Category: Reviews

[Review] LUCKY! – KIM JAE HWAN ft. BOBBY (iKON)

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Another male soloist made his comeback this week – KIM JAE HWAN. He returns with LUCKY! – the title of his latest title track and the lead single off his sixth mini-album, JAM (Journey Above Music). Both LUCKY! and JAM follows KIM JAE HWAN’s earlier 2023 comeback, Spring Breeze.

If you want something funky, then LUCKY! is the song for you! I am totally digging and loving the track. Upbeat numbers like this are so welcomed in this current climate which calls for vibrant sounds (if you are in the Northern Hemisphere) and if you miss the sunshine and warmth (if you live where I live where it is currently freezing cold). I just love how it is fun and colourful LUCKY! is. In addition to the funky backing, you have the usual suspects in terms of instrumentation, such as brass that bring so much energy to the mix and playful whistles at the midpoint and end of the song. Altogether, you have the start of an infectious and boogie worthy single. Adding to that infection and boogie is KIM JAE HWAN himself, who gets to show off his vocals in LUCKY! in a much more vivid and lively manner. He shows so much character and profile in LUCKY!, with the route he took to get to the powerful high note at the end being a great example of this. Plus it helps to have catchy hooks like in LUCKY!, which pretty much seals the deals for me. Featuring alongside KIM JAE HWAN is BOBBY from iKON, who brings a rapping element to LUCKY!. While I do appreciate his featuring and how it attempts to bring a fresh element to the song, BOBBY’s featuring is my pick for the weakest point of LUCKY!. It felt like the rap lacked oomph, which was present in all other parts of the song, and didn’t carry the same momentum as the rest of the song. And it made KIM JAE HWAN a lot of work to make up for in the rest of the second verse. But he does get there in the end once we return to the second chorus. Overall, LUCKY! is definitely a bold and fun return for KIM JAE HWAN, who nails it very well!

Music video wise, we just get a 3:23 minutes worth of KIM JAE HWAN having fun and enjoying life. The video does show a few scenes where KIM JAE HWAN gets lucky, such as when he breaks the egg to find a double yolk, he throws the plastic cup out without looking and it somehow deconstruct itself and each part lands on an angle perfectly balancing on top of one another and is rewarded with money from a rich older lady when he returns her shoe. I also think he wins the race he participates in. Just like the song, the video is playful and a vibe. KIM JAE HWAN successfully conveys this through his acting and facial expressions, which altogether made for a fun watch. It was also great to see BOBBY feature in the video, as well.

The playful vibes continue into the choreography, which was highly expected from the song. It was a fun and lighthearted routine, and at times looks hilarious. And based on what I can see from the music video, his facial expressions is going to be an important part of selling the choreography (which he does in the music video, as previously mentioned).

Song – 9/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 8.6/10

[Review] SOS – KANG DANIEL

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Also making his comeback yesterday was KANG DANIEL with the song SOS and his fifth mini-album REALIEZ. It follows the release of his all-English pre-release single Wasteland, another single from REALIEZ mini-album. This KANG DANIEL’s first Korean comeback since the release of his repackaged version of his first studio length album last year, The Story: Retold, which was lead by the singles Upside Down and Nirvana.

SOS is an interesting mix of grungy rock (when it comes to the choruses), and trippy and unconventional trap elements (when it comes to the verses). The former brings a dramatic flair to the song via its drumming and the electric guitar work we hear is continues the momentum with ease. The bridge of SOS is a great showcase of the grungy rock influence – my personal favourite segment of SOS. I did want a bit more to this side of the song, however. As the song returns to the choruses, I wished the backing became more electrifying, just to give SOS something more and this would have cohesively bind the song further with the trap elements. Nothing too wild is required, just something to make the grungy rock pop out a bit more and give some more flair to the choruses. As for those trap elements, they are a bit more untraditional compared to other trap based songs and KANG DANIEL’s past work that has a similar combination (i.e. PARANOIA). Based on how they sound, I would say they are more of an experimental touch to the song, but they give off such a unique vibe that I really enjoyed. KANG DANIEL’s vocals are quite nice. I like how they are sound muted, but retrospectively they somehow give off a lot of character at the same time. The repetition of the hook was also quite catchy. Altogether, I thought SOS was a strong piece that showcases KANG DANIEL’s niche and sound quite well. SOS could have done more in some areas, just to give it more edge. But the final product is great as it is.

The music video for SOS had a Mad Max type of concept to it and this was quite cool. The production value of this music video is definitely up there and it made the whole video amazing to watch. The song has conveys the message “of not giving in to the chaotic situation and fighting firmly against it” (taken from Soompi), and we see KANG DANIEL never backing down and fighting against the chaos around him. I am not entirely sure what the game and later scenes of the music video were about, but they do show how KANG DANIEL is unfazed around the figures that represent death and the hell setting we see him in. Even as the sky starts disintegrating at the end with the credits, KANG DANIEL continues on his journey forward.

As for the choreography, KANG DANIEL and the dancers showcase their talent in this department in the performance for SOS. There is a definitely cool factor to it and I liked the intensity he brings with his presence to the choreography. Nothing stands out individually, but the whole performance was riveting to watch, as always.

Song – 8.5/10
Music Video – 9.5/10
Performance – 9/10
Overall Rating – 8.9/1`0

[Review] Broken Melodies – NCT DREAM

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Ahead of their upcoming comeback ISTJ scheduled for release next month, NCT DREAM has released a pre-release single titled Broken Melodies. This is the group’s first release since their Korean comeback with their remake of the single Candy and their Japanese comeback Best Friend Ever (review to come). The group is also in the midst of their The Dream Show 2: In A Dream world tour.

Broken Melodies successfully eases us into their upcoming comeback and easily excites fans and casual listeners of the group for what is to come. Personally, the song is fairly simple with its straight forward pop rock influences. While the simplicity side of things can be problematic in some cases, that was not a concern for NCT DREAM here. The group managed to make Broken Melodies dynamic and stunning. The two main elements that really jumps out at me in Broken Melodies is actually the pop melodies of the song and the vocals that bring said melodies to life. We all know how capable the vocal line of NCT DREAM are their vocal abilities and they did not disappoint. But the rappers really surprised me with how stunning their vocals were during the solo moments in the verses and choruses. However, that doesn’t stop the rappers from being incorporated later on in the song, delivering a powerful rap line which hurls Broken Melodies upwards towards its peak. The pop rock instrumentation in Broken Melodies felt refreshing and nostalgic at the same time, reminding me of similar releases that I grew up on in the 00s. But the best parts of Broken Melodies has to be when the instrumental doubles down and intensifies via dynamic and cool drumming in the bridge. This adds to the memorable factor of Broken Melodies. I also like it was paired with the shouted “Broken Melodies” at the end of the choruses, which was a successful last ditched effort to get me back into the song right as it wraps up. As mentioned above, everything in Broken Melodies works wonderfully in setting us up to the next release from the group, which will come out mid-July (i.e. a little under a months time).

One of the vibes that I got from the song that I didn’t mention above was that there was a pleasant and warming tone to the vocals, which complements the song’s message of wanting to protect a love no matter what, expressing that they will overcome the numerous emotions they feel while being separated a great distance from the person they love (taken from Soompi). That’s why we see a bunch of scenes of the members talking on the phone with a smile, or sending messages to their partners with a smile. I also liked how the members were dressed up in school uniform and the location of the music video was predominately at a school or college field. I prefer to think of a college setting, which aligns with the group’s more mature image. But the potential to take us back to slightly younger years doesn’t hurt the group, and complements their youthful concept that they began and built their image with.

The choreography that we do see in the music video looks great. But I won’t factor it in the final rating until we get a live performance of Broken Melodies, as what we do see is quite limited.

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

[Review] BOUNCY (K-HOT CHILLI PEPPERS) – ATEEZ

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ATEEZ is back and they are supercharged with their latest song BOUNCY (K-HOT CHILLI PEPPERS) and their 10th mini-album, The World EP.2: Outlaw. This comeback follows the group’s December 2022 release HALAZIA and Spin Off: From the Witness single album, and their March 2023 Limitless comeback in Japan (which I have yet to review and will get around to in the future). The group is also in the midst of their Fellowship: Break The Wall world tour.

Going back to my opening comments for this review, “supercharged” is how I would describe BOUNCY. However, at the same time, if someone was to say BOUNCY was “overloaded”, I wouldn’t actually disagree with them. Each listen that I have given the song since its release, just over 24 hours ago, has given me the impression that BOUNCY is a high-octane release. There was barely a moment of rest anywhere in the song. The group just relentlessly pursued us with their powerfulness and abrasive ‘noise’ as some people might call it. The ending really emphasises this with its intensity and rush towards the end of the song. The only moment of rest that we get in BOUNCY was during the choruses, where there is a slight slowdown that coincides with the lyrics, which in turn pushes for a more playful and flirty vibe. It is an interesting move, but Hongjoong did a good job of selling that part, and so it catches on. The questionable part of BOUNCY follows right after Hongjoong’s part – the higher-pitched repeat of the chorus. It does give BOUNCY something different to play with and ultimately does add to the aforementioned playful vibe, but adds a screechiness that I personally did not enjoy. On a more positive note, the rapping in BOUNCY is impressive, which is what you expect from ATEEZ and their dynamic releases. Seonghwa’s part in the second verse is super cool and definitely serves as the song’s highlight for me. On the flip side, however, the vocals are pretty much underplayed in BOUNCY and are in the backseat of this song. However, Wooyoung’s slower and sensual take of the chorus following the bridge was a standout moment from the vocal line. Overall, BOUNCY has its charms and is another powerful and high-energy track added to ATEEZ’s repertoire.

The music video is action-packed, taking on the concept of outlaws. There is a fair bit going on in the video. Based on the teaser videos that dropped before the comeback, the group are sleeper agents who are activated to participate in a heist of green chili peppers, which seem to be the underground traffic item in this dystopian world that we saw previously in Guerrilla. Makes sense, given that world suppressed all emotions and expression, and hot green chili peppers will definitely elicit an emotion or expression from those who consume it. The goal of the group is to steal a batch of the the green chili peppers that are being transported into the city. Seonghwa and Yeosang are agents who are undercover in the team that is transporting the green chili peppers. Hongjoong and Mingi are cowboys gangsters that are wanted by the law, and well versed with the weapons. Wooyoung and San appear detached from the main story as they are part of some underground boxing ring, but maybe they fund the cause with their earnings. And Yunho and Jongho play cops, but I guess they are corrupt as they don’t do anything and join the rest of the team at the end. But in the end, they are successful with their heist, though we don’t see the green chili anymore. Interesting concept and a cool video overall, though I wished the characters the members are playing are a bit more teased out.

I do like how they bring the playful vibes to the performance. But it isn’t upfront or the centre of the performance. It is more so in the background or on the sides of the performance. As for the choreography itself, the knee-breaking move in the chorus and the snake formation was all very cool and super impressive. The ending with the high-energy rush was also well executed. Without a doubt, a performance that is worth the watch.

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

[Review] Movie Star – MIJOO (LOVELYZ)

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MIJOO can easily be referred to as a rising star in the Korean variety show scene lately. But she is also a member of the female group LOVELYZ that debuted back in 2012 under Woolim Entertainment. Unfortunately, the group is currently on hiatus after the departure of all but one LOVELYZ member from Woolim Entertainment in 2021. Since then, many of the members have made their debut as solo artists under their new respective companies. MIJOO signed on with Antenna following her departure from Woolim Entertainment, and in May 2023, it was MIJOO turn to make her solo debut with the single Movie Star.

Movie Star is not spectacular, nor is it ground-breaking as a dance track. But it has its shining moments. I appreciate the track for its pleasant and easy-on-the-ears moments. They do hinder Movie Star in a way. The more pleasant moments (i.e., the verses and bridge) does make Movie Star feel like it is held back and the reversion back to pleasantness in the second verse does result in a loss of momentum that ultimately feels like a lost opportunity for Movie Star. On the flip side, these pleasant moments do highlight MIJOO’s airy and delicate vocals, which adds smoothness to the song. But if I had to preference one positive over the another, I would have picked momentum over vocals, simply because we still manage to hear MIJOO and her breathy vocals in latter parts of the song that were more upbeat. I did like the use of the percussive synths and xylophone-like metallic sounds in the song – both of which gave off a twinkling-like effect which goes well with the idea of a star. The guitar in the pre-chorus was also a nice touch. As the song gets to the choruses, Movie Star does pick up considerably and the momentum here was top-notch, exactly what the song needed. I like how it does embodies the idea of a dance track in a plain and simple way – no fuss, no frills. The replacement of the second half of the chorus during the chorus’ second run was a smart way of keeping the song dynamic and giving a unique structure to the song. Overall, MIJOO handles Movie Star quite well and it is a solid debut track altogether.

At the start of the music video, we see two cameos. The first is Lee Yi Kyung, who is usually playfully associated in the media as a potential romantic partner for MIJOO. We see him play a celebrity currently at a film or drama shoot and takes notice in MIJOO, who is an assistant in the production side of the shoot. The second cameo is by MIJOO’s fellow labelmate and senior, Lee Hyori, who dazzles on the red carpet just before the cameras unexpectedly switch over to MIJOO. The rest of the video shows MIJOO imagining herself to be a “movie star” (which matches the lyrics of the song). However, it is revealed at the end that she is, in fact, a movie star. So maybe we are looking at a Korean drama cliché here. I really liked all of MIJOO’s looks in the video – all very stunning. Even her casual part-timer worker look was pretty. My favourite part has to be the montage of all MIJOO’s looks in the video during the bridge. It was a nice, simple and seamless montage of the upper half of the choreography that just consolidated everything in the video in a matter of seconds.  

I enjoyed the smooth curves that the choreography has to offer in the choruses. They made the performance feel elegant and pretty. MIJOO handles the dance break wells, but I kind of wished it was stepped up a bit, just to fit the energy of the music a bit more neatly. Finally, I enjoyed the use of the flashlight on the mobile phones which individually looked like stars from afar. A pretty and smart touch to the choreography.

Song – 7.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.8/10

[Review] Hidden Sides – HWANG MINHYUN

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Minhyun has become quite the recognizable figure in KPOP. He began in KPOP by debuting as part of NU’EST and remained with said group until their disbandment early last year. Minhyun also participated in Produce 101 Season 2 as a trainee, where he ranked in the 9th position overall on the show, which earned him a spot in the highly successful project group WANNA ONE. Despite such a big career in the music industry, Minhyun only made his solo debut earlier this year (11 years after his debut) with the single Hidden Sides and the mini-album Truth and Lie.

I really looked forward to Minhyun’s solo debut, given that I have enjoyed majority of NU’EST releases. I found there was potential behind Hidden Sides, but the track fell short of being that track that pulls everyone in. It did have that trouble for me, as well. One of the reasons to why the song review for Hidden Sides has taken a while is because I don’t feel the urgency in the song to really motivate me to review the song. There are a few things I did appreciate in Hidden Sides. A subtle groove is present in Hidden Sides through its use of house influences and bass in the instrumentation. Minhyun himself does a decent job, showcasing his smooth vocals in the song. All of which made Hidden Sides a solid listen in the moment. But when you think of the song after it wraps up, nothing really springs to mind. The hooks do exist in the song, but just didn’t have that punchy or catchy aspect to them. Hidden Sides also felt stagnant in the energy department, which is always a major element in making a song appealing. This is particularly the case when you get to the final chorus, and it sounded like every other moment earlier in the song. Hidden Sides should have really concentrated at the end to give it some oomph and gone that extra mile to be a knockout track for Minhyun.

Minhyun’s handsome face and sensuous appeal makes up for a lot in this comeback. He has always been known for his looks even during his debut days and this music video reiterates that. Personally, even after 11 years, I am still blown away by his visuals. In the music video, he uses his handsome features to his advantage to attract the attention of ladies at the club and later to distract one of the people interrogating him – to get them to choose the ‘hidden side’ of him they want to believe in. I do find the storyline intriguing, but some of the elements (such as disappearing act with flying sparks and the magic tricks to be somewhat cheesy. But it was all a good watch, overall.

His charisma (in combination with his good looks) makes the performance aspect of the comeback quite a watch, as well. I do like the energy he puts behind his moves, and the effort the dancers gave to the performance to make the bridge pop by each sequentially flying into the air as Minhyun waves his arms around himself. I also liked how punchy and sexy the moves were.

Song – 7/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.4/10

[Review] Let Me In – EXO

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For the first time in over two years, EXO is finally making their long awaited comeback with their seventh studio album, EXIST. But we just got to wait a little longer, as the album release is not until July. Instead, the group has pre-released the single Let Me In ahead of the comeback today, which they previously performed at their fanmeet earlier in the year. However, the long awaited comeback isn’t without its issues, with SM Entertainment mishandling Kai’s sudden military enlistment which prevents him from promoting the new release alongside the rest of EXO (but he will still be featured in the comeback), and Baekhyun, Chen and Xiumin filing a lawsuit against SM Entertainment to terminate their contracts (but they are still part of the comeback plans/promotions). Phew, hopefully, nothing more happens between now and the comeback. Though, it should be noted that this comeback looks like it will not feature Lay.

Let Me In falls into ballad territory. And this one is an emotional one, as Let Me In talks about wanting to remain together and likening their lovers to the blue ocean. The instrumentation was nice, but there was nothing too spectacular with it. I did like how it had a beat to it and felt almost R&B-like, compared to the more traditional classical instrumentation that we hear with most other ballads. I guess this was done deliberately to allow Chanyeol and Sehun to fit into the ballad with their rapping. But the main drawing point, as per EXO’s past ballads, are the vocalists themselves. Each vocalists put a lot of emotions into their delivery, and the resultant product that is Let Me In also oozes a lot of emotions, as well. The two members that stood out to me in Let Me In is pairing of Chen and Baekhyun in this song. Both are amazing on their own, but the pair take the song to the next level. They shines brightest in Let Me In at the start of the final chorus with Baekhyun’s high note and Chen’s vocals, and during the outro of the song with that falsetto harmony. Overall, Let Me In a nice reintroduction to EXO and reminds me of their past ballads, which have been quite up there in amazing works in the KPOP industry in the past.

The music video depicts the members apart, separated and alone. There could be multiple reasons for this, such as still being in that emotional state following a breakup, moving out, moving on etc. A lot of speculation and theorizing can be done, but that isn’t the point of the video. At a certain point in the video, something pulls the members back together. Each member undergoes a time reversal where everything around them goes before the point in time a decision was made that led to the point of being apart, separated or being alone. This leads the reuniting of members (and Kai plus dog), new friendships and a return to that emotional state that gives the affected members a chance to redo. Concept wise, it is an emotional and heavy twist on their separation due to military enlistment and solo activities, but it is a clever one.

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

[Review] The Feeling – SHINee

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To kick off the celebrations for their 15th anniversary celebration today, SHINee dropped a pre-release single ahead of their 8th studio album’s, Hard, release later this month. The new single is titled The Feeling as was previously performed at their fan meeting held at the end of last month. Both the upcoming album and The Feeling follows on from the group’s last comeback – Don’t Call Me and Atlantis (combined album review here), from 2021.

One listen in and I can definitely say that I liking the song. I have definitely been coming back for more throughout today, as The Feeling just has this wholesome and lovely feel that speaks volumes. The Feeling is a refreshing listen that just comes at the right time as the Northern Hemisphere just enters Summer (and for the likes of me who lives in Australia – it brings me back to the nicer and pleasant periods that I love in Summer). The instrumental is quite upbeat thanks to the percussive elements and drum beats, while the members do an amazing job at keeping The Feeling breezy and flowy with their vocals. That being said, however, there some moments where the members broke away from that breezy and flowy motif, but it all felt just right in the bigger picture that is The Feeling. The instrumentation also features a side of brass in the post-chorus moments and more subtly during the bridge, which gives the song an extra vibrant element that helps prevent the track from falling into an overly consistent state (if that was ever the concern). For me, the best part of the song is when the members sing together, with their harmonies creating a very comforting and warm atmosphere that feels pleasant and satisfying. The Feeling is a great pre-release overall, and definitely has me excited for their upcoming comeback due at the end of the month.

Just like the song, the music video has this breezy feel to it. It might be due to the seaside setting/summery vibes or the floating plastic bags in the sky. Either way, the video complements the song quite well. The colourful trash that rains down around the members is an odd concept to feature in such a video, but the message of The Feeling is about moving forward and hope. So, you can already imagine the bursting of the bigger bag is all about letting go to move forward and that there is hope to do so. I am not entirely sure of the rest of the imagery in the video, but I am sure they are symbolic for similar reasons. Overall, a neat concept.

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

[Review] JUMP – P1Harmony

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P1Harmony made their comeback yesterday with their latest mini-album, HARMONY: ALL IN (their sixth to date), and their latest title track JUMP. They also released the English version of JUMP today. All of these releases follows on from their November 2022 release HARMONY: SET IN and Back Down and July 2022’s HARMONY: ZERO IN and Doom Du Doom.

There is a lot of potential behind JUMP. A subtle yet groovy underlay makes the instrumental lively, while the choruses employs a playful set of synths to sound fun. This all conforms to the alternative pop genre, with a clear feature of hip-hop influences infused into the song – all of which can be heard most vividly during the song’s final instrumental sequence at the very end of JUMP. For majority of the song, the members adopted a deep or low tone in their vocals and rapping, which aligns quite well with the instrumental and gives JUMP a consistent vibe throughout its 2:43 minute run. My favourite showing of this is KEEHO’s vocals in the first verse, where he drags out the ends of certain lines in such a intriguing and sensual fashion. The hooks of the song were quite catchy and worked well with the rest of the song. My biggest gripe with JUMP is that it fails to go that next mile, which ultimately made JUMP feel “held back”. Personally, I felt JUMP needed a more profound peak or moment of concentration towards the end to really take it to the next level. This could have lead to an explosive final chorus that would have amped up the song. Alternatively, the song could taken on a vibrant element throughout it run to give JUMP a bit more zing. We get a teaser of what this could have looked like through THEO’s vocals in the bridge (though this is quite brief). While I do think something extra is needed, it must be carefully crafted to fit in with the pre-existing elements of JUMP, as everything that we do get in JUMP already definitely shows promise.

The music video was pretty good. The song speaks of the message of enjoying the moment, which we see the members do whilst performing on stage and in the midst of the crowd. I did like the idea of a boombox flooring and walls, which both looked quite cool. The “jumping in the water” scenes were also looked awesome, especially as the camera captures the falling water droplets/splashes. The stage set was a good set-up, but I think the crowd element around the stage would have been more interesting. I also think the actual stage could have also been more bombastic and dynamic through some cooler lighting or a stronger background on a screen (think of a screen like in TREASURE’s I LOVE YOU music video). I am not entirely sure of the scenes where the members are in a bubble in space. Feels a bit random to me.

The performance was super great. Not much jumping happening in the choreography, as that would have been a massive undertaking whilst also performing live. Instead, the performance focuses more on a subtle approach to things, which works well with the song. I did like the footwork that could be seen in the performance, especially in the final chorus. Also at the end was the presence of a skipping rope. This would have been an interesting element to the performance (and quite relevant, given that it involves the idea of jumping). But it was such a brief moment at the end of the performance that just doesn’t feel like it could have been appreciated fully.

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

[Review] SHALALA – TAEYONG (NCT)

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Making his solo return on Monday was TAEYONG from NCT, with the shared title single and mini-album, SHALALA. While this is promoted as his solo debut, this isn’t TAEYONG”s first solo single. We previously got singles from TAEYONG through the release from the SM Station series, with the last being Long Flight from 2019.

With hip-hop influences and a very synth heavy production, SHALALA definitely heads in the direction that I had expected for a TAEYONG solo release. But we aren’t talking about the same combination of the two that (majority of the time) works for NCT 127 or U’s releases. SHALALA ends up bring a lot weaker, with TAEYONG’s delivery failing to evoke much of a reaction from me. I find his delivery in SHALALA to be quite monotonous. He essentially keeps to a low tone throughout the song and he never really picks up from where he begins. His flow is good, but there was room for TAEYONG to potentially be more expressive and to have driven more energy into the song. This potentially could have made SHALALA more ‘dynamic’. It is a pity that we never get there. Subsequently, this causes other parts of SHALALA to fall short, such as the lack of a memorable hook. Energy would have gone a long way, and this was a department of the song that would have benefited from this. If I had to point out a positive, I would say there were some decent vocal moments during the choruses (i.e., the “Shalala Lala“) and the second verses. They were brief and had a decent ring. But nothing long-lasting. As for the instrumentation and production, I am on the fence. There is a fair bit going on, but I liked the focus on percussive elements to give SHALALA a unique tinge. I think it does complement TAEYONG’s good flow in the song, but it definitely felt grating at certain moments. Overall, SHALALA is not a song that I would be going back to that much.

I can definitely say that the music video faired much better than the song. I really liked the idea of a God controlling everything (as you would expect), but on a computer system. But he ended up being hacked (how modern), resulting in a number of characters (all played by TAEYONG) being placed into different and incorrect metaverses (how trendy). Despite being misplaced, each character somehow excelled, reflecting the song’s message of shining wherever you are. We see Gamerboy TAEYONG introduce gaming to other yetis during the Ice Age, Knight TAEYONG from the 1800s excelling in a 1980s office job and yeti TAEYONG excel at bowling in 2023. In the end, God ends up resetting everything, by deleting all the metaverses (and effectively the world) but dragging all of it to the recycle bin on his computer. At the end, we see God close the clapperboard, effectively restarting life again. It is a weird concept, but funny and made for a good viewing.

Like the music video, the performance for this comeback also fairs better than the song. His moves were super clean, he had really great command of his body (which makes complete sense, given that he is known for his choreography skills) and that he shows off his personality and sense of style in the hip-hop centric performance. I also like the playful side to the choreography, which he pulls off effortlessly.

Song – 5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 6.7/10

[Review] #menow – fromis_9

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Making their return today is fromis_9, who we last saw through their Stay This Way comeback. Today, the group returns with their first ever studio-length album Unlock My World and the lead single #menow. This is also the group’s first comeback as an eight member group, following the departure of Jang Gyuri, who opted to focus on her acting career.

Once again, #menow continues the pleasant nature that we heard in both DM and Stay This Way. I do like the aesthetic this style brings, and how well fromis_9 is portrayed each of the three songs as they really do fit the style. The light vocals in #menow just smooths out the song and bring a carefree tone that is super appreciable and enjoyable. The instrumental has this extremely subtle grooviness that helps makes the track super upbeat without doing too much. Altogether, it is a neat song and super consistent. My issue with #menow is more so that this is their third run at the style. I am glad that the group and their company has found a niche that works for them. But I kind of want something more to the song that adds some unique to the song. Maybe a bolder element in #menow, like a strong hooker or a more memorable melody. I felt these were slightly underbaked retrospectively, given that I don’t remember too much of the song now that I have paused it to focus on writing my thoughts on the song. I am not expecting anything too crazy or over-the-top, as this would have ruined the pleasant and light nature of #menow. Balance is key, and I feel like #menow‘s producer could have struck that somehow to give #menow a bit more uniqueness. But still, #menow is still a clean-cut and enjoyable track.

The music video also has a similar carefree vibe to it. Given the song emphasis on being one’s self in the lyrics, it makes sense that there is a carefree element, as that is how you would see someone’s true self. In the video, we see two sides to the members. The first is when the members feel tired and sad. The video connects this feeling to when the group is under the limelight/on-stage, backstage or through the television (most likely to represent that they are always on-screen). The second side is where they are more cheerful and happier, occurring when the members hang out with one another and at slumber parties – environments where that are carefree and where they can act as themselves. I have a theory about the plane flying away, representing their desire to escape their current lives. But the runway we see at the end is incomplete, so the members learn that they can be themselves where they are, and not necessarily need to run away, But this final point abut the plane is currently conjecture and I am not 100% sure of my interpretation.

Choreography wise, it was a nice piece for the comeback. I like how they drag out the moves to match the delivery of the initial lines in the choruses. Apart from that, the performance is both flowy and pretty. The former fits in with the song quite nicely, while the latter matches the aforementioned aesthetic.

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

[Review] S-Class – Stray kids

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Stray Kids continues to rise in the KPOP industry, as evident by the success of the group’s latest release – their 3rd studio album titled ★★★★★ (5-STAR) and the title track S-Class. It has only been a day since the album and song release, but Stray Kids has managed to sell the most albums in the pre-order period than any other KPOP album ever. And the album sales thus far are tracking to overtake the likes of MAXIDENT (lead by the single CASE 143), which was also a record breaking album for Stray Kids as well. Today’s review will focus on the title track S-Class, with more Stray Kids related reviews on their way (based on how their promotions went under past album releases – i.e. music videos for side tracks).

It is needless to say that there is a lot going on in S-Class. It is pretty much Stray Kids’ answer to the current trend of MIXX pop tracks that JYP Entertainment has been experimenting with through NMIXX’s debut era. However, S-Class plays towards Stray Kids strengths, with the producers (which includes Stray Kids’ inhouse producing team 3RACHA) loading up the song with a lot aggression and intensity. In a way, I think this makes S-Class super bold and appealing. But it easily can slip into overwhelming territory, which was my first impression of S-Class (and the ongoing opinion of others). Luckily, the help of their promotional material prior to S-Class release and a number of listens since its release has helped reduce that overwhelming sensation. There were many segments that I found enjoyable in S-Class. Going back to the pre-existing promotional material, they really helped make the chorus of S-Class quite catchy (even before the song was released). A lot of the different styles within S-Class stood out to me, such as the dramatic opening that introduces you to Seoul and sets up the song, the melodic direction taken by the pre-choruses, the second verse’s callback to the 90s hip-hop, and the groovy influence to the start of the final chorus. All of this (including the parts that I did not mention), but not the 90s hip-hop middle verse, comes together somehow and melds into a strong track. That 90s hip-hop middle verse somehow is the outlier that just doesn’t fit in, but it still manages to work. Per usual, Stray Kids’ rappers really popped off in this song, adding energy to the song and making it even more intense. But for me, the vocals (courtesy of Seungmin, Felix and Bangchan) in the all English pre-choruses stood out for me, as they brought a crisp and refreshing tone to the song. Overall, I find myself enjoying S-Class.

Just like the song, the music video also has a lot going on within it. I did like how the video references the group’s past concepts of monsters, members as transitional sequences between shots and having misplaced people somewhere in some of the shots. It all helps gives the music video a sense of familiarity, whilst also introduces a newer concept. In this video, we actually see a battle play out with the octopus-like monster. But Stray Kids’ is not part of the battle. Rather the battle occurs around Stray Kids. Evidence of this can be seen in the second pre-chorus sequence, where Seungmin is dancing around with noise cancelling headphones on whilst the SWAT team was being eliminated effortlessly by the monster. That was hilarious to watch. Elsewhere in the video, the effects and post-production really makes this a bold and fun music video.

Once again, the group pulls off a cool and amazing choreography routine that is undoubtedly deserving of any choreography award when it comes to award season in Korea. The arm and footwork in this video is incredible. But the thing that really jumps out at me and sells the choreography the most was the intense charisma that all the members showed off on stage. It just makes the performance so riveting and serious.

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

[Review] TIC TAC – 8TURN

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A lot of groups have already made their debut this year. And I rather not fall too far behind on growing number of new group’s this year, so today I will be reviewing 8TURN’s debut single, TIC TAC. It, along with the mini-album 8TURNRISE, launched the careers of 8 members signed to MNH Entertainment (the former home of CHUNGHA and BVNDIT): Myungho, Jaeyun, Minho, Yoonsung, Haemin, Kyungmin, Yungyu and Seungheon.

Months after TIC TAC’s release, the best I can come up with is the track leaves an ‘alright’ impression on me. I think there was a point in time where TIC TAC did pique my interest, but that was short-lived. TIC TAC is pretty much your standard male group hip-hop dance release, something that has been heard time and time again. The song does earn some credit points, such as the shouty nature of the chorus giving TIC TAC a lively and catchy vibe, the impressive rapping throughout the song, the muted plucking synth that was going on in the background of the verses, and the boldness of the noisy yet loud instrumentation that made up the rest of TIC TAC’s background. But I felt there were parts of TIC TAC that was lacking and ended up weakening the debut single. While I did praise the rapping a moment ago, I felt the verses were not so memorable and the choruses did overpower the verses quite a bit. Also I felt there was a lack of a strong vocal showcase in TIC TAC. This is in comparison with the rapping, which was definitely the stronger department of TIC TAC. Had these been areas been addressed, via a bolder verse and a stronger showing of vocals in TIC TAC, then 8TURN’s debut single would have been a much more solid release.  

The music video (and choreography – to be discussed in the next section of the review) fairs a lot better than the song did. I am not entirely sure what is going on, but there is a lot going on in the video (in a good way) and it does appear to be a whole heap of fun. I did like the styling of the music video, particularly the wide brim hats the members wore at the dance break moment. That looked cool. The post-production made the video super dynamic and added an even more fun element to the video. The only thing I didn’t like in the entire music video were the gold teeth at the start – they looked awful and I hope they had some sort relevance to whatever is going on in the video.

Despite being newly debut, 8TURN’s charisma is definitely a standout element in their stage performances. Their synchronisation is definitely a strong second. The finger twirling/head turning moment at the start of the second half of the chorus was the standout move for the entire routine, and you kind of get everything already mentioned in that one moment.

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

[Review] Save me, Kill me – CIX

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CIX also made their comeback on Monday with their 6th mini-album, OK Episode 2: I’m OK, and the title track Save me, Kill me. This follows the group’s August 2022 comeback with OK Episode 1: OK NOT and lead track from that mini-album, 458. Save me, Kill me is also the title of the group’s recently completed world tour, which they embarked on at the very end of 2022.

It took me few listens to get into the likes of Save me, Kill me. There isn’t necessarily anything wrong with the song. It is more so that I was expecting some sort of dance track, not something as subdued and vocally centric like what we got, particularly since we are heading to the more lively music scene that is usually associated with the Summer season. And that we know CIX can easily release. That being said, the future bass and mid-tempo pace that forms the instrumentation of Save me, Kill me does work well enough together to form something that is somewhat upbeat, yet also keeping a subdued tone to the song. In combination with the well-executed vocals and rapping from the members, Save me, Kill me does feel suitable as a track that eases you into the Summer season. It feels weird to describe such a heavy and loaded song this way, but it genuinely does feel like that when we reach the choruses of Save me, Kill me. Moving back to the idea that the song is supposed to be emotionally loaded, I applaud the members for showing a touching sense of fragility and emotion behind their vocals and rapping, which also works well with the song’s expression of painful emotions following something good. The melodies provides a comforting approach to the idea, and also a sense of nostalgia. Also, I quite liked the vocal delivery in the bridge of the song and the way Save me, Kill me climaxed. This, along with the end sequence, really completed the song for me. Overall, Save me, Kill me is a nice comeback, just not what I had expected.

The music video tells quite a story. Any attempts by me to recap the story will probably result me in ruining the story. However, I have come across an article on Leisure Byte that retells the events of Save me, Kill me‘s quite succinctly and well, so here is a link to that article. Just a bit of a disclaimer that both the video and article touches on the topic of suicide and self harm, so it might be triggering to some. Aside from the storyline, the acting by the five members is very good. You can definitely feel the emotions behind both their acting and the song in this video. Also, the lighting just gives such a serious tone to the video.

While the music video does not show any choreography given the focus on the plotline and the song itself feels subdued enough to not require a dance routine to it, CIX has confirmed that there is choreography attached to this comeback via their comeback showcase, the release of the dance practice and some other promotional material. I liked how the members put the same amount of energy and passion into the performance, per the amount of emotion in the song. It also showcases their dance skills and talents. Altogether and quite surprisingly, Save me, Kill me makes for a riveting performance.

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

[Review] KNOCK – LEE CHAE YEON

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LEE CHAE YEON made her first solo comeback back in April (and apologies for how long it has taken me a write to review this particular release). The solo artist’s second mini-album, Over the Moon, is lead by the title track KNOCK. This comeback follows LEE CHAE YEON’s solo debut with HUSH RUSH in October 2022.

Initially, KNOCK didn’t spark much interest for me. I can’t remember exactly why, but I think I just didn’t really play the song much when it was first released. It wasn’t until more recently that I started getting into KNOCK thanks to the ‘KNOCK Challenge’ on TikTok that I started appreciating the song. Now, I find the single to be quite a fun and addictive listen. The main drawing point of KNOCK are the choruses, which are super catchy and appealing. This can be attributed to the repetition and logical yet impacting knocking percussion that we get in the first half of the chorus, and the melodies and burst of energy in the second half of the choruses. The first verse had a familiarity to it from elsewhere in KPOP, which I cannot place, while the second verse successfully and naturally incorporated trap into its beginning. The bridge highlights LEE CHAE YEON’s consistent vocals throughout the song. The only aspect which I wasn’t keen on LEE CHAE YEON’s vocals at the very beginning of KNOCK, which sounded slightly cutesy tone. I did not think this fit the vibe the song was going for. But aside from that minor detail, I liked everything else in KNOCK!

As for the music video, I really liked what the producers did around the choruses of KNOCK. The nudging of the camera at the start of the choruses was super clever. However, the moments after the start of the choruses could have been more cleanly executed in. The self-turning mirrors was a super cool idea as well. I also liked the idea of LEE CHAE YEON stumbling across a doll dressed in a red dress (also played by the artist), who is awaken via a knock on the wardrobe door. It is a brief and minor story line in this video, but it was a clever way of incorporating a knock into the video. As for the drinking scenes, I am not too sure what that means, though it might be a connection between this video and HUSH RUSH’s music video. On a final point, LEE CHAE YEON herself looks amazing in the video, especially in the scenes where is in a trackie outfit.

As mentioned earlier, the dance challenge for this comeback (a prevalent feature of comebacks nowadays) was what drew me back to the chorus. I found it funny that the dance was so complex for fans that they had to create 3 versions of the dance challenge. The hardest version was my favourite, as it was my favourite bit of the whole routine. The aggressive and confidence that it takes to move from one side of the stage to the other side, whilst also the fast paced arm movements was definitely an iconic moment and shows LEE CHAE YEON’s dance skills in a brief few seconds.

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

[Review] LOSER – AB6IX

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AB6IX makes their comeback today with the single LOSER and their seventh mini-album, The Future is Ours: Lost. This comeback follows the group’s Take a Chance mini-album and Sugarcoat era, which occurred back in October of last year, and PARK WOO JIN’s solo debut with Top Tier. Following this comeback, the group will be embarking on a world tour, which officially kicked off over the weekend in Seoul.

Described as an alternative pop dance track, LOSER is a really solid comeback single. The song focuses more on vocals, which has been the direction that AB6IX has been travelling down for a while now. LOSER just sounds more vocally centric than normal for some reason. It might be the presence of more melodies in the song, or the fact that PARK WOO JIN’s rapping doesn’t make much of a splash this time around. I felt the song could have used something punchier or dynamic on the rap front to give LOSER some much needed oomph. Similar comments can be said about other parts of the song, which I will mention later on. I did like the electric guitar-like synth in the background, which helps the song feel summery. In addition to that, there is an upbeatness and vibrant side to LOSER‘s choruses that makes it suitable for the Summer season that is literally around the corner for South Korea, but it also feels muted in a way that allows LOSER to maintain a level of seriousness. LOSER also has a catchy repetition of the title at the end of the choruses. The way it is delivered gives LOSER a bit of a quip-like effect, which helps break the consistency. The song isn’t necessarily overly consistent, but it is pretty similar all throughout. We do get a trap-like breakdown as a bit of an interlude to help cut that consistency a bit. I liked the idea and the direction, however I feel like it could have been more dynamic. I guess my sentiment throughout the span of LOSER is that it needs to be more robust to take it to the next level. If the producers did just that, then LOSER could have been a standout track that draws attention back to AB6IX.

The music video begins with an eerie shot of a cemetery and someone walking throughout. We then see an actual funeral occurring, attended by all the AB6IX members but one, mourning the loss of the final member – Daehwi. My guess is the mysterious person we see at the very start walking through the cemetery is Daehwi himself in a ghostly form, which motivates the remaining trio to find a way to save him. Initially, they are not successful. Donghyun and Woong try to search the maze/hallways for Daehwi, but end up unable to pass the locked door. PARK WOO JIN is trying to develop photos of Daehwi (maybe to find a clue to how to stop the tragic events), but is unable to do so. However, a blinding light and white butterflies that we see throughout the video bring the members back together to the scene of Daehwi’s accident, reuniting both the living and supposedly dead membrs with one another before they run to the light at the end of the tunnel. My only gripe about the music video is the styling. For some reason, I felt the shorts the members wore were just ill placed in the video, especially the brightly coloured ones.

AB6IX performed LOSER for the first time on the Seoul leg of their world tour over the weekend. The choreography itself looks quite tiring, as the members are constantly moving without any moments of rest. Parts of the routine stands out to me, like the second verse with the sensual snaps of the body and Donghyun’s wide arm movements during his part of the bridge. As a whole, it is a strong routine that complements the direction the song goes in.

Song – 7/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 7.7/10