Category: Reviews

[Double Review] Either Way + Off The Record – IVE

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Later this week, IVE will be making their comeback with Baddie. But before that, I have two of IVE’s pre-release singles (Either Way & Off The Record) that I need to review. I will doing that today. Either Way is the first pre-release single, which dropped on 25 September 2023. Off The Record is the second pre-release single, and was dropped on 6 October 2023. Baddie / Either Way / Off The Record follows on from IVE’s first studio length album, I’ve IVE, which featured the title track I AM.

Both Either Way and Off The Record takes on a subdued sound, something that IVE hasn’t really promoted with ever. I also find both releases to be the blandest IVE releases to date. They do both have their individual charms, however. For me, Either Way is the prettier of the two pre-release singles. And I put this down to IVE’s vocals and the melodies in the song, which the combination of sounds immaculate. There is something to the variety of melodies that the members do a good job of delivering in Either Way and the distinctly more nasal tone than usual. When it comes to the chorus, the song becomes more vibrant and profound, particularly thanks to Yujin’s contribution to the chorus. This boost the song up quite nicely, and helps add more variety in the song. The “I, I, I” and “My, My, My” hooks were pretty striking, as well. But apart from that, nothing else really stands out in Either Way. The slow and paced synths instrumental was interesting take on the balladry sound, but there isn’t anything memorable coming out of it. Maybe it is atmospheric when I think back on Either Way retrospectively, but that doesn’t come to me as a first impression.

Off The Record is the opposite – in the sense the song’s charm is actually the instrumentation and the vocals don’t do anything to me. The instrumentation for Off The Record is a lot punchier thanks to its underlying groovy vibes. Off The Record ends up settling for a mid-tempo upbeat nature, which I find to be quite pleasant. The bridge of Off The Record features an interpolation of The Cardigans’ Lovefool, which admittedly is the biggest highlight in both songs that I am reviewing today. Elsewhere in the song, the rapping in Off The Record was also quite well done, with the soft rap-speak motif adopted in the song quite fitting for the mid-tempo atmosphere and pleasant vibes I just mentioned. But as mentioned above, the vocals are the weak point of the song. I just didn’t find them interesting and I honestly have no memory of them once the song is over. It is quite disappointing, especially since Either Way proves they are capable of sounding beautiful.

Either Way‘s lyrics has the message that “we cannot be free from other people’s gazes”. For the most part, we see the members alone. But the scene with all the other members staring at Leeseo through the mirror was a very clever way of depicting the people’s gaze. This causes an internal struggle that leads them to isolate themselves from the rest of the world. In the end, the members come to term with this struggle and put it behind them in the decorated room. What I do find to be quite interesting is that the music video starts in that exact room with the gazes mentioned above, so I think that represents that this is a struggle the members feel on a day-by-day basis and gives meaning to the “we cannot be free” part of the song’s message.

The music video for Off The Record is a lot brighter and light-hearted. Essentially, we see the members confess their secrets during a late night slumber party to one another. And their secrets happen to be about the person they love, based on what I could make out from the video. But rather than being something quite innocent, which is what the video attempts to convince you of, the secret appears to be a bit more scandalous, with the members splitting up another relationship to be with the person they love. I am unsure if it was successful or not, but it was definitely a sinister and unexpected secret to see the members confess to.

Either Way
Song – 7.5/10
Music Video – 8/10
Overall Rating – 7.7/10

Off The Record
Song – 7/10
Music Video – 9/10
Overall Rating – 7.8/10

[Review] Hear Me Out – EXO

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As mentioned the other day, if I am ‘going back in time’ to review a pre-release single that I hadn’t review yet, it is a strong indication that I am gearing up to review the album the song is on. With me reviewing Hear Me Out today (which was the second pre-release single on EXO’s EXIST studio album, following Let Me In), I can confirm an album review for EXIST is coming to the blog some time later this month. But for now, here is my thoughts on Hear Me Out.

When Hear Me Out is was first release in June 2023, I didn’t have much to say about the pre-release. It was enjoyable and pleasant, but there was nothing really to fan over, in my opinion. Three months on and I still don’t have much to say about Hear Me Out. In no way do I mean this is a bad or negative way. Hear Me Out is a rather straight forward chill R&B track. The instrumental has this subtle grooviness to it, which keeps the track mid-tempo throughout. The grooviness, which comes from the presence of the bass guitar in the background, gave the track some character. The members’ vocals sound velvety and smooth, while the rappers came off as easygoing in the song. The melodies were quite light and nicely done, and the lyrics conveys one’s honest heart to their prospective partner who is hesitating to open their heart for love (taken from Soompi). Overall, Hear Me Out is a fine pre-release and side track on the album.

The video shows the EXO members hanging out with one another. I am not entirely sure how the video relates to the song, but my best guess is that the group continues to hang out with one another until their prospective partners open their hearts to them. We see them tired, lowkey and literally just hanging about during the day, as if they are waiting for something. But as soon it is becomes night and there is no sign that something is going to happen, the members come together to play games, go bowling and even take pictures in photo booths. But if that is not the case, then Hear Me Out serves as an easygoing background track to the members having fun. Also, it is absolutely nice to see KAI one more time before he enlisted into the military and miss out on the Cream Soda comeback.

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

[Review] Fact Check – NCT 127

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One of the group releasing new music at the end of the week (i.e., today) is NCT 127, who makes their second comeback of the year, following on from Ay-Yo in January 2023. This time, the group returns with their 5th studio album, Fact Check, and is lead the title track of the same name. This comeback also follows from NCT 127’s participation in NCT’s 4th full group studio album Golden Age which was released back in August of this year.

If I am basing Fact Check on my past experience with NCT 127 title tracks from the first release of an album, I am going to be disappointed by it. I much prefer the title track of the repackaged version one of their albums, which I have no clue is happening this time around. However, interestingly, I am not disappointed by Fact Check. I actually find the instrumentation to be quite rhythmic, especially during the chorus with the well-paced beat and percussive elements. And there is no obnoxious synth (looking at you, Sticker) to ruin the song for me. The post-chorus segment was also quite an entrancing listen, especially at the end of Fact Check. Elsewhere, I liked the suspense and tension created during the vocal-centric pre-choruses of Fact Check and its background. The vocal work in Fact Check‘s bridge was a standout moment and I liked the powerfulness it yielded from Doyoung, Jaehyun, Taeil and Haechan. The rapping that follows from Mark and Taeyong, along with the further dramatic drumming and orchestration, was quite cool, as well. There are still weak points to Fact Check. The rapping at the start of the song could have been a little less in your face and the chorus’ hook could have been more compelling (even though I do find it catchy). But overall, Fact Check is one of their better works in recent times.

Cool is the recurring word I would use to describe this music video. I am not a big fan of the initial look that Mark donned in the video. But elsewhere in the video, Mark and the other members all looked fine. My favourite set of outfits has to be the one that are more of a traditional colour that are worn at the traditional palace location. Talking about locations, I found the sets and locations throughout the video are all very stylish and cool in their own way. Even the post-production looks cool (but I question why it looks like Mark is holding a goat that has been CGI into the video – did they run out of budget for a real goat?).

From what I can see from the choreography aspect of this comeback is that it very much embraces the rhythmic aspect of the song. There is also a subtle bounce to the choreography, which keeps in line with the upbeatness of the track. The best bit, for me, however is the t-rex-like walk (sorry, I don’t know if there is a properly name for the walk, but the way their arms are reminds me of a t-rex’s short arms) during the final post-chorus.

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


[Review] Love Effect – ONF

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Time to make a start on the new releases of the week. And first up is ONF’s grand return with Love Effect, the title of both of the lead single and their 7th mini-album. This is the group’s first comeback since their Goosebumps release in 2021 and their military enlistment. The group (sans U, who is Japanese) all enlisted around the same time and was discharged from the military around the same time this year, eager to return to the stage as a whole group for their fans to release new music. ONF had also released a special mini-album last year with Your Song and Storage of ONF.

The more I listen to Love Effect, the more I find myself falling for the track. I will admit that I wasn’t completely won over when I first heard Love Effect yesterday upon its release, simply because the track didn’t feel concentrated enough when you compare it to their previous dance tracks they promoted with. But Love Effect was clever, drawing upon elements of their previous title tracks (Complete and Beautiful Beautiful springs to mind instantly during my first listen) to form this new song. And this very much got me coming back for more. In addition to the nostalgia above, Love Effect adds in more of a funky undertone throughout the rest of the track and a jazzy backing to Wyatt’s rapping. I also enjoyed the piano flourishes that appears in the background. Other than that, the upbeat instrumentation exudes a bright and poppy energy that makes me instantly smile. Their vocals and rapping does the exact same, with the melodies and hooks all fun and lighthearted. The best part of the song, for me, has to be in the bridge and at the end of Love Effect, when the members sing together in a simple yet anthemic manner. It is lowkey and straightforward, charming in an easygoing manner. Overall, Love Effect is super positive in terms of energy and output, and a great return for the group!

Matching the brightness of the song is the music video, which was quite vibrant and colourful. I found the editing and cinematography of the video to be a super cool aspect of the video, along with the inclusion of the special effects (which takes you back to their virtual world era). Even the start had flashes of scenery from their Beautiful Beautiful and Ugly Dance videos! And the members look like they are all glad to be back, which makes the smiles and energy from the music video even more convincing.

In addition to being a fun and playful routine, I like how the choreography felt quite substantial and isn’t too lighthearted or wispy. While nothing stands out like (compared to their past performances), I would still say the whole routine is still quite robust and the energy the members put into the dance made it one to still watch.

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

[Review] Baila Conmigo – ONEUS

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Making their comeback last week was ONEUS, who returns with their 10th mini-album La Dolce Vita, which is Spanish for ‘The Sweet Life‘. The title of the title track (and focus of this review post) is also titled in Spanish, Baila Conmigo, which is Spanish for ‘Dance With Me‘. The new release follows on from the group’s ERASE ME and PYGMALION promotions from earlier in May of this year.

With no surprise, the Spanish titled Baila Conmigo also features Latin influences in its mix. But for the main backbone of the track, Baila Conmigo sees a contemporary pop dance sound and reggaeton beats. All of these come together to create a decent and surprisingly balanced instrumental backing. However, I do feel like the instrumental lacked an exciting element to take it to the next level. Everything in the instrumentation felt firmly in the background of the background, and I wished there was more to the forefront of the instrumentation (i.e. those exciting elements I was just talking about). The added oomph via those more defined percussion and beats was an interesting element to give Baila Conmigo a bombastic end and to fill out the instrumental so it can be more fulfilling. It serves its purpose and also surprised me, given the subdued nature of the rest of the song. But it did feel a tad late. The vocal work from ONEUS was solid, per usual. But the lack of a memorable hook or melody does make Baila Conmigo less interesting to return to. The Spanish second verse was a big surprise, but I don’t think it was as big of a weapon as ONEUS and their producers had hoped for. I wished there was much for to Baila Conmigo. But it was still a decent listen, nonetheless.

The music video for Baila Conmigo was okay, but also lacked that memorable aspect, in my opinion. The video goes down the aesthetic route with a sensual and mature concept. I did like the different sets, some of which looks to be Latin influenced and how the colours choices either gave the sets a warm or cool tone. The choreography in the pool of shallow water and glittered covered floor also felt refreshing. And adding to the aesthetics of the video, I believe the people in the background/drummers were wearing a Vejigante mask to fit in with the Latin concept influence. It all looks very pretty and neat. But asides from choreography and closeups, there wasn’t much else to the video.

The choreography for this comeback isn’t as bold as their previous works. This makes way for a sensual routine, which works well with the song. I do like the end where the beats become more dramatic and the song takes that bombastic turn. The members traditioned over without it being jarring or disruptive to the flow of the routine.

Song – 7/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] Youtiful – Stray Kids

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Finally, the final song review for the ★★★★★ (5-STAR) era. The song in question is titled Youtiful, which serves as the album’s 10th track. Including the title and this track, I have written a total of 6 reviews for this era, with the most recent being TOPLINE (ft. Tiger JK). This does not include an additional two reviews for two other tracks that were release prior to ★★★★★ (5-STAR). Following this song review, I will be posting the full album review for ★★★★★ (5-STAR) on the weekend. I do find it funny, however, that I will be doing this all over again for the next era that will occur some time in the remainder of 2023.

Youtiful blends the words ‘You’ and ‘Beautiful’ to create its title. And based on this alone, you can tell that the song is about how everyone is beautiful as they are, and that the track is directed to towards their fans and other listeners. It is extremely heartfelt and brings a smile to my face every time I listen to it. To reach an even wider audience, the entirety of Youtiful is in English. All of the members perfectly delivery their lines and sing wonderfully throughout the track. The combination of the piano and guitar backing and the members singing gives off such warm and comforting vibes. The melodies and instrumentation are very simple and straightforward, but this makes Youtiful an easy listen. Overall, I find Youtiful to be such an effective track and it does exactly what it is set out to do.

Youtiful‘s music video differs from the rest of the other music videos we got from this era, as it is more of a lyric video and it is also animated. It is also the only video to not feature Stray Kids in any form aside from their vocals. I find the animation to be cute, with the animation showing the lives of an ordinary people finding out news that space is coming closer to them. The news and the wider population sees the whole situation in a more upsetting sense, focusing on asteroids coming close to the Earth’s orbut. But a select few in the video sees the situation from a more beautiful perspective, focusing on the closer presence of the planets and stars.

Song – 9/1`0
Music Video – 8/10
Overall Rating – 8.6/10

[Review] LET’S DANCE – LEE CHAE YEON

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A couple of weeks back LEE CHAE YEON made her solo comeback with LET’S DANCE. At first, her comeback flew under the radar. And after I realized she made a comeback, I was posting other reviews and busy with work. But today, I will finally be getting around to review LET’s DANCE. This new release follows on from LEE CHAE YEON’s KNOCK from earlier this year.

LET’S DANCE is a super fun dance track, with its bright energy being the best thing to come out of the track. It genuinely makes me want to dance, smile and have a good time – all of which you would expect to come from a fun dance track. LEE CHAE YEON and the producers did a great job when it comes to LET’S DANCE‘s pre-chorus and chorus, where the energy mentioned is definitely quite high. The pre-choruses features a very refreshing incline to the chorus (I also like the ABBA reference ahead of the final chorus), and the chorus satisfies with its power pop motif. The final chorus also features a punchy high note, which serves as a strong peak for LET’S DANCE. LEE CHAE YEON herself sounds solid throughout the track. But while it is definitely a strong song for LEE CHAE YEON, I am disappointed by the dull “Let’s Dance” repetition that follows up the chorus. It felt pretty unimaginative and cuts into the aforementioned bright energy that makes LET’S DANCE as good as it is. We needed something more dynamic to fit in with the rest of LET’S DANCE. Overall, a strong song that is held back by a lacking hook.

The music video is bright and the people involved encompasses the fun and upbeat nature of LET’S DANCE very well. All of this works extremely well with the summery vibes (or at least, the warm weather given that they are now in Autumn) that Korea is still experiencing. I liked the camera work during the bridge of the video, which is what we saw in KNOCK‘s music video as well. The added special effects also adds to the fun of the video.

The choreography is amazing. I really like the fun energy she and the dancers put into it, especially when it comes to the footwork in the chorus. I really like the bendy moves in the bridge and how they changed up the moves in the final chorus to be punchier.

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

[Review] TROUBLE – EVNNE

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Time to review the debut single of a newly debuted group. EVNEE is a seven-member male group currently being managed by Jellyfish Entertainment (the home of two current members of VIXX, VERIVERY and formerly gugudan). The lineup consists of trainees who participated in Boys Planet earlier on in the year who did not make it in the final lineup of ZEROBASEONE – Keita (placed 12th in Boys Planet), Park Han-bin (11th), Lee Jeong-hyeon (15th), Ji Yun-seo (41st), Yoo Seung-eon (16th), Mun Jung-hyun (29th) and Park Ji-hoo (33rd). Originally announced as BLIT, the group ended up being renamed EVNNE and debuted last month with the single TROUBLE.

TROUBLE caught my attention thanks for its Baltimore Club style that it had going throughout the track. It made for a bold instrumentation, particularly when it came to the chorus. And with boldness comes a memorable appeal, which TROUBLE definitely had in my opinion. I liked how they allowed the synth to be standalone in the first half of the chorus, giving it time to grow on you. Then they follow it up with a rhythmic chant that adds to the appeal of TROUBLE. I would have liked the final chorus to somehow be a bit more bombastic to give TROUBLE a more satisfying end, rather than a repeat of what we got in choruses that came before. That was a missed opportunity, in my opinion. Other than the instrumentation, EVNNE does showcase a good execution of vocals and rapping. There wasn’t anything mind-blowing or grand from this department, but I did like the dragged out rap-speak delivery in the bridge of TROUBLE and the filtered rapping that leads into the final chorus. However, with the dragged out rap-speak delivery, I wished the instrumentation here was dynamic and not stripped back as it were, just so the song’s momentum (which was pretty good ahead of the bridge) wasn’t disrupted and a more dynamic backing would have made this part of TROUBLE excel further. As a track that kicks off their careers, TROUBLE makes a good case for EVNNE and I hope their subsequent releases go up and further than TROUBLE.

The music video shows the members causing trouble, fitting for the title and messaging they have behind the lyrics. First up is a series of explosion at an old building, which leads to the group becoming wanted. Secondly, they are seen driving away (which I presume they are doing to evade the authorities). Then, whilst covering the other members driving away on the news, Keita (the newsreader) stops working and steps away from his job. From there, the group hangs out and have fun with each other. The scenes in which we see the group play cards and hang out in the dark shows a more charismatic and playful side of the group, representing the side of the song that speaks to the members’ charm and innocence. I did think the group could have been more wild in the music video, but what we got is fine. However, I did think the start of the video could have started off with a breaking news type of announcement, rather than just silence.

The choreography is the best part of this debut. EVNEE really showcase their performance potential via their dynamic routine for TROUBLE. The swing of the raised legs at the start of the routine (iconic potential!), the swinging motion of their bodies towards the end of the instrumental part of the chorus and the ear muff like hand motion at the start of the chorus or end the performance were all really cool aspects of the choreography.

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

[Review] TOPLINE – Stray Kids (ft. Tiger JK)

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It has been a week since my last Stray Kids’ side track review. And as alluded in that review, there are a few more music videos before I can finally post my thoughts on their ★★★★★ (5-STAR) studio album. Today, I am reviewing the single TOPLINE, which features the Korean hip-hop legend and royalty Tiger JK. TOPLINE is ★★★★★ (5-STAR)’s fifth track.

As I say constantly, the hip-hop/rap genre is not my personal cup of tea. But even I have to see what the likes of Stray Kids and the legendary Tiger JK sounds like. It comes as no surprise to me that TOPLINE sounds like another hype hip-hop track. It carries the energy that Stray Kids is known for, while also allowing the rappers (including Tiger JK) to show off their skills. More specifically, TOPLINE is described as a minimalistic boom bap, old-school and East-Coast hip-hop track. Naturally, the rappers shine in this song. Needlessly to say, Tiger JK’s featuring was very clear and crisp. His flow was amazing and definitely added some finesse to the track. As for Stray Kids’ themselves, I particularly enjoyed HAN’s rapid and clean delivery in this song. But Hyunjin’s slurring is quite interesting and had more impact, while Changbin’s punctuating delivery is very much in his wheelhouse. Felix’s deep voice just adds flourishes to TOPLINE that pays off and gets the track grounded when it hits energetic peaks. The rest of the members handle the vocals. They don’t have much material to work with, but they managed to mirror the energy of the rappers quite well in the chorus. TOPLINE is a successful collaboration between two generations of Korean artists and a highlight on the album.

My overwhelming initial impression of the video is that it reflects TOPLINE‘s intensity very well. The music video features the members in a very confident demeanour throughout the video. The song is about the members being at the top, and so having the money (which probably represents their net worth and successful thus far) rain down from above is definitely behaviour that one can only indulge in when they are top tier. The video also shows the members at heights (like on top of shipping containers and on the edge of the building, above everyone else) and up there in the hierarchal chain (i.e. underlings counting their money for them). Higher heights would have been cooler. The hype energy and the fire further emphasises the tone and intensity of the song, respectively. What I thought was rather interesting was the contrast between Stray Kids and Tiger JK. He too brought intensity to the video with his cameo, but does so in a more laid-back and easy-going manner, whilst Stray Kids was moving about and flailing their arms a lot more in comparison. I put it down to the fact that is his style, but it also goes to show how a legend does it.

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

[Review] Air Force One – ODD EYE CIRCLE

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LOONA had great potential to be a powerful act in KPOP, but their company ultimately failed the group, with each member filing to terminate their contracts with Blockberry Creative by the end of last year. Throughout the first half of this year, the LOONA members departed from Blockberry Creative after winning their lawsuits against the company (and the company remained bitter to the very end, threatening lawsuits and a ban the members from promoting). While group promotions have been said to be on the cards by one company, the members went in separate directions. Luckily, Kim Lip, Jinsoul and Choerry remained together, signed with Modhaus, reunited with the creative director behind LOONA’s pre-debut and debut projects and revived their LOONA unit name ODD EYE CIRCLE with their comeback single Air Force One.

Apologies for the long introduction, but there was a lot to unpack there. But now, I turn my attention to Air Force One. The song didn’t do much for me at first. But per usual with me, multiple listens have helped boost the song in my books. If you remember their previous works, Girl Front and Sweet Crazy Love, the songs were quite synth-heavy. Air Force One follows a similar direction with its Jersey club sound. But it does feel different, gearing away the retro vibes that Girl Front is known for and towards a trendier and modern motif. The multiple listens given to the song since its release has helped me realize how catchy Air Force One is, especially when it comes to the “Dara Dara Dadada Dada Dada” lines in the chorus. The pairing of this line with the more prolific instrumentation (relative to the verses) makes for a strong and intriguing central piece. The lines that come after this main line don’t really follow through as well, but they do maintain the energy that the chorus of Air Force One entails. The melodies in the song, especially in the verses, were also quite memorable. However, for me, the weakest aspect of Air Force One was the vocals. Most of it is fine. But some of the vocals were drowned out by the loudness of the synth instrumentation and some of the autotune just hadn’t grown on me. I wished the execution here was a better, as that would have helped Air Force One become more appealing in the first instance. Overall, Air Force One is a great return to the industry for ODD EYE CIRCLE and the new chapter in Kim Lip, Jinsoul and Choerry’s journey in their music careers.

I am quite surprised by the amount of references to LOONA’s and Girl Front/Sweet Crazy Love music videos. You got the eye patches, the moon imagery, the undercover carpark set and the hanging laundry set. I am all for the return of what is called the LOONAverse. But I did like the newer elements, such as the sleek black suits and the super powers that the members now have. We also got a cameo from HeeJin in the music video, who also joined Modhaus soon after ODD EYE CIRCLE did. HaSeul also joined the company much later, but did so later on. Otherwise, I think she would have also made a cameo in this video. As for the events of the video, I am not entirely sure what is going on. But ODD EYE CIRCLE seemed to crash a high-end party, knight one of the party goers in front of HeeJin. The song also features messages of the group making next steps with no worries, which complements the scenes where the members are having fun driving around the city.

The choreography for this debut/comeback is quite good. Their moves were all very interesting, drawing on that aspect of the song quite strongly. The sharpness and synchronisation is a definitely highlight and the routine at the song’s main hook looks cool.

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

[Review] ABYSS – WOODZ

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WOODZ made his comeback back in April of this year with his fifth mini-album Oo-Li. Featured on that album is the title track Journey. But way back in February, WOODZ pre-released the single ABYSS which was also featured on the mini-album. In my review for Journey, I flagged that I would return to review ABYSS and I am finally getting around to doing that today. Also, as a heads up, there will be an album review for Oo-Li in the near future!

ABYSS is a slow alternative rock song that I found myself easily captivated by. There is a lot to like in the song, from the instrumentation to the melodies. Featured in the background of ABYSS is a dominant electrical guitar that I would best describe as an instrument piece that pierces through the threshold of the song in a bold and memorable manner. The riffs complement the overall pace that is dictated by the other elements of the track (i.e., the vocals and melodies). On WOODZ’s part, I found his vocals to be emotionally charged and vulnerable, a side of the soloist in which I don’t think we have heard before. This folksy and indie approach in which he delivers ABYSS really helps make his vocals. The melodies are also extremely pleasant and swayable. Even though this does sit outside of the ballad genre, the swayable melodies are very upfront and help in my captivation. Everything mentioned above, in combination, helps ABYSS become a song that is impactful and has that “hit in the feels” result.

As mentioned in my review for Journey, the music video for ABYSS serves as the prequel to what occurs in Journey. And this video is loaded with symbolism and meaning, and doubles as a personal story from WOODZ. But here is my interpretation of the music video. The video places WOODZ in this one room in this big mansion to show us the concept of stability and how it is okay to stay in one place (figuratively, of course). WOODZ comes across multiple people in different walks of life when they drop by to collect their packages. But throughout the video, these people are shown elsewhere in that mansion, some of which were dancing about. To me, this represents that they enjoy the stability of being in one place and are content with where they are. As for WOODZ, he has the capability to leave via the door with multiple locks (all of which are locked, representing that he intentionally put himself there). This shows that during this time he also enjoys the stability and is content with where he is. Even the basement version of himself is pretty content, with no attempts to escape or leave the basement. But as the video goes on, you could see him growing tired of the same scenery. Even the lyrics of ABYSS signifies his desire to explore/move on and get to know himself more, but is scared of the unknown beyond the door. In the end, he chooses to go through the door, signifying that he is ready to move onto the next part of his life. At the same time he walks through that door, basement WOODZ gets up and leaves the basement, as well. This latter scene puts the events of Journey into motion. Aside from that quick breakdown of the video, I really liked the play of colours, with the video switching between warm and cold tones. It is extremely subtle, but it complements the idea of the known (stability) vs. the unknown (moving on).

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

[Review] Galileo – Kep1er

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In the sphere of comebacks, Kep1er dropped their fifth mini-album, Magic Hour, yesterday. Featured on this new mini-album is the title track Galileo, which follows on from their Giddy comeback from April of this year. Other than that, it has been a fairly low key five months for the group, with the only major piece of news involving the group being a possible (but presently unsuccessful) extension in Kep1er’s promotions recently.

Galileo is another fair song this year. We do get some robust pop energy from the instrumentation and the melodies in the choruses. Plus, the members themselves feel natural in Galileo. I particularly enjoyed the brightness and punch the members give the chorus, which I feel is much needed for reasons to apparent. Yeseo’s breathy start to Galileo and Huening Bahiyyih soft start to the second verse was probably my pick for the best moments of the song. But while I do agree that Galileo is a definite improvement from their previous comeback, I do find the song to still be dull and unimaginative in some key parts. I feel this the most when I reflect upon Galileo‘s hooks, which I find to have a long shot in catching on with further listens (that is Galileo does convince me to give it further listens). For me, the rest of the verses (aside from the start, as I have already praised above) doesn’t follow through with the same appeal and ends up turning such promising beginning into generic material. I also wished there was more dynamic flair to the instrumental as Galileo feels too consistent from start to end and this ultimately plateaus the song’s appeal for me. We do get some twang and extra punchiness when it comes to the instrumental break, which I fully appreciated. But I wish there was more of that in the rest of the song. Overall, Galileo does sit on the enjoyable side for me, but time will tell whether it has enough holding power alongside its competition.

Music videos like Galileo‘s is what I describe as ‘Watch once, Watched it all’. In other words, you only need to watch it once in order to understand the gist of it. Concept-wise, the members discover a photo booth that transports them to an art gallery for the group to explore, which in turns transports the group into an art piece. The theme of discovery ties well into Galileo Galilei, who is the father of modern science who made a lot of discoveries while he was alive that changed the course of modern science and the song is titled after. The members looks good and I enjoyed the freshness of the colours in the video.

The choreography aspect of this comeback is actually quite good. The routine is rather pleasant for the most part, but I do like the energy and oomph the five members who handled the dance break put into their moves to make it the routine’s most powerful part.

Song – 7/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] Vroom Vroom – TEMPEST

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Yesterday, TEMPEST made their return with their 1st single album with Into THE TEMPEST and the lead single Vroom Vroom. This comeback follows on from their April 2023 comeback with Dangerous and their fourth mini-album, The Calm Before the Storm (폭풍전야).

I have been more of a fan of TEMPEST’s pop leaning releases thus far, rather than of their more intense dance tracks. Vroom Vroom is very much in the latter category, which was kind of expected given the title of the song. While my thoughts of Vroom Vroom being another generic boy group dance release and is rather typical definitely recurs when I listen to the song, I do think it is a nudge better than their previous songs of the same or similar caliber. I put it down to the fact that the producers and the group leaned right into the intensity and really did a good job of backing it all up with the sound effects when the title of the song appears in the lyrics. It was a creative way of layering without muddling the song. I also found Vroom Vroom to be quite catchy thanks to the repetition in the central parts. The loud and concentrated intensity in the instrumental break was also quite welcomed, catching me off guard and it took the already intense song to a higher level. As mentioned earlier, the usual thoughts do prevail. Vroom Vroom doesn’t exactly have anything memorable in the vocal or rapping departments and I wished this had something that really draws your attention to the members. Overall, another generic release from TEMPEST with some promise.

Unsurprisingly, the music video takes on a a racing concept with racecar outfits, cars, motorcycles and tyres in abundance in this video. Even the sets were very metallic or industrial-like, resembling a garage or engine. It did do a decent job of relaying that intensity and energy from Vroom Vroom. But aside from all of that, I don’t have much else to say about the video.

One of the advantages of an intense song is that it lends well in terms of performance. And Vroom Vroom does highlight TEMPEST’s performance potential. The synchronisation and powerful energy/intensity was definitely present on stage and a highlight to the performance.

Song – 7/10
Music Video – 7/10
Performance – 8.5/10
Overall Rating – 7.3/10

[Review] Get Lit – Stray Kids

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You can probably guess by now that when I am covering the side tracks off an album that has a music video released alongside it, I am gearing up for their album review. And that is definitely the case of Stray Kids’ ★★★★★ (5-STAR). So far, I have covered DLC and FNF, as well as the title track S-Class. But there are a few more music videos released for the ★★★★★, so do expect a review for each of those associated songs over the coming weeks. Today’s review is focused on Get Lit, which is 7th track from their 3rd studio length album.

Loud and shouty are the exact words I would use to describe GET LIT. While that might sound negative, I use them quite positively in the context of GET LIT. I really enjoyed the bold energy of this track. The instrumental itself, which is a mixture of moombahton and bounce EDM, has a squeaky-like distorted effect that made it quite unique. The twangs in the instrumentation also kept it fun and playful. The loudness that I mentioned before stems from the instrumentation, as well. Again, squeaky and loud doesn’t sound appealing, but that is not the case with GET LIT. As the instrumental is quite loud, the vocals and rapping had to come off as shouty to work in the track. And it does. Both had to follow through, and I like the control and balance they strike. The rapping in the verses was very impressive and the shouty vocals in the pre-choruses and choruses still managed to bring a brief yet memorable melody into play. Altogether, the elements of GET LIT come together to exude the one thing that the title promises – an energetic and hyped up party vibe that doesn’t hold back.

The music video features both a fashion show and a party. The fashion show highlights the members’ amazing visuals and felt very appropriate given the group and individual members’ recent ventures into the fashion world with modelling work and the announcement of global ambassadorships for some big named fashion brands. The party itself felt very exclusive, coming off from the fashion show concept and with Bang Chan DJing in the midst of the party. The music video also does a good job of ensuring the video is lit, matching with the energy and title of the song.

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

[Review] CHEEKY – EL7Z UP

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Whoever is naming KPOP groups nowadays really need to stop! Now that I got that off my chest, here is my review for EL7Z UP’s debut single, CHEEKY, which is featured on the group’s 7+Up debut mini-album . The group formed through the Queendom Puzzle show, which is a spin-off from the Queendom series where female KPOP artists from active groups or have active solo careers would compete with one another to earn a place in a global project group. 28 contestant started off on the show, but the final line up ended up consisting of Hwiseo (H1-KEY member), Nana (woo!ah! member), Yuki (PURPLE KISS member), Kei (part of the currently inactive Lovelyz member), Yeoreum (WJSN member), Yeonhee (Rocket Punch member) and Yeeun (former CLC member). What makes EL7Z Up interesting is that the members can still promote as part of their existing groups/solo careers as they wish (like in the case of PURPLE KISS, Rocket Punch and H1-KEY’s recent comebacks), which sets them apart from the other groups formed other MNET survival shows we have encountered.

Anyway, my long introduction is over and now we can get right into CHEEKY. To me, I find the song to be quite an assortment of sorts. There are parts that I like, and there are parts that I am not a fan of. So, based on what I have mentioned so far, you can cross cohesive and impressed off the list of potential descriptions for CHEEKY. Let’s begin with the likes of the song. The very low thumping bass in the background of the verses was interesting and the pre-choruses had a nice melodic touch. The chorus was a nice refreshing melody, which I thought had a nice ring to it. I also enjoyed the brightness the members bring to the central part of CHEEKY. But the rest of CHEEKY were lacking and less enjoyed by me. There are a few momentum killers in the song, such as the sample of Borodin’s Prince Igor as backing of the rapping in the second verse and the sudden/instant transition from second chorus to the bridge. Elsewhere, the verses were very dry and consisted of nothing of interest. And I couldn’t take the serious toned “Cheeky Cheeky … Cheeky, Cheeky Woo, Cheeky Cheeky, Freaky Deaky Cheeky Cheeky Woo” repetition seriously It was also pretty mundane and awkward. It would have been nice to hear more character in the song, especially from the members as I am sure they each have something interesting to offer, and something more expressive in the lesser enjoyed parts of CHEEKY.

The concept for this video/debut appears to revolve around an audition, with the members in line for a ballet audition based on what I can make out from the posters/other auditionees. It might also explain the ballet sample mentioned above in the song. But in the end, the members break ranks from ballet (their cheeky action of the video) and end up dancing to CHEEKY instead. I find the idea of an audition concept to be logical for this group, as it can represent the start of a new beginning for them, especially since they have their own careers to return to throughout their promotions as part of EL7Z UP and once the activities for the project group officially ends. Other than that, I found the music video to be a decent watch.

For me, CHEEKY featured an alright routine. It works with the song, but I just found the routine doesn’t offer anything interesting to comment on.

Song – 6/10
Music Video – 7.5/10
Performance – 6/10
Overall Rating – 6.5/10

[Double Review] Good Enough + Dear H. – Xdinary Heroes

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Joining their labelmates in having more than one music video for one album release is Xdinary Heroes. Part of their Deadlock mini-album from April this year is Good Enough and Dear. H, the mini-album’s fifth and seventh track respectively. Today, I will be reviewing both balladry tracks in this one post. Featured alongside these two side tracks is the title track Freakin’ Bad.

Good Enough is a captivating and emotional ballad, featuring both band instrumentation and piano/strings in the background. The former is throughout the entire track (which is expected for a band), but the latter is heard from the second verse onwards. Jungsu and Juyeon’s vocal work in this song is so enchanting to listen to. From the softer tones in the verses to the soaring vocals in the bridge, you can feel the emotional pull of Good Enough so profoundly. It is also very nice to hear some of the other members participate vocally in Good Enough as well. The swayable effect/melody you know I look for in ballads is very much present in Good Enough, and this is the result of the vocals and instrumentation working well with one another to create that captivation. I really like the powerful combination of the high notes and rock ballad instrumental sequence in the final seconds moments of Good Enough, creating such a memorable moment and felt very much like the icing on the cake for the song. It, and the final twinkling of piano, just closes out Good Enough in such a satisfying and deep manner.

Dear H. honestly caught me off guard when I first heard it. Once again, the song starts off like a an ordinary ballad, extremely peaceful and soothing. But the chorus really goes in hard with the rock instrumentation and Jooyeon’s soaring vocals was breath-taking. Interestingly, following the first chorus, Dear. H switches back to the simple ballad beginning and the vocals showed no sign of that powerful rock instrumentation that just preceded it. It does fragment the song, but it isn’t the end of the world. The good news is that this allows us to revisit the same incline and powerful punch that the first chorus served in the second chorus. This time is was taken on by Jungsu and it sounds blissful once again. Dear. H finishes off with soft balladry vocals once again, closing out the song in a full circle manner. Just like the composition of Dear H., its lyrics are also quite impactful, beckoning one to talk to about their internal secrets and feelings. Overall, a unique side track from Xdinary Heroes.

Both side tracks’ music videos are connected, which is largely why I put both Good Enough and Dear H. into one review. There is a nice theory in the comments by @aaaaareuok (see screenshot below) to explain the two videos and how there are two possible stories depending on which video you think goes first. So, based on that theory, I will adapt and explain what I think happened. To me, given Dear H. features the group in school uniform and the video is a little hazy, the events in Dear H.‘s video is like a memory. We see all the members as friends hanging out with one another in school, along with JunHan (who was absent from the Good Enough video due to illness and doesn’t make an appearance until the very end of Dear H., though he is featured off-screen as the person filming the members together/alone since he had the video camera in the end). They are happy, but obviously each had something weighing on their minds throughout the video. In Good Enough, the members are largely by themselves, signaling the possibility the members have drifted apart (though I think JunHan kept in touch with everyone, as we see the prespective of a video camera filming each member individually). Also, Good Enough‘s video isn’t hazy, which to me represents more of a modern day. Whatever is weighing on their mind eats at them in Good Enough. But JunHan most likely reunited everyone back to the beach (as per the ending of Dear. H‘s video, where we see six names etched into the sand and he recording isn’t hazy like the rest of the video) so that everyone can have that same good time they had back when they were in school. But that is just what I think happened in the two video and follows the below theory from @aaaaareuok. There could be alternative theories out there, and I would love to hear them.

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

Dear. H
Song – 9/10
Music Video – 9/10
Overall Rating – 9/10