Category: Reviews

[Review] BONVOYAGE – DREAMCATCHER

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Returning to the stage is DREAMCATCHER with their latest release, BONVOYAGE. It is the title of their 8th mini-album, Apocalypse: From Us, and serves as the final major song from their Apocalypse trilogy. This particular trilogy started off in 2022 with the release of Apocalypse: Save Us and MAISON, followed by Apocalypse: Follow Us and VISION. It is also the group’s first release since the news all members renewed their contract with Dreamcatcher Entertainment a year in advance to end of the usual 7 year contract that most KPOP idols sign to debut and the release of the special single Reason to commemorate their 6th year as a group under the name Dreamcatcher.

For a number of DREAMCATCHER’s reviews, I have mentioned the “this is their most intense comeback to date” comment quite a bit. We have definitely seen an upward trajectory, in terms of intensity and power, from the group over the years. And while BONVOYAGE is probably one of their most blastful and boastful efforts yet when it comes to the choruses (which undoubtedly are the highlight of BONVOYAGE for me), I do feel like BONVOYAGE could have been more balanced between the verses and choruses. It didn’t occur to me until I started writing this review that the brief pauses at the start of the choruses did some important work in drawing my attention back to the song. The verses exuded a much calmer sensation with its softer approach, all of which I would describe as ‘nice’. But there isn’t much going on within them. Nothing is memorable from the verses, which I guess is why the song didn’t pull me in until we got to the choruses. Even Dami’s rapping in the second verse was on the softer side, and admittedly, well woven into BONVOYAGE. However, there was a missed opportunity to explore something more dynamic with Dami, especially since we all know what she can do from previous DREAMCATCHER songs. Anyhow, back to the choruses. It makes complete sense that the vocals were super powerful in order to be heard over the instrumentation of the choruses. I liked the way they ended the choruses with a slight melodic touch to ease us out of the intensity and helped give the song a memorable ring. And if you enjoyed the choruses of BONVOYAGE, you probably also enjoyed the continuous momentum of the bridge and final sequence of the song, which focuses on the latter halves of the aforementioned choruses. This continuous momentum propel Siyeon’s high note and helps end BONVOYAGE on a super climatic note. Overall, another great DREAMCATCHER release.

As mentioned above, the music video for BONVOYAGE rounds out the Apocalypse trilogy. In the song, the members sings of a farewell to a special someone. In the video, this may be due to the Apocalypse events that occurred in the MAISON and VISION music videos. There appears to be a bit of symbolism and imagery going in this video, and I don’t really have time to make sense of it all. So, maybe if the connections between the video are strong enough, I might consider the Apocalypse series as part of a future Music Video Theory segment, which DREAMCATCHER’s Horror series previously featured a part of. Aside from plot line, I really liked the crispness of the music video in all aspects, including the post-production. I also liked the action scenes in the video, and the members looked amazing in the video.

The choreography for this comeback looks pretty good, as a whole. While no moves stood out, I quite liked their energy on stage whilst performing BONVOYAGE. It made the entire performance worthwhile to watch, even though there was nothing mind-blowing in the choreography. The performance was also all smiles, which looked quite genuine and tells me that they really enjoy being on stage/with each other. It also helps put an even more positive spin on the song.

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

[Review] ICKY – KARD

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Last month’s Without You was just a pre-release single for KARD. I don’t think there was any indication of this at the time of Without You‘s release, so to hear the co-ed group was returning with their 6th mini-album and new title track was a pleasant surprise. Both the new mini-album and title track are titled ICKY. As mentioned in their Without You review, this is KARD first official comeback since RE: and Ring The Alarm.

ICKY is another decent track from KARD. Not exactly one of their best, but the repetition of the title which makes the song super catchy, Latin beats and groovy aspects of ICKY do come off striking enough. There are some things that I don’t particularly like with the track, such as the dragged out ‘ICKY‘ (which ironically feels icky to me) at the start of the song and the reversion to trap for BM’s rap sequence. For the latter, the contrast here is jarring and unsettling for me. Though I did think the whistle in the background was a nice way to blend that sequence somewhat with the rest of the song. The vocals and rapping were quite strong and I appreciated the members’ effort in ICKY. However, I did feel like they were holding back. But the issue didn’t lie with the quartet. To potentially take it all to the next level (and hence ICKY), I felt there was opportunity for the instrumental to go harder. Some bass or bolder elements in the instrumental would have been ideal for both ICKY and KARD, given that I feel they thrive on intensity as a group. Other than that, I enjoyed the new release from the group.

As for the music video, it was pretty good. My only criticism is that the usage of the chroma key could have been a bit more polished. Aside from that, there is a bit of a story line to the video. Not entirely sure of the meaning or symbolism of this story. But it is clear to me that Jiwoo is some sort of monster (given that she is slimy and seen in the green liquid from the start of the video. The three other members have somehow been trapped. We see Somin in a continuous hallway. J.Seph is sucked into the liquefying floor. BM is falls into a never-ending pool of green liquid. Each of these three ends up in Jiwoo’s lair, who ultimately corrupts the trio (as depicted by the green glow each member gives off and BM’s changed eyes at the very end). Very interesting indeed.

As for the choreography, I have always liked how charismatic the group is on stage. And the choreography for ICKY proves just that. They all have really nailed the whole idea of showing a balanced and uniform amount of charisma throughout, even whilst performing a routine like this. It all translate to an intense routine. No moves stood out in particular, but I did like stomping factor they had going on, along with the hand motions, which gives the choreography a bit more complexity.

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

[Review] BITE ME – ENHYPEN

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ENHYPEN makes their comeback this week with their new darkened tone single BITE ME and their fourth mini-album DARK BLOOD. It follows the group’s third mini-album MANIFESTO: DAY 1, the lead single from that release – Future Perfect (Pass The MIC), the group’s Japanese debut and their first world tour which wrapped earlier this year.

For me, BITE ME is an underbaked title track. There is a bit to enjoy in this track and there are some parts that could have been improved upon. In some cases, some parts could be removed entirely. It is a mixture that leaves me a bit confused. Per usual, let’s start on the positive aspects of BITE ME. The chorus instantly comes to mind. I really liked the more melodic approach that was taken in this comeback, which brings on a smoothness in the song that makes BITE ME appealing. The “Oh My, Oh My God” sequence within the verses was a highlight in my opinion, and gives the plainer verses a bit of a coolness to them. As for the vocals, I felt the members did a decent job. I liked the character they give the verses and the mini uptick drag at the end of each second line in the choruses. More could have been done, but I would put the vocals on the side of being a positive aspect of BITE ME. Moving onto the parts which I think could have been improved upon. I felt the song needed a more prominent rap sequence, something to really intensify the track and give it a bit of an edgy factor. Likewise, BITE ME could have used a bolder instrumental to give the song some flair. To me, they play it very safe with BITE ME, and I don’t think that is what the title of the song calls for. It is a bold title, and the momentum or direction of BITE ME just doesn’t get anywhere near what I had expected from the track. As for the parts that I think could have removed, there are two. The first is the ending/outro of the track. To me, it brought no value to BITE ME. I get that the track is an extremely short one – spanning just over 2.5 minutes for a title track. But it just doesn’t give BITE ME much. The second, and the one part that I feel most strongly about, is the chanting pre-choruses just before the choruses. It is a jarring change to the song that does not fit the rest of the song (but I guess they were trying to make it feel ‘ENHYPEN’) and disrupts the flow of the otherwise decent track. The song would have been so much better off without this part. Overall, there is an air of disappointment over BITE ME. I am hoping more listens will help convince me otherwise.

I really enjoyed the dark vibes that the music video had. I did expect something darker, based on the teaser images that were released in the lead up to the group’s comeback. But what we got fits the bill quite well without being too creepy. There were some really nice imagery, such as the members turning into coffins, the use of shadows and silhouette. The sets were cool, such the choreography set that had a stage that light up and colosseum-like walls. The lighting was well used in this video, as well, which goes back to the good use of shadows and silhouettes that I already mentioned. My favourite part of this entire video is that short sequence in the second “Oh My, Oh My God” segment, where the members faces transitioned into the next member. It literally spanned for two seconds, but it left a very strong impression on me.

A darker concept comeback can mean many things. But with a more melodic track like this one, the creation of a sensual atmosphere makes for a strong pairing and that comes through in the choreography. I really liked that they went with this direction. From what I can see in the music video, the chemistry between the members and the female dancers was spot on. I also enjoyed the edgy side of the choreography, which comes through that dreaded chanty pre-chorus.

Song – 6.5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 7.5/10

[Review] Crazy Like That – VERIVERY

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Another group to make their comeback this week was VERIVERY. Tuesday saw the release of the group’s 7th mini-album,  Liminality – EP.Dream, and their new title track Crazy Like That. This latest comeback follows the like of their fun and catchy Tap Tap comeback from mid-November 2022.

Crazy Like That is quite a subdued dance track. Each time I listen to the song when it was first released, I hoped for the song to take itself up a notch, but that hope is never fruitful. But with the more listens I give to Crazy Like That, the less of that hopeful thought crosses my mind and the more I find myself enjoying the song. Sure, there are definitely moments in which I still think the song could have incorporated more into itself to make it a bit more captivating. And part of me still feels like the song is fairly dry. But for the most part, I find the track to be enjoyable. The already mentioned subdued nature of Crazy Like That does emit a dreamy and mature vibe, and there is a smoothness to the song that is appreciable. The instrumental is still very textural despite also being minimalistic. But it does run into the problem of being repetitive. The members do a neat job with their vocals, keeping their tone minimal to complement the instrumentation, but there was still some variation that gives Crazy Like That some interesting moments. And it is this variation that really helps the song from falling into a stagnant and repetitive piece. The brief use of autotune following the first chorus gives the song a moment of extra texture and flair. The bridge was my favourite sequence of the entire song, as it gave me something different to experience that wasn’t like the rest of the song. The producers do this by stripping away Crazy Like That‘s minimalistic instrumentation to the bare minimum, giving us a moment that was not similar to the repetitive instrumentation in the verses/choruses. Overall, an interesting atmosphere is created within Crazy Like That, that I ended up enjoying.

While the song side of the Crazy Like That comeback was quite minimalistic, the music video was not. There is a lot going on in the video, in terms of a possible story, sets/locations etc. all of which I am not sure is about. My best guess is that the group are showing they driven to achieving their goals and dreams (there is some imagery of this). And in the end of the video, they celebrate their success. However, I strongly believe I have completely misinterpreted the video, and am open to hearing about other interpretations. Personally, I kind of wished they took a minimalistic approach for the music video as well to better complement the song. Maybe the producers could have done something that felt artsy and more aesthetically pleasing to match up with the dreamy and mature vibes that the song had going on.

As for the choreography, I liked how they found a balance to making the performance quite intense without going overboard. This helps makes the comeback more appealing, and gives VERIVERY a chance to show more of themselves on stage.

Song – 7.5/10
Music Video – 6/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] Queencard – (G)I-DLE

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After a super successful year with TOMBOY and Nxde, (G)I-DLE is back with their new title track Queencard and their 6th mini-album, I Feel. It follows the pre-release of the single Allergy, which is also featured on this new mini-album. Unfortunately, once again, I have not yet reviewed the pre-release, which the accompanying music video for it actually set up the events in the music video for Queencard. I will definitely return in the future (ahead of the album review) to review the pre-release. But for now, here are my thoughts on Queencard.

To me, Queencard had the slightest essence of TOMBOY. Drawing upon one of KPOP’s hits last year is a smart move (not whatever Nxde had attempted to do). There are some key differences between the songs that make them individualistic from each other and there are some aspects within Queencard that weakens the song from my point of view. Let’s start off with those differences, as they are also the more positive aspects of the song. Queencard is clearly more upbeat and suited for the incoming Summer season. The more melodic pre-chorus was really nice and pleasant sounding. The energy the members bring to the song and the grungy pop rock influences really gives Queencard a strong and resounding glow. Queencard‘s main hook were repetitive, but the repetition felt punchy and bouncy, which helped win me over in the end. The weaker aspects of the song come in two forms. The first are the lyrics. I get that Queencard‘s message was of self-confidence and self-love, and I do see the intention of the lyrics. But “My boob and booty is hot” and “I’m twerking on the runway” is quite cringy. The second aspect that weakens the song is whatever the second verse was. It was a poor attempt of changing up the momentum of the song, and slows down Queencard to a sluggish affair. I could totally have done without the second verse, and substituted a similar approach to the first verse with different lyrics. That would have been more interesting and exciting to my ears. Overall, Queencard doesn’t top TOMBOY or any of their other title tracks that I personally still enjoy from them. But it a neat follow-up to the 2022 hit.

As mentioned in the introductory paragraph, the music video for Queencard follows on from the Allergy music video. In case you were not caught up with Allergy, the opening to this music video has a “Previously on…” introduction which reminded us that Soyeon was not confident in her current looks and had decided to go under the knife for a new look. In this music video, the other members show us what it is like to be confident and to be the centre of attention at a party. Meanwhile Soyeon comes to the realisation that she is already a ‘queencard’ and opts out the surgery. She is immediately rewarded by the attention she gets on social media at the end of the video.

With the choreography, the literal less than a second move done by Soyeon and Yuqi that is causing it not as big of an issue as the Korean netizens make it to be. I understand that Korea is a more conservative country, but it is not as bad as other performances that already exist in KPOP and the content of Western media (which I grew up on). Overall, I thought the choreography for Queencard was fun and upbeat, just like the song.

Song – 7/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.6/10

[Review] ERASE ME – ONEUS

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ONEUS made their comeback last Monday with their 9th mini-album PYGALMON and their latest lead single, ERASE ME. This is the male group’s first release since September’s 2022 MALUS and Same Scent. It is also the group’s first official comeback as a five member group, following Ravn’s hiatus and subsequent departure during and after Same Scent/MALUS‘ promotion. As part of the promotions of new mini-album, ONEUS did pre-release a side track, titled UNFORGETTABLE. I have yet to review that single, but will definitely do so in the future ahead of PYGALMON‘s album review.

There is a fair lot going on in ERASE ME and I will admit that it was quite overwhelming the first couple of listens. But a week on from ERASE ME‘s release, the track has definitely grown on me a fair bit. The idea with having a strong and dramatic orchestral influence in combination with the synths was a really amazing idea. The intensity was definitely gripping and made for a unique listening experience. The jerkiness of instrumental, especially around the choruses, might be a bit unlikeable to some (and I can completely understand why!). But I personally thought the jerkiness nature of ERASE ME was a charming aspect of the song. The boldness of the synths used in the chorus probably contributed that overwhelming impression I mentioned at the start of the review, but it does now leave a more memorable impression now. As for the members, they did a decent job. Seoho with his piercing high note at the start of the final chorus and Xion’s lower and huskier tone that opened up the second chorus were probably my favourite aspects of ERASE ME. On the other hand, Leedo and Hwanwoong’s rapping was underbaked for such an intense song and their rapping segments could have used some oomph to bring to the same level of boldness as the instrumentation. ERASE ME also lacked a strong melody and hook, but I think the instrumental just took away any opportunity for something strong to develop in these departments. We do have a “Da Da Da” hook and some pop melodies that were promising, but something more striking could have been delivered in this song. Overall, I like the direction taken by, and the final product that is, ERASE ME. But I think improvements to the song could have made it even better.

To say the music video was stunning would be a complete understatement. While it is just choreography and closeup shots, every single shot and scene just leaves such a strong visual impression on you. The quality was so crisp and the members looked so good because of this. The clever cinematography and lighting definitely emphasised the boldness of the music and made me go wow on so many occasions. The concrete stairs and the dance break sequence of the song/music video were prime examples of these moments. The colour palette was rather limited, but the producers did an amazing job of ensuring that those colours look so fresh and stimulating. Whatever RBW is doing here needs to be replicated across all of their music videos in the future because it makes the entire video dynamic.

It should come as no surprise that such a song like ERASE ME would lend towards a very strong performance. ONEUS definitely delivers this and shows off their performance skills with such an intense and complex routine, as a whole. However, I just cannot commit to saying that this is their most impressive effort to date. But don’t get me wrong, the choreography for ERASE ME is definitely up there.

Song – 8.5/`10
Music Video – 10/10
Performance – 9/10
Overall Rating – 9.1/10

[Review] TRICKY HOUSE – xikers

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Just like last year, the lack of reviews for newly debut artists looks like I have neglected the rookies of KPOP. A number of groups have already made their entrance in the industry this year and they all equally deserve to be checked out. After all, you will never know when you will discover your newest favourite act. xikers is the newest male group from KQ Entertainment, which is also the home of ATEEZ. xikers feature a 10-member lineup, consisting of Minjae, Jumin, Sumin, Jinsik, Hyunwoo, Junghoon, Seeun, Hunter, Yujun and Yechan. They made their debut on 30 March of this year with their debut single TRICKY HOUSE and their first mini-album, HOUSE OF TRICKY: Doorbell Ringing.  

TRICKY HOUSE kicks xikers’ careers off with a song with a high intensity and bold electronic sound. Noisy might pop into your mind, and I totally can hear why. The basis of TRICKY HOUSE doesn’t initially standout very much. I was hoping for a cool detail/direction to the electronic sound, but it was all just coming at you with little reprieve. However, as I listened to TRICKY HOUSE more, I came to appreciate some elements that ultimately set them apart from similar songs that go down this direction. The first thing that pops out at me when I listen to TRICKY HOUSE closely is the Bollywood/Moombahton influence that the instrumental carries. It pokes through the electronic elements of the instrumental ever so slightly, so it can easily be missed if you aren’t pay attention. However, I do feel like the two clash and creates that ‘noisy’ atmosphere. Maybe if they weren’t too mashed together, a better appreciation would come about for TRICKY HOUSE. As an element on its own, I felt this brought a unique vibe to the song. It isn’t necessarily a new sound in KPOP, but it does bring something different to the table. Another aspect that stood out for me is xikers’ delivery of TRICKY HOUSE. The rapping was quite powerful and left an expressive impression. Vocals take a back seat in the song, but there is enough there to ensure the vocalists sound good. Altogether, the song helps shows off their capabilities, beneficial for any artist starting out. I do feel like their vocals and raps could have been more attractive with a killer and memorable hook, which I felt is a missing element to help the song stand out further. Overall, TRICKY HOUSE is a good start and I definitely would like to hear something even more unique and individualistic from the group.   

The music video shows a businessman experiencing a world where he lets go of the social norms that he is a part of and to be himself. And this is what the entire song is about – to embrace and be yourself. In the video, the members help edge him on, as does the music that blasts through the headphones. They take him to the arcade, have a dance off with people in cosplay costumes, smash up an ATM, and do doughnuts in a sports car. Pretty much everything he would never do. And the members were all there alongside of him to experience the high he is experience. I really liked the settings of the video, as they helped highlight the edgy profile of the song. And the post-production, such as the train roof splitting open to show gears and the incorporation of the members into the middle of the doughnuts as they were happening, helped make the video look intense and cool.

Their stage presence was phenomenal. I had to check out a few stage performance to make sure it was not a one-off thing, and I am so glad it wasn’t. xikers definitely have a future in front of them, if they keep up the stage presence. Having a super intense and energetic song helps, but the energy they put behind their choreography and facial expressions makes quite an impression and their chemistry on stage was awesome to watch. That backward twist in the final moments of the choruses was super cool and definitely was a showstopper.

Song – 7.5/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 8.5/10

[Review] FAM (Korean Version) – Stray Kids

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The Korean version of FAM was released last year as the lead single off Stray Kids’ 3rd compilation album, SKZ-Replay, which dropped as one of the last KPOP album releases of 2022. Since then, the song has risen to the top of my Weekly KPOP Charts segment twice this year – the 3rd weeks of both January and February. It is a bit awkward for a song to have been placed first on my own Weekly KPOP Chart segment to not have a review, so today I will be reviewing the single. This review will then lead into my album review for SKZ-Replay, which I have wanting to review for a while now. So keep your eyes opened for the album review (which will be split into three parts). But for now, here is my review for FAM.

Previously released as a Japanese single, FAM is very much a personalised song made by the group’s in-house production team 3RACHA for the group (and their fans). The entire lyrics of FAM were made of references to the members through nicknames, shouted names, descriptions and praises of each member. For me, fun is the main word I would use to describe FAM, matching up with the group’s personality when they are off-screen and not performing their usually intense title tracks. As for the music, it is an upbeat and lively electronic track. All members, including the vocalists, delivered their descriptions and praises of the succeeding member in the song by rapping. This adds to the fun side of FAM. All members were also heavily autotuned, which adds a bit of a quirky affair to the song and blends them into the electronic profile of the instrumentation. The choruses were also shared amongst the members and were the closest to feature some singing. Again, autotune was present here to match with the rest of FAM. But the choruses had a catchy ring to them FAM. Altogether, I found FAM to be an addictive track. It is light-hearted (despite the song being delivered in a not so light manner via autotuned raps), casual and fun track that pretty much speaks to the bond that Stray Kids have with one another and their carefree personalities that comes about when the members are not on stage.

The music video for FAM was an edited version of their encore performance during the second Seoul leg of their recent world tour. While this isn’t much to go on with, I do want to point out that I liked the post production of the video. It added some fun elements to the video, emphasised parts of the song and brought some much-needed colour. With the stage lighting and denim outfits, everything looked blue. So, the yellow was a nice way of offset and make it more dynamic. I also liked how the post-production also aided in the emphasis of the member that was in the spotlight for that particular part of the video.

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

[Review] Spicy – aespa

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aespa is one of the few artists that kicks off this new week, returning with their third mini-album My World and the title track Spicy. This comeback follows the group’s pre-release single Welcome to My World, which dropped last week and is a song that I will review separately in the near future. Spicy also follows the group’s 2022 comeback Girls.

Spicy is quite a change to their last comeback and even aespa’s wider discography thus far. Their main title tracks have been of more of an EDM base thus far, but Spicy manages to spice it up with a more pop-leaning comeback. Despite that however, Spicy still manages to conform to aespa’s roots, featuring textural form of EDM, dynamic bass and heavy beats – all of which still manages to make an intense statement. Not once did I feel the instrumental was overwhelming, which easily could have taken over hadn’t it been for the members (more on this in just a second). I liked the more vibrant and brighter tone the synths take on, while the dynamic profile of the instrumentation felt very suitable for the upcoming Summer season that I keep mentioning about. The pop side of the song comes through via the melodies choruses, which by far is my favourite part of Spicy. I am surprised that Spicy managed to still incorporate such pleasantly executed melodic flourishes in such an intense piece. This is mainly achieved by the members and their powerful vocals, which Spicy undoubtedly puts on full display. Upon reflection, the hooks are a bit cringy in my opinion, but I have managed to overlook this during each listen I have given Spicy so far. The rapping is more contained in the verses of the song. But while they pretty much were on par with the intensity of the song in the verses as well, I personally felt that the verses just weren’t as memorable. Hence I can’t justify giving Spicy a perfect rating. But they were so so close to earning it had it not been for the lesser memorable verses.

For once, aespa is not in their virtual world or a built set. I was prepared to see their a virtual landscape and some super cool graphics. But seeing them in actual sunshine and the real world feels very refreshing. That being said, we do get a virtual reference via the glitchy background. A nice subtle nod to their concept as a group. I really liked the confidence that the members instill on the viewers throughout the video. The music video also features some fun moments, such as a car falling from the sky into a reserved parking spot at the start of the video and the frozen-in-time party (which actually looks quite cool).

From what I can see in the music video, it appears the choreography aspect of the comeback is the weakest. None of the moves that featured in the video highlights their performance skills that the members have shown in the past. The most promising moment in the routine was during the bridge of the song (which kind of serves as the instrumental/dance break). The moves here were sharp and showed potential. But I just feel the rest was a bit plain.

Song – 9/10
Music Video – 8.5/10
Performance – 6.5/10
Overall Rating – 8.4/10

[Review] Still Life – RM (BTS) with Anderson .Paak

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Apologies with how long it has taken me to review this particular song. Still Life was released as part of RM’s debut studio album that was released in December last year. The single Wild Flower, which I did review at the time of release, was the main title track. But Still Life was released as a second single a week after the album’s release. Today, I will finally review Still Life. Also, with this song review soon to be out of the way, this does mean I will finally be posting a review for RM’s studio length album Indigo this coming weekend. Indigo’s album review will also be the final 2022 album review, which will mean that I will finally start tackling the 2023 albums! That will be coming out later this week. But until then, here is my review for Still Life.

Still Life has such a groovy flair that makes it one damn good expressive song. I remember constantly listening to the track when it was first released, just because it was such a fun number and was quite an attractive track from the album. The positive vibes exuded from Still Life were notable, and the upbeat energy throughout makes me want to have a bit of a boogie. The instrumental had some great percussion and subtle brass that gives life to that groovy flair that I already mentioned. As for the artists, RM’s rapping had really good flow and was very captivating during the verses. Anderson .Paak comes through primarily during the choruses alongside RM, and gives off a really great texture via his raspy voice. His “I’m still life” line throughout the song was very punchy and memorable, and this adds more to that expressive profile of Still Life. There is such a catchy ring to the choruses as well. I also found it clever how Anderson .Paak is able to manipulate the pronunciation of “I’m still life” to make it sound like ‘I’m still alive‘, which adds further meaning to the song (which I will touch on later). Together, the pair had great chemistry, as evident by that sequence just prior to the final chorus, and this helped make Still Life a fantastic song. Altogether, I found Still Life is be suitably selected as a second single and a highlight from the Indigo album.

The video plays on the concept of still art. Whilst everything around him is frozen, RM is still able to move about freely, grooving to the song as it plays. With everything around him frozen, he is showing how something still can continue to be alive. The lyrics also speak about moving forward. And the concept of a train was a great way to show this, as the train is a vehicle that constantly moves forward to reach its destination. A well thought out video.

Song – 9/10
Music Video – 10/10
Overall Rating – 9.4/10

[Review] What If Love – UP10TION

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I completely apologise for how long it has taken me to review What If Love. The single was released as part of their 11th mini-album Code Name: Arrow in November 2022. This comeback ended up shaping to be a big one for what happened after its release. What If Love now serves as the group’s last release under TOP Media. The current 7 member lineup of UP10TION (including Hwanhee and Xiao who participated in the recent Boys Planet survival series) chose not to renew their contract with TOP Media (thus leaving the agency they have been with since debut). They aren’t disbanding, confirming their intention to stay as a group. It also been confirmed that Jinhoo (who went on hiatus back in 2020) and long term absent members Kim Woo Seok and Lee Jin Hyuk have left the group. And it has been announced that Kuhn and Kogyeol were to enlist into the military. Quite an eventful 2023 already for UP10TION, who usually flies under the radar.

To me, What If Love is a decent dance pop track. The bass gives an alluring appeal, while the rest of the instrumentation has groovy influences that comes together to give off a darker and classier atmosphere. Both the bass and wider instrumentation contribute to a sleek profile. However, I wanted something more to the instrumentation to spark some interest. Aside from what I mentioned, it is pretty lackluster and plays it safe for majority of the song. We do hear some detailing in the instrumental (like the whistle), but it wasn’t anything strong. What If Love does benefits from some nice vocals and rapping. I felt the vocal line in this song worked with the mature vibes and brought an appreciable smoothness to the song. The breathiness the vocals brings during certain moments of What If Love also adds to the maturity profile of the song. This adds to the sleekness of the track. The deeper tones that the rappers brought to What If Love is a nice textural change and gives us a bit of a reprieve from ultra smoothness that What If Love pushes on the listener. I also feel like the deeper tone emphasise the funky undertones of the song. While there were some nice melodic moments throughout What If Love, I did think the hooks were weak. We do get breathy “What If Love” repetition as part of the choruses, but due to its deliver it isn’t much of a prominent hook. Had What If Love had stronger hooks and something that gives the instrumental a bit more zing, maybe I would have reviewed What If Love sooner.

What If Love is about “the temptation to win the heart of one’s love of fate while aiming for the one and only chance, which can be missed in a fleeting moment” (taken from SOOMPI). When you watch the video, it has a bit of a spy/detective concept to it. Personally, I am not exactly sure of the connection between the meaning and what we see. But my best guess is that the members are searching for that “fleeting moment”. Aside from that, I did like the darker aesthetic present in this video, which matches with the mature profile of the song. The members also look fantastic throughout the video in their outfits.

I feel like the choreography hits the mark in some parts, but completely misses it in others. The song calls for a sleek routine, but I felt it was a touch too powerful during the choruses. We do get some “slow” moments, which were the most fitting.  If they somehow softened the energy behind some of the other moves, we would see something that is aligned with the choreography.

Song – 7/10
Music Video – 7/10
Performance – 6/10
Overall Rating – 6.8/10

[Review] U – iKON

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Last week, iKON pre-released the single Tantara from their 3rd studio album, Take Off – the first post-YG Entertainment release since the group decided to not renew their contracts with the company in December 2022. Since December, the entire group (yes, all current 6 members of iKON) signed on with 143 Entertainment, announcing plans for an April comeback. Well, the group is now officially back with the unvielling of the entire Take Off studio album and the title track U – both dropping on Thursday of this week.

U shows a completely different side of iKON. Most of their past singles have been heavily influenced and centred around the hip-hop genre. It was only until recently (i.e., Why Why Why and BUT YOU) did the group put something else out that was not primarily hip-hop centric. U continues exploring other genres, this time opting for a fun and vibrant disco party number that I am totally digging. The energy is fantastic and the rhythmic funky guitar riffs are super infectious, bringing a smile to my face (at the very least) each time I have heard the song since its release on Thursday. It is also highly suitable for the Summer season that is fast approaching for Korea. If there is one thing I want to be critical about in terms of the instrumental, U needed more electric guitar riffs at the end to drive up the energy. Cliché as it sounds, but it will give the ending some additional flair. Bobby’s raspy vocals stands out quite a bit, which made the pre-choruses feel the most memorable part of the song. JAY’s first verse was also a nice standout. Unfortunately, the rest of U wasn’t as compelling and the other members didn’t have their moment to shine, They all sounded great, but no other parts struck me as memorable or stood out to me. It might have been that the super bright and upbeat energy just took over as the most striking aspect of the song, following the parts that I have pointed out. Still, I am glad that iKON has managed to push out new music and that U is fun and enjoyable.

The music video shows the members getting ready and going on a road trip to their next concert/live performance destination. Whilst getting ready and along the way, the members experience some hiccups. Given the bright and vibrant tone of the song, the members approach these moments with their sense of humour and fun energy – i.e., JAY riding his bicycle whilst the other members are trying to push their out-of-petrol van along and unknowingly leaving JUNE behind who has to run after them. In the end, all the members arrive at the final destination just fine and put on an amazing performance to close out the video. I liked their casual and light-hearted approach, no doubt fitting in well with the song.

As for the choreography, it is upbeat and light – just as you would have expected it to be. I really liked the “Only For U” circle the members formed in the first half of the post-chorus hook. It was a fun formation.

Song – 7.5/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 7.9/10

[Review] Wind and Wish – BTOB

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BTOB made their long awaited comeback earlier this week with their 12th mini-album and their newest single, both sharing the same title Wind And Wish. For BTOB, this is their first release since The Song and Be Together in February 2022. For certain members, they had more recent releases, such as HUTA’s (otherwise known as Lee Minhyuk) BOOM and Lee Changsub’s SURRENDER (which I have yet to review – apologies).

For the most part, Wind And Wish is designed to be a pleasant track. And that is exactly the impression I get from Wind And Wish. It is a mid-tempo pop ballad track that is nicely instrumented with tropical touches and a breezy atmosphere that feels appropriate for the Spring season that Korea is currently in. I liked that the mid-tempo side of the instrumental gives the members a chance to show something other than a ballad, which is ultimately what they are known for. Per the standard with BTOB’s track and given Wind And Wish has some balladry roots, the song does manage to incorporate the usual well-known vocals of the group. We get a few really nice high notes throughout the song and strong vocals across the board. The harmony between Eunkwang, Sungjae and Hyunsik in the bridge was super well done. However, nothing is riveting as it could have been, given that pleasant effect of Wind and Wish. Similar comments can be said about the rapping in Wind And Wish. They feel pretty much toned down and don’t have much of a bite to them. We all know what Peniel and Minhyuk can bring to the table. And whilst this create balance, it does feel lacking. If the raps had a bit more of a punch to them, this would have made Wind And Wish a bit trendier. There were some promising hooks and I did like how the song took it up a notch with the chanty and lively choruses. This felt this was pretty refreshing, and a nice breather from the pleasanter side of the song, without overdoing it and disrupting the song. Overall, I feel that Wind And Wish plays it safe. In some parts of the song, this worked, while it lacked substance in other areas.

The music video for Wind And Wish pretty much has a similar Spring time and breezy atmosphere, going hand-in-hand with what the song sounded like. The flowery field scenes, the warmer lighting and the looser casual outfits feels ideal for the concept that they were going for. Even the rising sun and the red glow from this was an indication that the weather is heating up – but not to the extent of a Summer release. A nicely done video.

The mid-tempo pop nature of the song allows for some light choreography, which works really well with the song, to occur. It is enjoyable to watch, and allows a bit more for an expressive style to show (rather than melancholy vibe, which BTOB has excelled with through their more balladry releases). The latter means BTOB can show a bit more of a playful nature, which they also delivered.

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

[Review] UNFORGIVEN – LE SSERAFIM (ft. Nile Rodgers)

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Kicking off the week is LE SSERAFIM, who returns to the stage with their shared titled latest single and 1st studio album – UNFORGIVEN. It is the group’s comeback since the release of ANTIFRAGILE (also a shared title between their single and mini-album release) in October of last year. This release also marks the return of LE SSERAFIM in the very intense competition of female groups from last year, joining the likes of NewJeans and IVE who have already made successful comebacks this year.

UNFORGIVEN felt very LE SSERAFIM to me, but there was a major sequence in the song that I am not exactly keen on. I will explore this a bit more later on. But let’s focus on the strongest and most characteristic aspects of UNFORGIVEN. The first has to be the instrumentation, which samples the theme of The Good, The Bad and the Ugly. While I don’t think this is the first time we heard this particular piece of iconic music in KPOP, I did like how it aids in making UNFORGIVEN appealing and fun. The iconic western cowboy whistle also features in the song, adding to the western theme of the song. There are also additional guitar work and a few extra twangs added into the instrumental, which I take is Nile Rodgers’ contribution to UNFORGIVEN. These felt cool, and builds on the concept the producers of UNFORGIVEN have forged. The second characteristic element of UNFORGIVEN is its repetitive hook. I liked the simple yet subtly expressive delivery of the song’s main hook, and how addictive it has become in the subsequent listens I have given UNFORGIVEN. Now, while it is all very solid, the part that I am most unsure about in UNFORGIVEN is the chorus itself. While I do like the melodic touches to the song and the ring it gives UNFORGIVEN, I did think that the main chorus felt a bit juvenile and felt a bit cutesy. The sing-song delivery doesn’t go well with the rest of the UNFORGIVEN, which felt sassy and attitude-heavy. I think there was a miss opportunity to do something more fitting. But at the same time, I guess the producers didn’t want a continuous churn of the same style for the 3 and a half minute length of the song. But apart from that, UNFORGIVEN is another strong and empowering song from the group, who is unafraid of showing a more confident side of themselves.

The song was all about being themselves whilst also breaking away from social norms. And the video shows this quite well. For me, the most impactful scene was the angel Kahuza, who probably represents the innocent and pure social norm, ripping off her other damaged wing and throwing it aside. Similarly, Yunjin’s scene with her pink dress tearing in the elevator was probably the second most impactful and memorable scene. There are a few other references such as dancing on tables and bright coloured wigs. In addition to all of that, LE SSERAFIM’s visual game is very strong in this comeback, showing off a very confident side to themselves. I also liked how the western theme of the song is also carried through into the music video. It makes the most sense after all.

This entire routine was super cool, and I really enjoyed it all. I liked how there was still an element of fun and a nice bounce to the choreography. The “horns” (I am assuming that is the concept behind the choreography’s main dance move) was an interesting yet easy to follow point of the choreography, while a nice mature side to the choreography works hand-in-hand with the confident vibes that the members put out.

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

[Review] Tantara – iKON

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At the end of 2022, news broke that iKON was parting ways with YG Entertainment (whom they have been with since debut for 7 years) following the conclusion of their contract with the Big 3 company. It was quickly revealed that the group, as a whole, signed with 143 Entertainment, and subsequently announced plans for a comeback later this year. Fast forward 5 months, the group is officially returning with their third studio album Take Off next month. But ahead of the official comeback, iKON has begun teasing us with their first release since BUT YOU – the pre-release single titled Tantara, which dropped on Tuesday of this week.

Tantara comes out swinging from the very first second and never lets up for the 3 minute duration it goes for. And that just makes Tantara super appealing. Past title of iKON’s that I can remember from the top of my head are more of a serious tone. However, this new song shows off a more energetic and dynamic side of the group, which is undoubtedly refreshing. The group does stick true to their roots, with Tantara falling squarely into the hip-hop genre. Bobby has the honour of kicking off Tantara, and does so with his energy-packed and attention grabbing rapping. His hoarse voice just gives his rap sequence so much character. Jay and JUNE follow up with a nice vocal centric pre-chorus. This leads into the chorus, which emphasises the hip-hop roots of the song and gears it towards a 90s influence. The hype energy that comes off this is bold, and the chant-like delivery is memorable. From there. however, I do feel like Tantara fizzles out slightly with less memorable segments. Song and DK takes the helm of the second verse, but I didn’t not find anything interesting in this section. Chanwoo makes his appearance in the bridge (alongside DK), but again, nothing stands out here. The good news is that Tantara has one more surprise in store for us – an instrumental break with a very intriguing and jarring set of synths that works quite well and drives up the dynamic factor of Tantara. There is also a textural element to the instrumental break that leans into a rock influence, which I thought was super cool. The ending brings everyone together for a final outro that reiterates who iKON are. It was decent, but I wished it was more energy packed and substantial in line with the rest of Tantara. Overall, Tantara is a strong and powerful track that shows us who iKON is. It definitely hyped me up, leaving me wanting the 5th of May to come quicker (as that is when their official comeback is scheduled for).

The music video carries the label of a “performance video”. While the performance, which I will be commenting on separately in the next paragraph, does make up a bulk of the video, the addition and presence of various different shots of the group and the members themselves makes the video for Tantara feel very much like a music video. I liked how the energy and flair of the song was carried from the song over to the video. That is thanks to both the effort of the members and dancers, who showed great dynamism in the video. Their chemistry was great with one another, creating an atmosphere that also hypes up the viewer as well.

On the topic of the performance, the same comments above can be applied here. I liked how the hip-hop energy and flair comes so easily to the performance from the song, and the members/dancers make it so dynamic and fun in the music video. The chorus looks quite good, but the iconic bit for me has to be the dance break (which occurs at the instrumental break). From the way it was set up, to the wavy arm movements, to the jerky steps that follow, all of it was a highlight.

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

[Review] Journey – WOODZ

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WOODZ made his official comeback yesterday with his new single Journey and his fifth mini-album, OO-LI. This new release comes after WOODZ teased this comeback by pre-releasing the side track ABYSS back in February (which I yet to review – will do so some time in the future). This comeback follows WOODZ’s I HATE YOU and Colorful Trauma era from last year.

WOODZ continues to explore the pop rock genre with Journey, this time opting for what felt like a ballad. While his past pop rock styled songs have been more energetic and upbeat, Journey still has a lot of appeal in its own way. My suggestion is that you do not underestimate this song. What particular draws me to Journey is the amount of passion WOODZ delivers in the song, which comes about from the combination of instrumental and vocals. The song starts off rather calm, but it slowly injects some slight punk-like energy during the pre-chorus, before leading us to a full blown realization of pop rock energy in the chorus. But we aren’t talking about upbeat and bright territory of pop rock, which is what I commonly think of when it comes to this style of music. Instead, the choruses for Journey intensifies and amplifies into that pop rock motif, yet gives us a more restrained and subdued atmosphere that still manages to pack a punch. As the choruses does all of this, WOODZ’s vocals soars, blowing me away with his strong and impactful vocals. I do want to point out that the melodies were rather simple, and a more developed melody would have raised the bar for Journey. The second verse is a lot shorter, and I wished there was a bit more to it. I liked the idea of a quite return to the chorus (which is no doubt my favourite part of Journey). But I think the second verse could have been more thrashed out. The bridge returns Journey to the calm start, but does so quite briefly, before returning us to the chorus. For the final run at Journey‘s centrepiece, backing vocals come in to create an even more melodic touch and allows WOODZ to throw in some amazing ad-libs to close out the song. Despite its minor imperfections, it does not change the fact that Journey is still a passionate and impactful song that I will continue to replay.

The music video leads on from the events of the ABYSS music video. At the end of that video, we see WOODZ open up the door, allowing the version of himself he has kept locked away in the dark confines of the building to come out. We even see the ABYSS version of WOODZ walk past briefly at the start of this video. Anyway, the Journey version of WOODZ ends up venturing out and exploring the world, taking himself on a journey and discovering oneself, which is the message behind the video. The outdoor scenery looks stunning. I would like to know more about the tree that looks like it made out of glass. I think this is another link to the ABYSS music video, as we do see the passing of glass spheres from other people to WOODZ in the earlier video, and WOODZ’s own glass spheres ends up going through the ground in this music video, presumably to build the mentioned tree as WOODZ discover himself.

As this is a more vocally centric song, WOODZ doesn’t participate as much in the choreography. Instead, he focuses his energy on performing the stage live, which was the right move and make his performance even more amazing. He does participate during the moments in which he doesn’t sing, and I quite liked the artistic touch the dancer bring to the stage, creating an interesting stage to watch.

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