Category: Reviews

[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

[Review] Holssi – IU

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IU made her comeback months ago in February. It began with Love Wins All, with a music video featuring both IU herself and V from BTS. A couple days prior to the formal release of her new mini-album came the music video for the single Holssi (the focus of this review). After that, IU released her 6th mini-album The Winning and the main title track Shopper. And a couple of days after the release and comeback, a music video for side track Shh… was also released. This final release will be reviewed in its own separate review in the near future. For now, here are my thoughts on Holssi.

Holssi never really stood out to me when it was first released. Coming back to the song for the purposes of this review, I can see why that was the case. Apart from some interesting vocals and rap-singing in the verses, which you have to really pay attention for in order to draw it out of Holssi as a takeaway, the track mostly felt empty and skippable to me. There was a constant drum ‘n’ bass presence in Holssi, which does bring on a slight groovy flair to the table. Some of it ended up reverting towards a more dramatic flair towards the end. But neither were enough to give Holssi bite, leaving the softer tones of Holssi to prevail. The rest of the instrumentation was atmospheric, which doesn’t do much to fill in the track. Similarly, the vocals work don’t give much of an anchor to the song. IU’s vocals are solid, as usual. But they just didn’t have a strong enough effect to hold my attention to the song. All of this ends up making Holssi feel wispy and feathery for the most part. Given the lyrics are about letting go and being free, contextually it made sense for the song to be this way. But the way the song was presented just didn’t help Holssi hold its ground, especially when listening to songs casually or in passing.

Just like the messaging behind the lyrics of Holssi, the music video sees other people following IU’s lead in letting go and be free. IU likens herself to dandelions in the lyrics, and she separates into thousands of dandelion pappus (yes, I searched up the exact wording) as she hit the ground at one point in the music video. We also see her perform with kids later in the video, which speaks to the ongoing freedom and lack of worries these kids feel. Finally, the video features a Looney Tunes like version of IU floating above the clouds. A giant Tweedy Bird also makes an appearance in the video, which might be due to the innocent child energy it widely known for, which is appropriate and relevant to the song’s underlying message. There is also a slight appearance of choreography in the music video, which looks fun and carefree.

Song – 6.5/10
Music Video – 8.5/10
Overall Rating – 7/10

[Review] Who – Jimin (BTS)

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Also returning yesterday was Jimin (from BTS). He is currently enlisted in the military, just like the rest of his group (except for JIN who recently finished his enlistment). But he joins fellow members Jung Kook, RM, j-hope and V who have released music whilst enlisted – a rare occurrence when dealing with military enlistments. Jimin’s new single, Who (an all-English track) is featured on his second studio album Muse. It follows on from the pre-release single Smeraldo Garden Marching Band (which I have yet to review), which was released at the end of last month.

Who could have been a great song. It was literally let down by one element. I will reveal what that was in a moment (though if you know me, you probably guess what it is). But let’s start off with the positive aspects of the song, which was literally everything else in Who. I really liked the instrumentation behind the track. The guitar brought great rhythm to the song, and the bouncy beat kept Who dynamic. The keyboard in the bridge was also a nice touch, providing a logical delicate moment as Jimin sings about his desire for a lover whom he has yet to meet. This instrumental combination (with the song’s melodies) reminded me of songs from the early 00s, such as those by Justin Timberlake. The synths gave Who a fair bit of texture. I particularly really like that descending flute-like synth that occurs during the chorus. The melodies had a nice flow to them and I liked the way Jimin’s vocals purposely pierce through the threshold. This allows him to keep his vocals upfront in both the song and our minds. Unfortunately, this is also where Who stumbles. Having Jimin’s upfront is not the issue here, but rather the excessive vocal processing that Jimin’s vocals go through. And since it was upfront, this places autotune at the very front of my mind. Instead, it brings very little substance to the song, felt particularly scratchy (especially when Jimin’s vocals go into those high notes) and undid some of the greatness that the instrumentation, the melodies and Jimin himself had put into the song. Had there been less autotune and more raw vocals, I think Who would have really hit it home and become a much bigger hit in my books.

I like the casual and urban vibes for the music video. The newspaper that we fly across the screen at the start of the video hints at the video’s concept of a Tornado of Love, which isn’t realized until towards the end of the video. Jimin is dressed very coolly as he dances and walks on the street, presumably looking for his love as expressed in the lyrics. I like how each female dancer is introduced into the video, matching with the lyrics “So many people to see“. I liked how the home video aesthetic comes through throughout the video video, also matching the era in which the song draws its main influence from. Finally, the Tornado of Love that appears at the end gives the video some explosive flair to end off the video and highlights his powerful desire to meet his lover. Altogether, I thought this was a great music video.

Unfortunately, with Jimin in the military, it is very unlikely we will be able to see a live performance for this release in the near future. I am quite disappointed by that, as what we do see in the music video definitely looks worthwhile to watch on stage. I commend his strong demonstration of his performance skills throughout his routine, with his moves looking very clean and smooth. We all know that he is a very capable dancer, but I liked how it was all showcased in this routine. I particularly like the chemistry he has with the dancers, which made the routine look very complete and satisfying to watch.

Song – 7.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 7.8/10

[Review] Chk Chk Boom – Stray Kids

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Following the announcement that Stray Kids will be sticking around for a little while longer (Stray Kids renewed their contracts with JYP Entertainment earlier this week), they have made their long awaited return with their latest mini-album, ATE, and the lead single Chk Chk Boom. This comeback follows the release of ROCK-STAR (lead by LALALALA) and their first English single Lose My Breath with Charlie Puth. Into the future, the group will be embarking on their third world tour and featuring in the soundtrack for the latest Deadpool movie.

Going back and forth over the song, my main critique about Chk Chk Boom is around the song’s imbalance in some areas. The autotune in Chk Chk Boom felt heavy-handed and excessive. I wish this was toned down in the studio version of the song. The live performance does tone this down to make way for their actual vocals, and it makes Chk Chk Boom sound so much better. On the flip side, the vocals sequences in the verses failed to stand out. Listening back, they lacked intensity that the title promises, and I wished that was turned up. I felt the chorus warranted similar comments, but with a more explosive effect. Additional listens has helped warm me up to the chorus and made it sound more explosive, but I felt the members could have turned up their delivery to give the centrepiece more oomph and reflect the Chk Chk Boom‘s title better. But there were some definite strong elements in Chk Chk Boom. I do like the groovy undertones in the instrumentation, especially during the chorus and in the chanty end of the song (which is actually my favourite part of Chk Chk Boom). It came through prominently during these sections and fits in with the current trends whilst also maintaining Stray Kids’ signature synth-heavy dance sound. CHANGBIN and JISUNG’s rapping was definitely intriguing and different from how they usually present themselves in the title tracks, but in a good way. They are my pick for the standout members in Chk Chk Boom. The inclusion of Spanish in the lyrics made the song interesting, though some refinement in their delivery (i.e., less slurring) would have made this stand out stronger. Overall, Chk Chk Boom is a great track, with certain parts needing some tweaks to be even better.

Unexpected cameos from Ryan Reynolds (as himself and Deadpool) and Hugh Jackman (as Wolverine) are definite highlights to the music video. Not sure if anyone saw this coming, but this definitely showcases Stray Kids’ reach worldwide. I do think a fair amount of the budget was spent on getting both of these famous actors in the music video, as the visual effects in the video did not feel as bold and memorable as in past music videos. We still get some, but they just do not amaze me as much. That being said, Stray Kids hold the ground with their charismatic and intense looks and choreography, which do make up for lesser presence and prominence of visual effects. I did like the comedic flair that the cameos brought, as well as the Deadpool-like theme the music video had.

I was excited for the choreography from when the music video teasers were released. While the song could have used more intensity and explosive energy, the members make it all up in execution on the stage. I have already mentioned their live vocals in the song section of the review. Now, it is time to shout out the members’ kicks, jerky and synchronised execution of the choreography routine, which just had so much of that intensity and explosive built into it. I really like the chorus routine, in particular.

Song – 7.5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8/10

[Review] Smart – LE SSERAFIM

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Back in February of this year, LE SSERAFIM made their comeback with the single EASY and mini-album of the same name. As part of the same mini-album is the side track titled Smart, which was re-released as a follow-up single a couple week after the primary release. Today, I will finally get around to reviewing the likes of Smart, which emerged as a very popular side track and another hit song for the group.

The chorus of Smart is probably one of the most recognisable elements in KPOP this year, for me at least. It is actually even more recognisable than LE SSERAFIM’s main song from the mini-album! But beyond from the chorus, I don’t remember that much from Smart. Listening back, I think I know why. To help articulate my thoughts, I pull out my linear line analogy that I have used in previously to describe these type of songs. If you travel along the linear line only, everything is relatively flat. If a song keeps to the same all throughout (just like the linear line), it too can be quite uneventful. And that is what I perceive to be the case in Smart. Smart was very consistent throughout and didn’t have enough variety to make it memorable. Smart‘s instrumentation has been described as an Afropop-inspired Amapiano sound. I think there is also a slight tropical vibe from it. While the beat and rhythm was good, the background was also quite light and didn’t have an anchor of some kind for me to grab onto. Similarly, the vocal work from LE SSERAFIM was pleasant and the melodies do have a ring to them. But there wasn’t much difference from how the song started and all throughout to the end. Also, I couldn’t tell the members apart. There were touches of autotune in Smart, but they weren’t used in a manner that really brought attention to the song. Overall, Smart does have a slight edge over EASY, thanks to its catchy chorus and melodies. But the rest of the song becomes lost, for the reasons I have described above.

For a light and simple track like Smart, a corresponding simple music video is justified. For the music video, we see LE SSERAFIM perform in a singular warehouse, with different pieces of tapestries of art hung up and lighting used to highlight the art pieces. The lighting also gives the music video some life and colour. In some parts of the music video, dancers dressed as students (or are they students that are dancers) feature in the background. They do not do much at first, but they help full the space towards the end of the video by also dancing to the song alongside the LE SSERAFIM members. Altogether, it feels very artistic and looks very sophisticated at the same time.

For both EASY and Smart, the choreographies stand out the most in their respective releases (relative to the music video and song itself). I actually can’t tell which I like more, nor do I have much else to say about Smart‘s performance that I didn’t say for EASY‘s performance. So here is a quote from the former’s review that I think applies here: “… the choreography is light and rather smooth, while also striking a balance to keep up with the rhythm and beat of the song.”

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

[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