into a sexy summery music video. I liked that, especially the fact the members did not shy away from donning the outfits throughout the video. SHUSHUA definitely stole my attention with her looks throughout the video, with MINNIE’s curls being a close second. However, I am not keen on whatever the hair situation YUQI had on the beach. Elsewhere in the video, it appears the members are chasing someone. But it only becomes apparent towards the end of the video during the desert scenes. The connection here with the song is that the members have fallen for this mystery person and are driving after them to get their attention (presumably by honking the horn of the car they are in).

The choreography for this comeback looks relatively simple. And I quite liked that. It works well with the basic profile of the song, and sometimes simplicity is indeed better. I liked the various key moves that accompany the hooks of the song (not matter how basic and typical they sounded), as well as the cascading bit in the bridge of Klaxon led by Minnie.

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

[Review] Sticky – KISS OF LIFE

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Another group who made their comeback earlier in the week was KISS OF LIFE, who returns with their second single album Sticky. The title track also shares the same name. This summer comeback follows on from their Midas Touch comeback earlier in the year.

While KISS OF LIFE have stuck to more powerful pieces in the past, Sticky offers something a little different. Sticky is still a summer track, but it is more flowy, melodic and lowkey than other summer-time tracks that we have heard in the past. And it is this distinction that makes Sticky stand out and feel extremely charming to me. I usually think of something more dynamic and energetic for this season, but the laid-back vibes of this song is ideal for moments in Summer when you do not want to be moving about as much. The Afrobeats instrumentation felt extremely peaceful and soothing, and the percussion was nicely light but prominent enough to ensure Sticky‘s upbeat motif. I also quite liked the violins present throughout the track as well. The melodies and hooks were well delivered by KISS OF LIFE, and they ring in my head even after the song finishes. And needlessly to say, their vocals were quite good, putting Sticky on par with the rest of their discography. That brief touch of rapping just prior to the final chorus was also well executed and placed in the track. I guess the only weakness in Sticky (and it is negligible given what I had already described about the song), and is the case with other subdued songs, is that all parts of the song really need to be compelling to avoid the song being forgotten. While the choruses does hold Sticky‘s ground, it could be argued that the verses didn’t hit the mark as well as they could have. But I am not as fussed by this and think Sticky managed to push through as a memorable track.

It would have been really cool if this music video was shot in a one-camera shot style. This could have really boosted the music video’s profile and earned a lot of praise from me (and probably a lot of the viewers). What we got was more of a faux version of that one camera shot style. It is not the same, but we got a similar product in the end. I really liked how KISS OF LIFE really pushed the boundaries in the video, making it sexier to what KPOP is used to. I also like how they made sure to portray the lightness of the song through the video as well, which was much appreciated by me. We don’t see anything too harsh in terms of lighting or colours. Everything felt easy on the eyes and looked good. I would like to know what the ending means. It felt like a cliffhanger, perhaps to their next release.

KISS OF LIFE really turns up the heat with the accompanying routine for Sticky. A fair bit of twerking and a lot of sexiness is delivered by the group. I like that they are not afraid and definitely pushes the boundaries in this regard. I did think dancers could have made this performance a bit more dynamic and showed off some additional chemistry that we saw in the music video.

Song – 9/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.7/10

[Review] Cheeky Icy Thang – STAYC

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After a string of successful title tracks on mini and single albums since their debut in 2020 (such as last year’s Teddy Bear, RUN2U and ASAP), STAYC has returned with their first studio album Metamorphic. Leading the charge on this album is the title track Cheeky Icy Thang.

Cheeky Icy Thang receives mixed feelings from me. I liked some parts of Cheeky Icy Thang, but other parts felt questionable (at best). Let’s start off with the positives of Cheeky Icy Thang. The electronic strutting instrumental had good drive and forward momentum. There was also this attitude to it, which I wished the song explored a bit more. This could have made Cheeky Icy Thang into something else. I also enjoyed the detailing in the background. This added a layer of the playful STAYC colour that we all know and enjoy, and also kept the backing as a compelling listen. Very brief parts of Cheeky Icy Thang, such as the second half of the verses, had this vibrancy from the members’ vocals, which adds more STAYC colour to the song. I am not exactly sure if it fits in, but considering the other weaker points Cheeky Icy Thang which I am about to speak to, I am labelling this vibrancy as a positive. I also find the concept of the some of the delivery to be quite good, such as the autotune that bridges the verses and choruses. Now onto the weaker parts of the song. The lyrics were definitely questionable and felt more like gibberish. “Whisky ring a ring ding dong” just doesn’t do it for me. While I did like some of the vocals and concept of some of the delivery (as mentioned above), the silliness of the lyrics made the delivery and execution awkward. The use of rap-singing felt overused in the song, as well. Lastly, the abrupt ending (and lack of a bridge and final chorus) meant Cheeky Icy Thang didn’t close in a satisfying way. Cheeky Icy Thang has its charms and it could be a matter of further listens to really have the song grab me. But for now, mixed feelings is the best way to describe my thoughts on the song.

While that the above is how I think about the song, the music video fairs a bit better. I liked watching the accompanying video to Cheeky Icy Thang. That strutting vibe that I mentioned above is reflected in the music video, when the members cause chaos behind the scenes at a modelling shoot. I think this is supposed to demonstrate a “cool” side of the group. Elsewhere, the chaos continues on outside on the streets. What I saw reflects the summery season with the bright sunlight, cheerful smiles from the members and a casual vibe. The music video was designed to be light-hearted and fit in with the dynamism of the song, which I personally think worked.

Choreography wise, it looked okay. I am not sure what would be a better way to show Cheeky Icy Thang in some dance moves, but I am not sure what we saw in the routine was that. I did like the part of the routine for the instrumental break, however. The ending pose is growing on me, but looked a little awkward at first.

Song – 7/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 7.3/10

[Review] FOREVER – BABYMONSTER

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Back in May, YG Entertainment announced plans for BABYMONSTER to return later in the year with their first studio album, and that a single would be released in July as a pre-release. Well, it is now July and YG Entertainment confirmed BABYMONSTER release officially dropped on Monday as promised! Hahaha… Remember those days? The pre-release single is titled FOREVER and follows on from the release of STUCK IN THE MIDDLE and SHEESH from earlier on in the year.

I am genuinely surprised with FOREVER, particularly when we hit the choruses. BABYMONSTER’s songs have not really pulled me in thus far, but FOREVER is the first to catch my attention and bring out a positive reaction from me (for the most part). The pop vibes in the chorus are different from what YG usually produces and releases for their artists. For the instrumentation, FOREVER‘s club-like background during chorus hits the mark, for me. The vocal work in the pre-chorus and choruses of FOREVER were nicely executed and further demonstrates that there is promise for the group. Even I received the rapping throughout the track positively. But while I do appreciate all of this, FOREVER does have a few issues that limits the song’s potential collectively. Firstly, I felt FOREVER was disjointed due to the various pauses between different segments of the song. If the song was ‘tighter’ on many fronts, I felt this would have made FOREVER more cohesive as one piece. Secondly, FOREVER suffers due to the presence of the not-so-innovative second verse. It isn’t the rapping that gets me (per my earlier comments), but rather it is the breakdown that has to accompany the second verse rap in every YG song. I don’t see the need to stick to a breakdown every single time. Surely, someone would have realized this by now. I also think this sequence features the same (or extremely similar) synths to what we heard in SHEESH, which confirms to me there is a lack of innovation at the company. Thirdly, not keen on the soft utterances of “Like I’mma live forever” and “Like I’mma like I’mma” in the background of the chorus. They felt needless and don’t add anything to the song. Overall, FOREVER is a refreshing turn for BABYMONSTER (and their company), but there are some issues meddling its overall potential.

With KPOP’s growing presence at the big fashion shows, we see BABYMONSTER get ready for one of them in the music video for FOREVER. And following that, they have fun in each other’s company, what is assume, is following that fashion show. I liked the classy yet modern looks they had on throughout the video, and the sets were pretty cool. However, I do feel like there is a slip in standards. YG Entertainment videos always scream out to me for its high quality, but I don’t feel that here.

FOREVER has one of those routines that looks goods and feels fitting for the song. But it didn’t have anything in it that really stands out.

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

[Review] Strawberry Rush – CHUU

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Another comeback that occurred this week was CHUU’s solo return with her 2nd mini-album and title track, both of which are titled Strawberry Rush. I thought I prioritise this comeback for two reasons. The first is because I missed out on reviewing her solo debut back in October last year (with her 1st mini-album and title track Howl). Given all that she (and the rest of LOONA) have gone through over the last few years, I think CHUU (and the rest of the other post-LOONA acts) deserve some attention. As such, I will be looking for opportunities to review other post-LOONA acts that have made comebacks and debuts this year. I will point out the second reason later on in the music video.

Strawberry Rush feels very CHUU-coded. It is fun, cutesy, bubbly and energetic – all words I would use to describe CHUU. If the intent of the song was to bring a smile to our faces, then Strawberry Rush is a success for me, at least! Though I am sure there are others that felt the same need to smile listening to Strawberry Rush. The synthwave instrumentation was light and breezy, which feels fitting for the summery season the audience in Korea is currently experiencing, as well as current trends. CHUU’s vocals fit into light and breezy motif effortlessly and held its ground throughout Strawberry Rush. However, I would have liked to hear something a little more interesting from her in the song. The melodies, and as a result her delivery, felt very linear and safe for most of the track. It is as if she is being held back. The energy Strawberry Rush exudes does mask this a lot. But really focusing in on the song for this review has made me realized that not everything in Strawberry Rush is as sweet as it is seems. Her high note is a good example of this ‘more interesting’ element, but that was quite later on in the song. It could be argued that her rapping in the second verse was ‘interesting’. But I felt it to be a little too awkward, even though I am going to admit that it is growing on me ever so slowly. The more I listen to Strawberry Rush, I can’t imagine the song without the rapping. But despite my desire to hear more from CHUU in Strawberry Rush, I am quite on board with the song as it is already.

I only got around to watching the music video today. And as I watched it, I recognized that the real-life background were quite familiar – it was shot in Melbourne, Australia! And that is the second reason why I wanted to review Strawberry Rush. I am always willing to give a shout out to Melbourne, which is where I grew up. I really like how the video really made the colours of Melbourne pop and showed off its casual side. Aside having a moment about where the music video was shot, I also appreciated the CGI monsters, the post-production and CHUU’s overall cuteness. If the song didn’t make you crack a smile, then this music video will.

As for the performance, it was just as cute and fun as you expect! I really liked the simplicity of the post-chorus sequence, with the wide spread arms and bouncing move. To me, that summed up the entire comeback extremely well.

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

[Review] Cosmic – Red Velvet

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I know I haven’t posted over the last few days (work depleted all of my energy) but now we find ourselves at the end of the week. But I don’t think I can ‘end the week’ perse without reviewing Red Velvet’s latest comeback, Cosmic, which is both the title track and title of their 7th mini-album. Obviously, this review is just for the song, and I will definitely be returning to review the album some time in the future. Cosmic is the group first release since last year’s Chill Kill studio album and lead single comeback.

Elegant and soothing is what came to my mind when I first heard Cosmic on Monday. I wasn’t completely sold on it, at first, and I will speak to that in a moment. But repeat listens to Cosmic since its release has helped me realized that the track is indeed wonderful. Cosmic has this really enjoyable smooth flow to it, thanks to the members’ vocals and the song’s melodies. I honestly would not expected this from Cosmic‘s instrumental, which takes on a slightly more groovier texture and disco profile. But then again, Red Velvet have previously spun a unexpecting sound profile into something aesthetic (like Chill Kill and Psycho), and in the case of Cosmic, tranquil. The melodies themselves have a nice ring to them, and that gets the song in my mind even after it has ended. What I also liked about Cosmic is the spark of brightness the members bring to the song, whilst singing about a short-lived love-at-first-sight interaction. This brightness and the earlier mentioned flow propels the song forward for me, making it feel like it went somewhere. I also really enjoyed the harmonies and ad-libs that Cosmic had. A great song, overall.

But earlier I mentioned that I wasn’t completely sold on Cosmic in the first listen and part of me still feels that way. It stems from an inherent problem with ‘smooth songs’. Too smooth can make a song easily be passed over. Because I know what music Red Velvet puts out, I will always check them out (no matter the level of smoothness). I just not sure how this would go with the broader audience who don’t tune into Red Velvet as often, or know about Red Velvet whatsoever. As such, I feel like Cosmic needed a striking element. I am not sure what that would be, but it needs something aesthetic enough to fit in with the rest of itself and also really grip the audience at the same time.

As confirmed at the end of the video, the music video for Cosmic is inspired with Midsommar, a film about an American couple in a deteriorating relationship who are drawn into a violent cult in rural Sweden. Obviously, Red Velvet’s visual material doesn’t focus on the first part or the violence that featured in that movie. But the video does feature a similar cult from the movie. Flowers and the maypole are elements also taken from the movie. Additionally, we see a person fall from the sky and the cult members (including Red Velvet) pick them up and carry them to their base to be sacrificed (I think this is the case based on the placement of flowers on the eyes towards the end). Both the person who fell from the sky and Red Velvet seem interested in one another throughout the video. But as the song lyrics suggests, this is rather short-lived, given my theory that a sacrifice had to happen. Interesting video overall, as well as an interesting choice for a KPOP music video inspiration.

The choreography for this comeback is very pretty. The pace and moves all match the smooth drive that the song has, and focuses on an output of elegance. I also like how the performance was also very smiley, which shows off a great side of Red Velvet.

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

[Review] If I’m S, Can You Be My N? – TWS:

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As mentioned two days ago, TWS:’ comeback was just around a corner. Titled If I’m S, Can You Be My N?, the new single dropped yesterday and formed part of TWS:’ highly anticipated first comeback with their second mini-album Summer Beat!. A pre-release single, Hey! Hey!, was released a couple of weeks back. I will return at a later date to review that track. For now, here are my thoughts on the title track.

If KPOP has taught me anything about Summer over the years, Summer songs usually stand out if they tick the following – the song is upbeat; full of energy; bright; and fun. If I’m S, Can You Be My N? definitely ticks 4 out of 4 criteria. This in itself already makes If I’m S, Can You Be My N? hold a lot of promise. But there is also a lot more to If I’m S, Can You Be My N?, such as its ear-catching hooks and its dynamic instrumentation that has a lot of musical details that increases its fun energy and brightness. The guitar and keyboard at the start and end of the song are examples of these details that bookmark either ends of the song in a very pop and colourful manner. The groovy backing elsewhere in the song also had this forward driving motion that pushed the song and made it go places. But that isn’t all that stands out in If I’m S, Can You Be My N?. TWS:’ youthful vocals are on full display throughout the track, which just suits the summery season so well. SHINYU’s rapping was also quite exceptional, fast becoming my favourite moments in the song. Overall, TWS: definitely delivered on expectations that was set via their debut mini-album and title track. I don’t think they have exceeded those expectations with If I’m S, Can You Be My N? (as such, I have gave the same song rating as I did with plot twist). But you can tell they put in a lot of effort for a successful comeback.

TWS: continues their schoolboy concept in the music video for If I’m S, Can You Be My N?. The video shows the members at (what looks like to be) hagwons – like an after school tutoring centre that South Korean students attend. We see the members also skip hagwons to hang out with one another, and also do other extra curricular activities like athletics (more specifically, high jump). This brings together two students who are opposite to one another – the studious and the sports player – with the members expressing their “heart-fluttering excitement about getting to know the numerous reasons why opposites attract” (taken from SOOMPI) in the lyrics. It was a vibrant and very colourful video, without a doubt intended to be suitable for the summery season.

The performance for this comeback is very dynamic and this made it very exciting to watch. Again, I applaud the fact they brought some youthfulness (and as an extension of that, some cuteness) to the routine. Their chemistry and the fact they are constantly moving definitely made it another strong routine that I am sure TWS: will continue to stand out with.

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

[Review] SABOTAGE – KWON EUNBI

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Next up on the blog (and finally moving away from Monday releases) is KWON EUNBI’s SABOTAGE. This new single is featured on her second single album of the same name, and follows on from her 2023 single The Flash.

SABOTAGE continues KWON EUNBI’s venture into club music. I liked the set up behind SABOTAGE and the groovy disco elements in the instrumental that gives SABOTAGE a very bright and poppy feel, ideal of the summer season. KWON EUNBI delivers the song to the best of her abilities – that must be acknowledged. All in all, I think SABOTAGE is an alright song. But there are a few aspects upon reflection that makes SABOTAGE feel awkward for me. The first has to be KWON EUNBI’s vocals. I don’t think she is at fault, however. For some reason, the producers pushed her vocals to be higher than what it needs to be. As such, KWON EUNBI sounded scratchier than usual. Not exactly sure what the intent is by doing this, as it doesn’t necessarily put her in a good light as a singer. As mentioned before, she does well enough but I can tell that she is pushed beyond her limits. The second aspect that makes the song awkward was the second verse. The energy in SABOTAGE was good before and after the second verse. But I am not entirely sure why it needed to lull via another one of those typical trap-based sequence. Sure, it gives SABOTAGE some variety, but it felt counter intuitive at the same time. Thirdly, I am not fond of the song’s shouty lines in the background of the chorus, the “Stop, wait, let’s go” in the first verse and the “This is sabotage” as the bridge between the first chorus and second verse. I personally feel they are out of place and have no clue what value of these lines are to SABOTAGE.

As with all KWON EUNBI’s music videos, her visuals stands out. If there is anything to take away from this video, it is just that KWON EUNBI is stunningly beautiful. Alongside all the visuals and choreography shots, this particular music video features a story. KWON EUNBI plays a character that is part of a group of friends who have a romantic interest with one another. But it gets real messy when KWON EUNBI catches two of her friends kissing, leading her to (possibly) end her friendship with them. The fourth friend also has romantic feelings for her, but she quickly shuts it down following what happened with the other two. That is what I got out of the music video. And if my interpretation is right, then KWON EUNBI’s character’s reaction is confusing (as she also had romantic interests in both of her friends).

As for the performance, this one was very good. I really liked how chair was incorporated into the first portion of the routine. I won’t spoil it for you, but she doesn’t exactly use the chair for its intended purpose. Lifting KWON EUNBI up at the end and having the chair continue to spin even after she finishes was an interesting way to end the routine. The rest of the choreography was well presented and showed off her skills as a dancer, as well. The dancers also looked good and performed well with KWON EUNBI.

Song – 7/10
Music Video – 8.5/10
Performance – 9/10
Overall Rating – 7.9/10

[Review] Badder Love – EVNNE

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In true KPOPREVIEWED spirit, it is the end of the week and I am still reviewing the releases from Monday. The song in question up for review in this post is EVNNE’s Badder Love, the title track off the group’s newly released 3rd mini-album RIDE or DIE. This comeback follows the group’s January 2024 comeback with Un: SEEN and UGLY.

While their previous tracks (TROUBLE and UGLY) have been of a bold and bombastic motif, Badder Love sees EVNNE answer to the summer period that South Korea and other people in the Northern Hemisphere are experiencing. As for someone who likes the summer time more and is currently living in a part of Australia where it has been freezing lately, songs like Badder Love can be very appealing to me right now. For the most part, it does. Badder Love‘s instrumental is more of the pop variety, with nice pronounced guitar work right in the back and a refreshing set of synths. I like the more casual and carefree rush of energy that comes from Badder Love, which aids in making it a refreshing listen. As for the members, Badder Love gives the group an opportunity to show off a more melodic side, which is a fresh turn in their promotional material. I like the lightness that the members execute the song’s melodies with. Even the rappers of EVNNE join in with vocal parts, which was interesting. But despite listening to the song multiple times since it dropping on Monday, my initial thoughts on the song still stand – I wished there was more to Badder Love. More personality and individuality in some form could have made Badder Love even more compelling to listen to. EVNNE’s execution and delivery of Badder Love is fair, but also typical. It lacks that EVNNE factor and punch that I personally felt EVNNE had found in their earlier releases.

The music video description explains what the intent of the video is, leaving no room for misinterpretation. This whole mini-album supposedly “portray EVNNE’s reckless stance on love by using a phrase [RIDE or DIE], emphasizing the trust and loyalty of ‘together until the end’“. In the music video, we see the members as a group of friends who have taken up boxing together. They struggle with it in different ways, but are determined to reach their goals with one another. As such, we see the members consistently hanging out with one another despite of any regrets they may have about this journey. I liked the summery vibes that the video contains and that montage of the choreography shots at the 2:43 minute mark of the video looked very cool.

I liked how more fluid the performance felt, which gave off a more refreshing vibe to the choreography and complemented the song well in same regard. Their past performances have been more sharp and restricted because of the nature of the respective song. The inclusion of the love hearts was a cute element that works with the messaging of Badder Love, and I quite like the look of the stage as a whole when the members pull off their controlled wide arm movements in the chorus.

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

[Review] Last Night – JEONGHAN X WONWOO (SEVENTEEN)

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SEVENTEEN only just returned with their compilation album 17 IS RIGHT HERE (headlined by their latest new single MAESTRO). The album also consist of unit tracks (split by their usual Hip-Hop, Performance and Vocal teams), which I am looking to review at a later stage. They have also been fairly busy holding concerts this year and been on tour throughout Asia. But the 13-member group continues to be active through a new unit JEONGHAN x WONWOO. This duo unit brings us the new single Last Night (which features guitarist Park Joo Won), which is featured on the single album This Man.

It has been a couple of days since the release of Last Night and that naturally gives me an opprtunity to take a few listens to the song. Through these multiple listens, I can confidently say I like Last Night. The song didn’t strike me the first time I listen to it, but subsequent listens have made realize how good the song actually is. The aspect I always notice first when I have replay the song is its instrumentation. The Latin influence of the guitar, the guitar work (in general courtesy of Park Joo Won), the contemporary synths and pounding bass (which becomes more prevalent in the chorus) just makes this track ooze so much charisma, sexiness and alluring energy. I also like how these instrumentals meld together so well in Last Night. They all had great chemistry with one another, and this sets up Last Night to be a good track. The combination of JEONGHAN and WONWOO backs all of that up. I wasn’t particularly sure what style of music the pair would be delivering, but I am happy this is what they arrived at. The whispery nature of their delivery throughout Last Night reiterates that alluring nature I already mentioned. On the flip side, the contrast between their vocals (JEONGHAN being a little more high pitched, and WONWOO singing/rapping in a lower tone) makes Last Night feel textured and gives off a natural perception of depth. WONWOO’s rapping in the second verse, in particular, always seems to hit the right spot each time when it comes on. The melody of Last Night is quite catchy, though I do think the instrumental does mask its fluidity. But that is only a minor detail, and it doesn’t really change the fact I am liking Last Night overall.

The music video was a bit confusing to me. But in the lead up to the release of the music video, JEONGHAN x WONWOO released an audiobook teaser, which gives you context about urban legend of This Man, as they call it. It is also a recount of what is happening in the music video. I recommend you check out this audiobook teaser and then the music video, as this package will help you understand the story JEONGHAN x WONWOO are portraying in the music video and saves me off writing a not-even-accurate interpretation of the music video (which I have done previously!). I honestly find the concept of an ‘audiobook’ teaser to be so cool, and wish KPOP music videos does this more. As for the actual music video itself, I really like the mysterious and intriguing vibes that come from the video. And once the story clicks, it is definitely a worthwhile watch.

Choreography-wise, it looked good. It felt artistic and brought out great chemistry between the pair. You could feel the subtle tension between the pair throughout the routine, which made the stage feel more compelling to watch. I also like how the routine builds in dynamic flair as it progresses, peaking at the end for the final chorus as a final rush to the end of the performance.

Song – 9/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.8/10

[Review] Boom Boom Bass – RIIZE

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RIIZE officially started teasing the release of their first mini-album RIIZING way back in April of this year. They kicked it off with the full version of Siren at the start of April. Then followed the release of Impossible mid-April (which they promoted), and then followed up with the side tracks 9 Days, Honestly and One Kiss (released at the end of April – the former and latter I have yet to review). Two months on from the initial release, the group has released Boom Boom Bass as the primary title track from the mini-album.

While RIIZE has definitely explored funk before through the release of Get A Guitar and to a lesser degree in Talk Saxy (which is featured as part of the RIIZING mini-album), nothing has felt as concentrated as Boom Boom Bass. You get the funky and groovy vibes from the very first second and it stays present throughout the rest of the song. The guitar work in the background is definitely a highlight, as well as the pounding beat. Complementing that energy during the chorus is a bright pop energy that makes Boom Boom Bass even more likeable. Include a repetitive hook like the deep and low ‘Boom ba doom, Boom Boom Bass‘ and you have a song that is extremely hard to turn away from. Only just a couple of listens in and I can confirm that Boom Boom Bass has grown immensely on me, even though I was already enjoying the track from my first listen. The vocal work was vibrant and I liked the flair the rapping brought to the song. The ending sees the group get a little chanty, which I thought was a refreshing tone for the song. The only part within Boom Boom Bass that I am ‘umming and aahing’ about is the instrumental break. It obviously follows the momentum and trajectory that was built up prior to it, but it also felt too similar to the rest of the song. I think Boom Boom Bass could have been benefited from a little more flair to it. I didn’t feel that it seized the moment as well as it could have. But again, it wasn’t bad and it didn’t change the outcome of my final thoughts on Boom Boom Bass – that this is another great energetic song from RIIZE.

The music video begins with a mysterious guitar from outer space crashing into a music shop on Earth, causing massive chaos. I can only assume that everyone has heard and is searching for the guitar. While it isn’t shown, somehow WONBIN manages to grab hold of it. But as it is a mysterious guitar, it transports WONBIN back to outer space, only to come crashing down onto Earth once again. This time around, it makes the headlines. Throughout all the chaos and space travel, the RIIZE members still make the most of the situation and has fun throughout the events of the video. And this translates into a fun watching experience. For me, SOHEE had a strong grasp on me and stood out the most in the video.

Dance-wise, I think Boom Boom Bass has an awesome routine. The leg bounce movement that accompanies the main hook of the song looked very cool and brings a mature touch to the choreography. SHOTARO’s solo moment in the dance break was also very impressive – his performance skills are definitely on full display in that moment. And the energy the members deliver collectively at the end was fantastic.

Song – 9/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.9/10