Category: Reviews

[Review] ONE SPARK – TWICE

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With TWICE’s pre-release single for their latest album release (their 13th mini-album, With YOU-th) now reviewed, it is time to turn to the big release of the day – TWICE’s comeback single ONE SPARK.

ONE SPARK is a good song, from my point of view. It feels sophisticated, classy and mature in a bigger picture sense. But unfortunately, the first and second run at the chorus flattens out the song. This feels rather disappointing given the edgy and impactful second half of the pre-choruses that leads into the choruses. The third and final run at chorus actually had a dynamic touch thanks to the added clapping effect and detailing to the instrumentation, which allowed it to feel more alive and satisfying to make up with the flatter effect. For me, the problem stems from the melodies and hooks in the centrepiece of ONE SPARK, which doesn’t have much bite to them. But they do set a good foundation to build upon to get to that next level. Had ONE SPARK featured stronger melodies and a more prolific hook in its earlier choruses, ONE SPARK for sure could have taken to the next level. Elsewhere in the song, the members executes ONE SPARK in solid fashion, with good vocals and brief touch of rapping just before the final chorus. Both MOMO and NAYEON had standout parts in this song, with MOMO’s edgy style coming through the first second half of the pre-chorus and NAYEON’s vocals to close out the song (without any instrumentation) was an interesting yet effective ender to the song. The dreamy parts of the pre-chorus, courtesy of MINA and TZUYU were a strong runners up. While the foundation of ONE SPARK is good and it succeeds at that bigger picture level, improvements can be made to make it even better.

The music video captures that sophisticated, classy and mature feel quite well. And I liked that initial impression from the music video. I like the idea of the elevator going upwards, with the numbers at the top of the elevator signifying their journey since debut to ‘timeless’. It pairs well with song’s lyrics, which highlights their never ending passion to get to that ‘timeless’ point in their careers. And the scenes scattered throughout the video amongst the elevator scenes shows the members together, further highlighting that their collective passion together is what got them to this point in their careers.

The choreography for this comeback is awesome. The music video definitely puts the best foot forward during each part of the song, but I am sure the rest of the routine is just as good. From what I could see, the routine in the verses look interesting, the first half of the pre-choruses felt graceful, the second half of the pre-choruses that ramps us up to the choruses felt edgy, the choruses themselves looked lively and definitely not flat like the song came off. The choreography associated with the final chorus itself looks exciting.

Song – 8/10
Music Video – 8.5/10
Performance – 9/10
Overall Rating – 8.4/10

[Review] I GOT YOU – TWICE

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This might not be the TWICE review you were expecting to see today – ONE SPARK‘s is coming shortly after this one. But before I can review the title track from their 13th mini-album With YOU-th, let’s dive into the pre-release single, I GOT YOU, released earlier in the year whilst I was away from the blog. This latest comeback follows one from their SET ME FREE Korean comeback and Hare Hare Japanese comeback from last year.

Now, before we really get into the song, I GOT YOU is an all-English track, similar to last year’s MOONLIGHT SUNRISE pre-release to READY TO BE. And in previous years, I would have covered this in an International Song Review (ISR) post. But as you may also know, I have also been lagging behind greatly in that segment. So moving forward to help out with coverage, some songs that I usually would cover in an ISR will be lifted into a standard full song review post. This will be on an ad-hoc basis and will be determined in the moment.

Anyhow back to the song, I GOT YOU fits into the ongoing resurgence of retro that has been ongoing for a while now. More specifically, it is a modern take on 80s synthpop. To me, it doesn’t have anything special or unique within it that really makes it its own piece, But that doesn’t mean the synthpop backing to I GOT YOU isn’t enjoyable – it is. I also found it to be breezy and refreshing piece, great for a long road trip. I particularly liked how it had drive, which was particularly important given how soft all of their vocals and melodies were. The drive definitely helps moves things along and gives the track some life. Back on the vocals, the soft nature of their voices gives I GOT YOU a pleasant exterior, which also adds to the enjoyment of the track. I also liked how each members’ individual vocal tone and colour was featured in this track. No member was masked or processed in a way that takes away from their vocals, and I appreciate that. My only issue with I GOT YOU is the slightly muddled ending due to some of the ad-libs and extra bits going on in the backing. The added bits just makes the final chorus lose its crispness. But that is a super minor issue, in an overall lovely song from TWICE.

I GOT YOU is an ode from the group to each other, that they will always be there for one another. The music video sees the members sail through a storm, which probably represents hard times and rough patches throughout their careers. But during the storm, the members aren’t scared. Rather they are full of smiles and enjoying each other’s company. In the context of the storm/hard times/rough patches, some of the members are see in the lighthouse, helping the rest of the group navigating their way through the storm. Throughout the video, we see the members embrace each other and come together as a group in different scenes. You can definitely sense the simple enjoyment of being around one another, as well as the friendship and bond they share. Apart from the video’s meaning, I also liked the scenery throughout the video, from the boat scenes (when the seas are calm and the sky is stunning), the shoreline and the grassy fields with the flags flying high.

The choreography that we can see in the music video adds a little bit of complexity to the video, which helps offset the simplicity of everything else we see in the comeback. But on stage at their Mexico concert, where they performed I GOT YOU for the first time, there was no choreography. Pity, because in addition to be slightly complex looking, the routine actually looks like it brings a nice flourish to the release.

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

[Review] Shopper – IU

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Last week, I reviewed one of IU’s pre-release singles, Love Wins All, from her newly released mini-album The Winning. Following that, IU released another single from her mini-album, Holssi, which I will return to review at a later date. But for this review, I will be focusing on Tuesday’s release of Shopper, which coincides with the official release of The Winning.

Shopper has a message of ‘do not stop until you get what you want in life, no matter what stands in your way’. IU makes it a bit more complex by likening the above to a shopping spree in a supermarket, telling us to not worry about our greed and what other thinks as we put things into the trolley. A rather interesting concept and analogy. To present this musically to us, IU brings her usual sweet sounding vocals into a electropop rock mix. I liked the guitar flourishes in the background, which helps add a retro touch to Shopper. What I also like is with such a positive message, the music is incredibly bright and felt rather celebratory to help us realise that uplifting message. The melodies were just graceful, and I enjoyed the echo line that ends off each line in the verses. The soaring chorus was truly wonderful and is bound to bring a smile to your face if you hadn’t already started doing so earlier in Shopper. I do think she could have gone a bit further towards the end to really give Shopper an end that didn’t sound like a rehash of the rest of the song. But as it was, the end was still quite satisfying enough to enjoy.

Opening up the video is a narration from DPR IAN (who also appears in the music video alongside IU), which focuses on a mysterious magical shop and questions who has placed magical items around the store for people to find and unlock their powers (‘Was it a god? A fairy? Or maybe a thief?‘). The story then shifts an auction, where IU steals a magical bat. She is chased after the guards, and later holds DPR IAN’s character hostage and forces him to go on the run with her. While it was a hostage situation at first, it looks like DPR IAN’s character ends up joining her the road (though I have a theory that she might have purposely picked him – he was the only character to not be distracted by the money she throws into the air at the auction to be distracted). Not sure where she is going, but I am assuming she has to use the bat in the right place (which she does to party-fy the music video), those whom help her along the way (i.e., the stall owner in the desert and DPR IAN’s character) are gifted with an invitation to the magical shop to find those items and unlock their powers. The ending does have a fun and cute vibe to it, which matches up with the song quite nicely.

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

[Review] TOUCHIN&MOVIN – Moon Byul (MAMAMOO)

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Moon Byul from MAMAMOO makes her return today as a solo artist after a year with her first studio album Starlit of Muse and the title track TOUCHIN&MOVIN. Ahead of the new single release, Moon Byul did pre-release the music video for Think About, which I have yet to review (and will get back to it at a later date). While she has not promoted as a solo artist in the last year since her 2022 Christmas promotions with PRESENT and CHEMISTRY, Moon Byul has been active as part of the MAMAMOO+ subunit alongside Solar.

Moon Byul delves right back into the funky and groovy with TOUCHIN&MOVIN. While the track is somewhat unexpected for MAMAMOO’s resident rapper (if that is where you are most familiar with Moon Byul), it isn’t anything foreign to Moon Byul – the solo artist, who has released something similar in the past in the form of LUNATIC (as an example – more upbeat than retro, but TOUCHIN&MOVIN is definitely a different sound that she continues on from the former release). Back to TOUCHIN&MOVIN, I really like the feel-good vibes and animated energy that the track effortlessly delivers in its instrumentation. Added to the funky guitar and groovy beats are brass and synths elements which does a whole lot, such as infusing even more energy, adds a cool edge and introduces punch into the song. Altogether, it was very hard not to feel all of the energy in its first release. I also like how Moon Byul doesn’t shy away from channeling the same energy through her vocals, which were quite consistent and grounded throughout TOUCHIN&MOVIN. It was definitely an engaging piece. The melodies had a nice ring and hook to them, which helps boost the memorable aspects of the song. There is only one thing I think could have potentially enhanced TOUCHIN&MOVIN and taken it to another level – a more substantial hook with more bite to it (to drive up the memorable factor even more).

If the brief was to keep it fun, light-hearted and simple, then this video takes the cake. Keeping to that is definitely on point for this song, and so it accompanies TOUCHIN&MOVIN well. For the entirety of the video, we see Moon Byul casually dancing to the song with her dancers, performing the track in some standard places like a restaurant and on a train. Personally, I wished there was a bit more to the video to make this aspect of the comeback more visually memorable.

Based on what I can see in the music video, the choreography looks fine. I do like how expressive the routine was. A more dynamic and longer instrumental break could have given Moon Byul and the dancers more material to work with in the routine, but what we got also looked quite good.

Song – 9/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 8.2/10

[Review] EASY – LE SSERAFIM

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Making their comeback today is LE SSERAFIM, who returns with their 3rd mini-album and latest title track, both of which are titled EASY. This comeback follows another successful year for LE SSERAFIM, who capped it off with the all-English hit and Overwatch 2 collaboration single Perfect Night.

Just like Perfect Night, LE SSERAFIM’s new song is a bit too consistent for my liking. EASY is pretty much a blur that I don’t really register much of, based on the few listens I have given the song ahead of this review. Before I know it, the song has breeze over my head and I am moving onto the next song without much thought. Not exactly the best outcome for any title track. The producers really needed to find a relatively striking element that fits the the current arrangement to really draw attention back to the song. We did get a muted flute-like sound and some really low and unsettling synth work just prior to the choruses, but neither of them struck me. Rather, both contributed to the blur. Similarly, the vocal work also added to the blur. I did think the group showed a solid effort in the song. But their vocal delivery was too light to anchor the song to our minds. It isn’t all bad news for EASY, as the additional listens I have given EASY for the purposes of this review did manage to allow me to register some aspects of EASY. I do appreciate the pleasantness and the easy going vibe that the group and their producers went for in this hip-hop/R&B track. The melodies might have an ear-wormy effect on me if I can give the song more listens. But the lack of anything stimulating in the track or anything to remember EASY by doesn’t really work in the song’s favour.

It was announced recently that one of the major broadcasting stations in South Korea (KBS) would be banning the broadcast of the music video for EASY, citing concerns due to the ‘risk of imitation’ (which attracted attention to its vagueness). Now, watching the video, I kind of agree with this ban (which I wish to reiterate is a rare occurrence). To provide some context, the song itself is about making life easier in tough situations. But there are scenes in the video that doesn’t really connect with the lyrical message of the song, such the dropping of a connected hair dryer into a water-filled bathtub and some representation that alludes to self-harm (the thorny rose vine that forms part of the swing that one of the members hold onto). I like to give the benefit of the doubt, but even I am left scratching my head on the meaning of these scenes. On a lighter note, I did like the darker atmosphere that the video had going, as well as the editing, which I thought was a cool aspect of the video.

Watching the stage performance for EASY, it is clear to me that the group is really good at engaging with the audience. The members really show an alluring and charismatic side to themselves whilst on stage. To match with the song, the choreography is light and rather smooth, while also striking a balance to keep up with the rhythm and beat of the song.

Song – 6.5/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 7.2/10

[Review] Lovers or Enemies – CIX

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Also making their comeback whilst I was away from the blog is CIX, who returns after 8 months following the likes of Save Me, Kill Me and the mini-album OK Episode 2: I’m OK. Their newest comeback is with their first ever single album 0 or 1 and title track Lovers or Enemies.

Whilst subdued, Lovers or Enemies brings forward vocals, a funky sound to the group, and catchy hooks and melodies. It is honestly quite a fun track, which I have been going back and forth to ever since it was released. I find it very hard to put down. The funky and 80s retro undertones, thanks to the guitar and synth work in Lovers or Enemies, really gives the song such a fun vibe. The way it is kept subdued, however, was quite clever as it allows the group to deliver their vocals in a minimal (and what felt like an) effortless manner. Sure, opting for a more subdued sound in what easily could have been a more upbeat track (I can definitely here the potential for this direction in Lovers or Enemies) can have an opposite effect on the song, and CIX could have definitely been more expressive. But I felt that this technique kept the song interesting for more, and there was some character and personality to their vocals particularly when the song dips in the pre-choruses. Those were interesting and cool parts of Lovers or Enemies. BX’s rapping was very cool in the second verse and I like the contrast he brings to the song with his rapping. My major complaint is how short the song is. I honestly think the producers could have introduced a dance break to give Lover or Enemies some extra few seconds, but also it could serves us with some more oomph, honing right into the funky and retro synth affair that the song has going on. But overall, a really great song from CIX.

I find that the music video can be up for multiple interpretations. My initial thoughts on the video was that the female character was recreating robots of her lover (which, I guess, was a short-lived relationship and have now become enemies) and putting memories into the robots to make it look like they were lovers all this time. The members give her the choice of being lovers or enemies in the song’s lyrics, and she chose the former. I also felt the story could have been told from the perspective of the members, who are robots awaiting instructions from their creator to either be a lover or enemy. That explains a lot of the earlier scenes in the video where she is thinking about what to do with them, and why they it looked like they were still stuck on the manufacturing process.

While the song was subdued, I did like how they kept the choreography for this comeback quite upbeat. It was definitely a strong routine, overall. I also commend the group on how charismatic and alluring they looked and made the choreography looked.

Song – 9/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 9/10 [Updated on 3 March 2024 due missing music video and overall rating]

[Review] STAY – CHA EUN WOO (ASTRO)

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As we move past the Lunar New Year holiday (Happy Lunar New Year to those who celebrate it!), we are now starting to see some new releases pop up. One of them is CHA EUN WOO’s solo debut with the single STAY and his first mini-album Entity, which officially dropped today. For those who may not know, in addition to being a successful actor, CHA EUN WOO is also a member of the male group ASTRO, who debuted back in 2016.

Honestly, I wasn’t sure what I was expecting with STAY and the idea of CHA EUN WOO’s solo debut. But what we do get sounds very nice. It may not be the most prolific song out there presently, nor does STAY really rock the boat. But it has its charms. I particularly really like the acoustic guitar in the instrumentation. It makes for a nice and pleasant background for this track, but there is enough heft in it to give STAY some bite and substance. Similarly, CHA EUN WOO does a great job at expressing his emotions and bringing that to the forefront. In a way, he made the song stilling and captivating with his vocals, which by my standards means it is a successful and strong solo debut. I did wish there was a bit more to the song, just to give it more of that memorable factor. But honestly, STAY was a very well executed and I enjoyed the release with the limited listens I have provided the song thus far.

Mistaken for a date at first, the music video features CHA EUN WOO and India Eisley. The video sees the CHA EUN WOO’s character struggling post break up with India Eisley’s character, becoming floored and unsure what to do once he crossed path with her again. The song’s lyrics expresses the desire for someone who has parted way with you to stay, and what I described above that we see in the video fits the brief quite well. The constant repeats of the same scene suggests his inability to move on due to these feelings, and he is only able to progress with his life once he acts on those feelings and desires. The horrible traffic jam also appears to be another visual representation of that. Honestly, a well put together video and a strong concept for this solo debut.

Song – 8/10
Music Video – 9/10
Overall Rating – 8.4/10 [Updated on 3 March 2024 due to calculation error]

[Review] UGLY – EVNNE

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Following their debut with TROUBLE in 2023 (which caught my attention , grew on me considerably, and placed the group on my radar), EVNNE is finally back with their second mini-album, Un: SEEN and their latest title track UGLY.

The aspect of EVNNE’s new song that really sells UGLY to me is its instrumental, which opts for a club-like banger dance motif. The thumping nature of the instrumentation and the bass we get in UGLY is quite satisfying and sets up the song well. Both verses showcases the group’s rapping abilities, giving the song some dynamic moments. On the other hand, more variation on the vocals side would have made UGLY‘s verses more interesting. We do get a better showing of vocals in the bridge, though that sequence also lacks dynamic flair. The rapping and chanting that soon follows the vocals in the bridge are livelier (if not the liveliest moment in the song). But the biggest disappointment for me comes during the chorus. Firstly, I wished there was more oomph of some kind in the centrepiece of UGLY, either through concentration or intensity, so we can really tell the chorus apart from the rest of the instrumentation. There really isn’t anything that sets it apart from the rest of the instrumentation. Secondly, the “We Sla-la-la-la-lay” hook was good, but felt underbaked. It could have been some more profound or its delivery could have had more dimension to feel ‘more baked’. And thirdly, the vocal melodies in the second half of the chorus dulls out the chorus even further. Better vocals do come into play during the chorus (which I appreciate), but it isn’t the catchy centrepiece that I hoped for in UGLY.

The song is about embracing your differences and not caring about what others think about those differences. And in the video, we see just that. The group are depicted as teenagers being picked on by other students, as they are always surrounded by the other students. Throughout the video, we see the members show off their powers in self-defense, which is probably why they were being picked on in the first place. When they do embrace their powers, things become better for the members. They are partying in the club and there are smiles on their faces.

The choreography routine looks great. Its intense, just like the music, and shows off an edgier and darker side to the group. Towards the end, the choreography becomes a little more fun and loose, which I liked. Nothing necessarily stands out on its own in the routine. But like yesterday’s review, it is the whole package that stands out.

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

[Review] Plot Twist – TWS

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For the last few months of last year and so far this year, I have yet to cover any new debuts on my blog. I will slowly get around to reviewing those new debuts that I have missed over the coming weeks. One of those new groups starting out is Pledis Entertainment’s latest male group (and their first since SEVENTEEN’s debut back in 2015), TWS. A 6-member group, TWS stands for Twenty-Four Seven With Us and consist of Shinyu, Dohoon, Youngjae, Hanjin, Jihoon and Kyungmin. They debuted with the single Plot Twist, a pre-release single titled Oh MyMy:7s (which I will return to review another day) and the mini-album Sparkling Blue back in January of this year.

Described as a group who will be tackling “boyhood pop”, Plot Twist is just that. A very noticeable youthful vibe attempts to sweep us off our feet in Plot Twist. And for the most part, it is successful. The vibrancy, refreshing energy and pop influence is definitely all there and instantly apparently in Plot Twist. I really like the pop rock tinge that the song does carry in its backing, and how the song incorporates ‘plot twist’ in its backing to create a dynamic title. The different percussion definitely keeps the track lively and every sequence is slightly different to what we hear earlier in the track. The members sound great, with solid vocals and rapping from them all to pull off Plot Twist. And the vocals and rapping do help bring that youthfulness to life. However, I do feel like the single could have benefited from being longer, just to give more opportunity for us listeners to sink our teeth into it. As it stands, it feels like a brief introduction to the group that highlights the potential of the six members as a unit, but there isn’t anything in Plot Twist to make the member standout themselves. The 2.5 minutes of run time just doesn’t allow that opportunity and I feel like that might be an untapped resource to really help TWS kick off their careers. Overall, I really like Plot Twist and the final product. But I wished there was more to the song to let the members shine.

The music video and lyrics of the song depicts the excitement and nervousness of meeting for the first time. I like how the video and lyrics depicts both the idea of first meetings in the context of friendship and potential relationships. But I also like how the video also serves as a first meeting between us and the group. In the video, we see the members draw up a checklist that includes three lines: 1. Say Hi, 2. Strike up a conversation and 3. Awesome first impression. While our first meeting with the group was successful and all three items on the list should be checked off, I did like the humour in the video, with the members putting a question mark around item three, right after one of the members falls on the train and tries his best to recover from that. I also liked the group’s depiction of the school boy concept. This concept has been done countless times in the past, but it definitely feels refreshing for this video.

One thing they really made sure they showcased in this debut is their choreography skills. This performance was amazing to watch and I am in awe in everything they did. It was sharp, lively, fun, energetic and a whole lot more adjectives that might take us a while to get through. It suits the song and its youthful vibe so well. There wasn’t really a particular moment that stood out to me as the entire routine did that instead. Definitely a group to watch out for on the stage at the very least.

Song – 9/10
Music Video – 10/10
Performance – 10/10
Overall Rating – 9.5/10

[Review] Super Lady – (G)I-DLE

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Another big release over the last few weeks is (G)I-DLE’s comeback with Super Lady, the lead single off the group’s second studio length album 2. This follows on the pre-release single, Wife, which is also featured on the same album (I’ll be back to review this single separately in the future), their previous Korean comeback with Queencard last year and their debut with their first Western singles I Do and I Want That.

Super Lady is a grower, growing immensely on me over the last few weeks since its release. For the most part, my thoughts on Super Lady has remained the same from the beginning. But I do find myself fair more addicted to the song since my first listen. I very much liked everything in Super Lady, with the exception of the club-like breakdown we hear in the bridge and as the backing of the final sequence of Super Lady. I personally find it cuts the powerful and empowering tone that (G)I-DLE, and in particular Soyeon (who produced the song alongside Pop Time, Daily and Likey), had set up in Super Lady, and opts for a cliche breakdown that doesn’t show off the uniqueness that we know (G)I-DLE can pull off. I wished the song had better maintained that powerful/empowering tone throughout to the very end, as that had some substantial bite and would have really made the song a home run for me. Aside from that, Super Lady is a powerful track that (G)I-DLE knows how to handle extremely well. Soyeon’s introduction was commanding and kicks off Super Lady with a bold opening that practically sets the tone from the get-go. From there, the members follow up with strong vocals and rapping that highlights their skill set and talent. When it comes to the chorus, I really like the unapologetic catwalk vibe that is given off the music, while the tenacity and the ‘in-your-face’ nature of the song helps sell Super Lady‘s messaging so well.

Super Lady‘s music video is a homage to strong females we have seen in pop-culture and history. For example, each member portrays a strong female who have made a name for themselves in their respective story or chapter in history. Soyeon portrays Athena (the Greek Goddess of War), Minnie portrays Medusa, Yuqi portrays Cruella de Vil from 101 Dalmatians, Shuhua portrays the Queen of Hearts from Alice in Wonderland, and Miyeon portrays the Egyptian Queen Cleopatra. In addition to those characters, it is theorised that the song’s lyrics also makes references to currently active female groups like IVE, LE SSERAFIM, EVERGLOW and aespa. Even the black and white palette used in the video for the background, outfits and styling reminds me of 2NE1’s I Am The Best music video (though there was a bit of colour in that video). I also really liked the stadium stage setting the video was also set on. It looked epic up close and the crowd cheering at the end really seals the deal that (GII-DLE are Super Lad[ies].

The choreography definitely reflects the song well. It is powerful, shows us who is boss and definitely showcases (G)I-DLE in their strongest mode yet. I really like the domino sequenced move in the verses, and the chorus routine looks very catchy (though I will put that towards the Super Lady dance challenge that I am seeing on my social medias).

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

[Review] Love Wins All – IU

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I am back from my break and I have a lot to get through. It was particularly busy whilst I was away, but I am hoping to make use of the current holidays to post some reviews before the industry ramps up again. And I kick off my coverage once again with the biggest release of 2024 thus far, IU’s Love Wins All, which has been chart topping since its release. This new single will form part of IU’s comeback next week with her 7th mini-album, The Winning. This is IU’s first comeback since 2021’s Celebrity, LILAC, strawberry moon and Winter Sleep. Though, she did participate in collaborations since then, such as with Jay Park for GANADARA and SUGA for People Pt. 2.

My thoughts on IU’s latest song is fairly simple – I really like the song. Love Wins All is a stunning ballad and has been since I first heard it a few weeks ago upon release. The energy in this ballad starts off quiet and soft. But as the song progresses, it builds upwards thanks to the instrumentation and IU’s vocals. Yet it does so in a manner that keeps Love Wins All very delicate from start to end. The building orchestral instrumentation actually adds in an epic vibe that is suitable for the context of a ballad, while IU’s vocals were so graceful from the moment Love Wins All begins to the moment it ends. Love Wins All is definitely a beautiful addition to the repertoire of ballads that IU has under her belt, and the chart topping performance the song has already delivered since its release proves once again why IU is a digital queen in KPOP.

The music video features V from BTS, who is currently enlisted in the Korean military, and IU herself. In this video, V and IU play a couple, who have been surviving in a post-apocalyptic world despite having disabilities. V’s character is blind, while IU’s character is deaf. In the video, whilst out-running the silver cube then ends up taking them at the end of the video, the pair discovers a camera that allows them to envision a different life together in which the apocalypse did not occur. In this alternative life, the pair spend their time together in love and also get married. They choose to follow that vision by dressing up in a wedding dress and tux in the post-apocalyptic world, before they are captured by the silver cube. Both don’t go down without a fight, but both end up perishing with one another in hand, making for a tragic end to a beautiful love story. Now, there is a bit of controversy around the difference in life where the characters are shown to have their disability vs. what they see in that camera. Personally, I actually can’t tell if those camera visions were a life without their disabilities. Sure, the pair looked better, but there was no clear clarification if that was a life without their disabilities. But I may have missed an explanation in another video somewhere, so I am happy to be corrected. But from how I see it, it was a great video that shows love between the pair did end up winning despite the sad ending for both characters.

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

[Review] MEGAPHONE – CRAVITY

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A pre-release or follow-up promotions is a traditional part of CRAVITY’s comebacks, with Sun Seeker featuring both. As part of their promotions for their 6th mini-album, Sun Seeker, CRAVITY is following up promotions of September 2023’s Ready Or Not with MEGAPHONE, which is also from the same mini-album.

MEGAPHONE features an upbeat and funky instrumental that packs a punch and serves as a neat follow on from Ready or Not. I also like the infusion of rock into some of the If you read my reviews for CRAVITY in the past, a lot of their earlier works have been described as typical. More recently have they revitalised their single discography with energetic and fun energy, like Groovy and PARTY ROCK (which are some of their best works). What I really liked the most about MEGAPHONE in particular (and how it is different from some of their successful past work) is how the funky vibes continues that fun energy in a refreshing manner. Sure, the chorus is shouty and that may not be some people’s cup of tea. But given MEGAPHONE is about being loud, the shoutiness works. Plus, it is a good vector to channel that energy. The rest of the vocals is good, the rapping fits in really well and I like the hip-hop styled instrumental break we get ahead of the bridge. The ‘Make a boom’ hook is catchy, but I wished it didn’t feel weighed down as much.

The music video sees the members in a futuristic space set, who are on a mission to spread their song around the world. It looks a lot more serious, as if they are pulling off a heist (which in a way, this is as the mission does involve them landing on another ship). There was a lot of preparing, such as making the music, practicing flying the ship and even some working out scene (which my social media jumped on board quite quickly when the music video was first released). In the end, CRAVITY was successful in their mission. I wished there was a bit more colour in the video, but other than that, it looked quite good.

There is some intensity and sharpness to this choreography, which makes it looks very cool on stage. I also liked that the choreography doesn’t short change us in any way. The song was energetic and the routine never let up in that regard.

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

[Review] MELTING POINT – ZEROBASEONE

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As part of their November comeback with the CRUSH, ZEROBASEONE also released a music video for the side track MELTING POINT, which also comes from the same mini-album that CRUSH is featured on and also shares the same name as the side track. Today, I will be reviewing MELTING POINT (in case you can’t already tell).

As a whole, MELTING POINT comes out to be quite a fun track, especially when we get to the more up-tempo chorus. But there are two distinct motifs in this song, both of which complement each other quite well to form the one song that is MELTING POINT. The verses and bridge feature a dreamy approach, which allows the members to showcase a softer and lighter vocal charm. I liked how pleasant these parts of the song are. When we get to the choruses, the instrumentation intensifies and the song becomes hookier. The synths take on a more abrasive profile in the centrepiece of MELTING POINT, which offsets the dreamier approach in the verses and helps makes the chorus more memorable by boldening it. The chorus also makes that fun side of the song more prominent, and the members convey that same vibe off with their vocals. I did kind of wished there was something more to the second verse, so it doesn’t sound like a replica of the first one. But that is a small improvement to an already good side track.

The music video sees the members are all smiles in a winter wonderland. And to match the vibes of MELTING POINT, we also see a much brighter and light-hearted side to the members, a side that we saw in their debut but not the main music video for this comeback. There also seems to be a bit more to the video, with the fairy tale elements like the poison apple, a mirror, horse and telescope. I am not entirely sure what these elements are trying to portray, but I guess they contribute to the members looking for love to thaw out their heart (which might explain why some of the setting does melt away later on in the video), which is the message they express in the song.

The choreography features a slight cute undertone to it, which is a slightly different vibe than ZEROBASEONE has ever shown. Nothing that memorable comes out of the routine. But I did like the all-smile approach to the routine, which matches up with the tone of the song quite well.

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

[Review] Mr. Vampire – ITZY

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Very early on in January 2024 and ahead of the official release of their BORN TO BE album release (led by the title track UNTOUCHABLE), ITZY also pre-released the single Mr. Vampire. Today, I will be reviewing this single. This was the second pre-release from the album (not including the solo releases that are also featured on the BORN TO BE album), with the first being the single that shares the same name as the album, BORN TO BE.

My thoughts on Mr. Vampire is fairly simple. Instrumentally, Mr. Vampire is a fun song to me. I quite enjoyed the percussion that features throughout the track. There are also some harps (in full and rather choppy later on) and whistle-like synths in the chorus (which I find to be quite familiar, but I just cannot pinpoint where I have heard something similar). These all help Mr. Vampire‘s backing piece to be engaging and intriguing to me. In terms of the members and their input into Mr. Vampire, that is where the song unravels for me. It is a fair effort from the group, but the melodies are incredibly dull and the vocal work feels strained. Nothing from the members pings me as memorable. In fact, all of it (if not most) was pretty forgettable. I wished what the members had to offer in Mr. Vampire was striking enough to be on par with the instrumentation. Or just even compelling enough to get a better reaction out of me. But as it stands, the instrumentation was by far the most memorable aspect of the song, and the rest of Mr. Vampire just … well… disappears.

The music video appears as dull as the song did. While I did like the colour palette that was used in the video and the close-up shots of the members do look real nice, there just isn’t anything more to the video (apart from the performance aspect of the release, and even then the song weighs this down as well) that sticks out. I also noticed some poor editing in the later parts of the video, where the lip-syncing just does not match up to the song. I understand the song is about falling in love, but I would have liked a touch of that vampire concept in the video. Maybe a bit of blood or some symbolism that represents the mythological creature.

As mentioned prior, the choreography for this pre-release was also bland and dull. But it is slightly better than the music video. From what I can see, there are vampire references in the routine and the chorus part of the choreography had a slight dynamic touch and sharpness that I was looking for in the other parts of this Mr. Vampire release.

Song – 6.5/10
Music Video – 6/10
Performance – 7/10
Overall Rating – 6.5/10

[Review] Bad News – KISS OF LIFE

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Making their first comeback in November 2023 is KISS OF LIFE, who returns with their second mini-album, Born To Be XX, and the title track Bad News. The latest release from the new female group, which is nominated for Best New Female Group in the 2023 KPOPREVIEWED Awards (voting is now closed), follows on from their debut with Shhh in July of this year.

Kicking off Bad News is the guitar twang, which makes for quite a unique sound. As the song progresses to the end, we hear the emergence of a rock vibe alongside that twang. This was a nice development in Bad News, giving that extra oomph to the end to single the final moments. But it also added an extra texture to the song to further its appeal and make it a cooler sound. In addition to the instrumentation, the definite strong vocals and confident rapping we get from the members of KISS OF LIFE really makes Bad News captivating and hard to put down. The boldness and charisma that comes off these vocals and rapping sends a clear message that they are not a group to mess around with and highlights their potential in this industry. Belle’s vocals, in particular, was show-stopping in this song, especially as we get into ad-lib territory. There is also an abundance of hooks to remember the song by, as well. Overall, Bad News definitely shows me that KISS OF LIFE to watch out further in this new generation of KPOP.

The music video for Bad News sees the members stand up for themselves and what they see is right. And I think the Bad News is that they are not afraid of the repercussion that could entail (I think). Not entirely sure of the latter point, but I feel like that is why the home videos and lyrics about the website are about. Anyhow, the video features the members standing up to (what I assume) is a bad ex, a bully, a rude person in an audience and a creep on the train. The members, when confronted by the police, protest against the injustice that they face as a result of standing up for themselves. At the end of the video, it seen that the above are just personal matters and that there is something larger at play. It appears the police chase and riot are a cover for the members to spread out some different news. We see a photographer pick up a top secret document and is engrossed by it. This is followed by some CCTV footage of the members at a rich person’s house, searching through the house. Overall, an interesting concept.

The song really sets up the choreography aspect of the comeback. The performance was super dynamic and engaging to watch. The confidence and sassy attitude was definitely there and probably gave the choreography an extra edge to enjoy. I also really liked the originality of the boxing ring formed by the dancers in the first chorus.  

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

[Review] SEVEN SINS – DRIPPIN

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DRIPPIN’s April 2023 release SEVEN SINS has been on my ‘to review’ list for quite a while now. I have attempted to start a review for SEVEN SINS a few times since April, but it never eventuated into something I could post. But finally, after almost a year from its release, I am finally getting around to reviewing it. SEVEN SINS follows on from the group’s November 2022 release, The One (which was nominated for Best Rock Song of 2023 in the 2023 KPOPREVIEWED Awards. In case you are wondering, it fell within the eligibility period for the 2023 KPOPREVIEWED Awards and voting has now closed).

For me, the plainness of SEVEN SINS is one of the reasons to why I never felt motivated to prioritise the song for review. It is a solid track, opting for a slow jam type of vibe. I would even go to the lengths of being successful at achieving the goal of being that, partially thanks to the dragged-out melodies of the song, such as the primary hook of SEVEN SINS. But this ultimately dulls down the potential of SEVEN SINS for me. I will admit that the vocal delivery from the members of DRIPPIN was very well executed, and was by far one of the best aspects of the song in my opinion. Contributing to the SEVEN SINS’ overall plainness is the constant etchiness and clangy, which sounds feels like something we have heard before. For me, the lack of innovation holds back on the dynamism of SEVEN SINS. Furthermore, the more paced instrumentation (as a result of the melodies) did call for something a little more heightened down the line to really drive interest in the song. And that never eventuated. It isn’t all bad news for the backing of SEVEN SINS, with the groovy backing to the bridge thanks to the bass, being quite cool. The bridge also serves a memorable “99 Problems” line. While I do get the intentions of what SEVEN SINS should have been, improvements are needed to SEVEN SINS to increase its memorability and get me more excited for the song.

The music video for SEVEN SINS was a positive aspect of the comeback. I can’t remember exactly what my first impression of the video was, but there is a lot going on and there is a mysteriousness to it all that makes it intriguing to watch. The video opens with JUNHO falling into a never-ending hole, before we see the members embrace the seven sins as they interact with one another. JUNHO is the first member to interact with another, so this might play into the lore that DRIPPIN has where JUNHO was a villain. This could be an after-life situation, as his villainous side did supposedly die in their previous video. Aside from the plotline, the aesthetics of the video was really well done and this helped draw more attention to the video.

Despite it being a slow jam type of song, the choreography for SEVEN SINS definitely has a powerfulness to it. What they did well is find a balance between that and the slowed momentum of parts of SEVEN SINS, and never let one taking over the other. All of this made this performance worth watching and highlights the calibre of the team’s performance and dancing skills.   

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