Category: Reviews

[Review] Blank Effect – PARK JI HOON

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A couple of months back, PARK JI HOON made his solo comeback with his seventh mini-album Blank or Black and the title track Blank Effect. Apologies for the delay in getting around to reviewing that track, but there is a reason for this delay which I will touch on in a moment. Blank Effect is PARK JI HOON’s first comeback in six months following the release of NITRO and The Answer in October 2022. It also follows the high praises he earned for starring in the successful K-drama Weak Hero Class 1, which turns the tables against PARK JI HOON’s widely known cute image (more on that a little later, as well).

In the intro paragraph to this review, I alluded that there is a reason to why I am reviewing Blank Effect four months after its release back in April. And the reason is very simple, I just forgot about the song’s existence. And listening to Blank Effect for the purposes of writing this review, that forgettable impression of the song still stands. Not only that, but I had hard time writing about the song today – there is barely anything notable to mention. Blank Effect lacks foundation without anything in the song sticking out as being memorable. This easily could have been resolved with a meaty melody or hook would really grab my attention. But even that was lacking. Even when it comes to the instrumental, aside from the fact that Blank Effect is dark and intense, there isn’t much to remember it by. PARK JI HOON, himself, was decent. His vocals had the subtle touch of hoarseness and this brought a really nice texture that works well with the dark nature and intensity of Blank Effect. Beyond that, there isn’t much else to mention for Blank Effect.

The music video for Blank Effect is much more interesting than the song itself. The video sees PARK JI HOON in a much darker and more mature lense, which probably captialises the darker turn his image took through his leading role on Weak Hero Class 1. The lyrics are about showing the true side of you as you get deeper into a relationship, with the video exploring PARK JI HOON’s transformation into a darker and more manic person as the video goes on. I applaud his acting in this video, as he does an amazing job of conveying this desire and emotions. The ending was particularly creepy, with PARK JI HOON catching on fire to complete the transformation mentioned above. There was also a some steam coming from the video with his interactions with the women in the video. The red-orange lighting also brings forth an evocative vibe, as well.

The lack of anything exciting or notable in the song did mean I didn’t pay attention to the live performances when the song was first released. And truthfully, upon watching a couple of the performances for Blank Effect today, I won’t be paying attention to them any time soon. The performance just didn’t have anything to it, and felt lethargic. I wish there was more to the song to really help out this routine be better and compelling.

Song – 5/10
Music Video – 8/10
Performance – 5/10
Overall Rating – 5.9/10

[Review] Golden Age – NCT 2023

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The release of Golden Age, the title of one of the two title tracks off the same-titled studio album of the NCT 2023 release, follows the news that NCT will no longer be an expansive group, with the lineup of NCT to be finalised following the the debut of the next unit (NCT Tokyo – the lineup of this unit has yet to be confirmed and any members debuting for the first time under this unit is not included in promotions for this NCT 2023 release). It is also follows the news that Sungchan and Shotaro are no longer part of the NCT lineup and have left the group to debut under RIIZE, and Lucas who departed from the group following controversy. We last saw NCT perform together as a group as part of their 2021 album release Universe with the single Beautiful.

I was surprised by both the teaser and start of the Golden Age, which alluded to a potential balladry direction of the lead single. Golden Age opens up with a soft piano melody of Beethoven’s Piano Sonata No. 8, “Pathétique” 2nd Movement and harmonies from Doyoung. But this allusion was brief. The song then launches into some heavy electronic synths and less than memorable rapping (from Mark, YangYang, WinWin, Jeno and Taeyong). We then re-enter softer territory with a vocal-focused pre-chorus featuring Xiaojun, Renjun, Haechan. The members of NCT then all join forces to deliver an equally soft chorus, which features some comforting harmonies and melodies from everyone, that soft piano from the start. Yuta and Ten also gets some solo moments during the first run of the chorus. I will admit that the chorus didn’t have the level of impact I hoped it would, with the reversion to soft pop makes the song too mellow and drifty in my opinion. The rapping/synths verse, followed by the vocal pre-chorus and whole-of-group chorus, repeats itself, with Jaemin, Hendery, Jisung, Johnny, Jungwoo, Jaehyun, Ten, Haechan and Kun getting their own moments during this repeat sequence. Finally, Taeil, Chenle and (more) Xiaojun, YangYang, Jeno, Doyoung and Haechan are featured in the bridge, which brings the two sides of the song together pretty nicely. Golden Age then ends with a couple more lines of comforting harmonies, rather than a repeat of the chorus. While I like the potential of another beautiful song, the idea behind Golden Age and understand the complexity of incorporating 20 members into the song in a way where each member is given a fair go, I found Golden Age doesn’t come off as well as their past whole-of-group singles have like Beautiful or Resonance. I wished there was more memorable zing to the song (without disrupting the softness and flow of the track, as I think Golden Age has that covered as it is), just to make it more appealing and compelling to return to listen to.

I did like the two sides of the group that is shown in this video. On one hand, we have a softer and golden tinge to one half of the video (which mainly consist of the vocalists). On the other hand, the rappers appear in the video with an edgier tinge of darkness and red lighting. I would have liked to send more intersection between the two sides, but we do get some through the very brief interaction between Jaehyun, Ten and Jungwoo. I do want to know more about the keys the members are holding in hand. Some of the members hold onto theirs (i.e. Mark), but other members throws theirs into the fire (i.e. Jungwoo). I presume it might relate to the idea of the group now ceasing their international expansion and that they are becoming a fixed group without the need to open more doors. But that is just speculation from me.

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

[Review] Memories – RIIZE

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Earlier this year, it was announced that Sungchan and Shotaro would be leaving NCT and debuting as part of SM Entertainment’s newest male group that will not be associated with NCT. Since then, it has been announced that new male group is named RIIZE and the rest of the seven-member lineup has been confirmed (Eunseok, Wonbin, Seunghan, Sohee and Anton join the two former NCT members). Officially, the group won’t be making their debut until early September. But they have teased their debut with the performance video for Siren and the pre-release single Memories (the focus of today’s review).

Surprisingly, I am not too upset with Memories. There are parts of the song that I really like more than others, and I do agree that there are some parts that do weaken the song. But despite those (and I will expand on them in a second) weaknesses, I didn’t go away from Memories with too many strong feelings about the song. Memories‘ chorus was very well done, bringing forth a very notable pop influence. If you have read this blog for a while, you probably could have guess that this is the segment of the song that I like the best and find super enjoyable. I like the impression of a faster tempo that came from the beat of the chorus, and the brightness and comfort the melodies and vocals brought to the song. On the other hand, Memories‘ verses were very hip-hop centric. While I thought the display of hip-hop in the first verse and pre-choruses were fine, it is the swap between pop to hip-hop in the second verse and bridge that I found to be clashing and jarring. They were good examples of the group’s potential approach into the hip-hop genre, and shows that the new group could potentially one day release a song that might be similar to the hip-hop style that is synonymous to NCT 127. But they just don’t mix well with the rest of the song. Overall, Memories does show promise for the new group in different areas. Memories doesn’t show much of it, but I am intrigued with this idea of ’emotional pop’ that SM Entertainment is marketing them with. I am also hopeful and looking forward to seeing what that style exactly means and what RIIZE has that separates them from the current groups.

The music video shows the group as a bunch of youthful teenagers hanging out with another. It is a decent introduction to the members and I hope what we saw showcases the members’ personalities to some degree. Something personalised would help start off their careers with a more relatable connection with the audience and also potentially be unique, so I think that would really help separate out the group with its competition somewhat. Apart from that, I concur with the recent articles that reported the group was being criticised for their dated hairstyles. I am sure the members have very little say in this, but some of the hairstyles in this music video (along with the outfit styling) looked very dated. I am also intrigued by the closing segment of the music video, which I presume alludes to their upcoming single Get A Guitar that is due to be released two Mondays from now.

While I found the switch between pop and hip-hop clashing in terms of music, I liked how they maintained some bounciness in the choreography for both sides of the song. It made for a seamless blend of styles on stage. I also enjoyed their fresh energy they brought to the stage.

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

[Review] Killin’ Me Good – JIHYO (TWICE)

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JIHYO is the second member of TWICE to release solo music, following the footsteps of NAYEON, who debuted last year with POP! JIHYO’s lead single is titled Killin’ Me Good and it is contained on her first solo mini-album, Zone – both of which dropped yesterday. JIHYO’s solo debut also follows TWICE’s early 2023 comeback with READY TO BE, TWICE’s Japanese comeback with Hare Hare and the debut of the group’s first unit (MISAMO) in Japan.

First impression of Killin’ Me Good yesterday is that JIHYO captivates in this solo debut project. Her vocals stand out from the very beginning and are an absolute highlight. I also like the fact that the vocals are bold and doesn’t waver at any point, which helps makes Killin’ Me Good a compelling listen. Her vocals also help propel the song forward, which also gives the song tenacity and drive. The instrumentation sits firmly in the R&B realm of music, but there is also a groovy presence to the song. While this combination isn’t anything new, the instrumentation of Killin’ Me Good feels amply upbeat and its boldness does work well with JIHYO’s vocals. My first listen to the song yesterday did deliver the impression that there might be a bit too much to the instrumentation, but that thought is officially long gone from my head. I am absolute in love the post-chorus sequence of the song that features the line “You’re making me feel something new“. It is more so how that sequence manages to switch up the momentum, and that JIHYO and the producers does so in a flawless and successfully manner without disrupting the song. Without a doubt, Killin’ Me Good is a successful solo debut in my books and I cannot wait to check out the mini-album and hear more from JIHYO.

The music video shows the breakdown of a relationship. At the start and for the majority of the video, we see the relationship between JIHYO and the male lead appear as strong as a rock. But once we enter the bridge of the song, the relationship breaks down with unanswered calls and text messages. Ultimately, this leaves JIHYO to call it quits and become a new version of herself. Upon reflection, I feel the lyrics of the song can be interpreted both ways. A relationship can make someone feel good (what the literal meaning of the lyrics are), but it can easily be dangerous (what the lyrics could potentially mean if you read between the lines). The fact that the music video does provoke thoughts about the lyrics and its meaning is pretty cool. I also really like the choreography scenes and JIHYO’s solo shots. She looks very pretty throughout and her outfits felt bold.

JIHYO’s command of the stage and stage presence made for a stage to watch. She killed it all departments, from vocals to dance moves. I really like how she doesn’t shy away from the routine at any point, and the moves were perfectly executed in both strong and sexy points of view. If you want to take anything away from this whole comeback, it is simply that JIHYO was born to be on stage.

Song – 9/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 9.2/10

[Review] SLAY – EVERGLOW

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EVERGLOW’s last comeback was with PIRATE back in December 2021. Then the group went on a 20-month hiatus, with minimal releases and zero promotions (but they did perform at some festivals and concerts) during that time. Well, EVERGLOW’s release drought finished yesterday, following the release of their fourth single album ALL THE GIRLS, and the title track SLAY.

Let me start of by saying I am glad EVERGLOW is back and isn’t no longer stuck in ‘no comeback’ limbo (which usually ends up in disbandment for those who have been in such a state for a long time). But with a song titled SLAY, you kind of expect the song to … well … slay. And knowing what EVERGLOW is capable of from their past releases such as LA DI DA to PIRATE, that expectation is definitely a given. But SLAY did not meet those expectations nor slay, which leaves me disappointed. While SLAY does have the hallmarks to really live up to those expectations, the song itself just doesn’t fully realize its potential. The synths could easily have been bombastic with additional definition, bass and bolstering. SLAY also lacks memorable melodies that could have helped the song be more appealing. The repetitive ‘Na Na Na” that dominates SLAY is too typical for my liking. And while the rapping was definitely a highlight in SLAY and the song is designed to be more of an anthem of female self-confidence, I do think the song could have benefited from a presence of stronger melodies, which would have highlighted their vocals strongly. And what we did get in terms of vocals in SLAY could have been taken to the next level had it too been bolstered. Some soaring high notes to accompany the start of the choruses would have ‘slayed’ as well. That being said, I did enjoy the more vocal moments of the song, such as those during the bridge and pre-choruses. They give SLAY bring a nice touch to the song, and if there is to be an alternate and stronger version of SLAY, then I wished those to be retained. While SLAY does appear to head in the right direction, it pretty much lacks the execution on both the members’ and production side to really go anywhere.

The music video looks good. There was a striking nature to the video and the solo shots of each member that works really well. When you consider their 20-month hiatus and the growth of KPOP over this same period, the music video for SLAY also serves as a re-introduction to the group for many new listeners. And I think the striking visuals and boldness of the video successfully does that. Kind of wished the song was like that. But apart from that, there isn’t much else to the video. I am not too troubled by it, as what I have already mentioned does feel enough and anything more could have been overwhelming or questionable.

I quite liked the performance. While nothing stands out specifically in the performance, their energy, sychronisation and sharpness really makes for a cool performance to watch. I also liked how during the vocal moments of the song, the choreography also incorporates some moves that provide a smoothness and gliding-like texture, which I thought brought a nice change of pace to the routine.

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

[Review] Bubble – STAYC

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STAYC made their comeback earlier this week with their 3rd mini-album TEENFRESH and the title track Bubble. It is their second comeback of this year, following the release of Teddy Bear in February.

For me, I love how unapologetically pop and fun Bubble is, especially when it came to the chorus. The hooks and melodies in the central piece of Bubble feels comforting and pleasant, whilst the instrumentation does a good job of keeping the song upbeat and vibrant. I particularly like the presence of the slightly rougher synths used in the background of the second half of the chorus, which boosts Bubble and gives it some interesting texture without ruining the pop flair. The “Bubble Bubble” hook is catchy and a few more listens can really cement Bubble into a memorable song. The members themselves brought a cutesy sweetness to the song that doesn’t feel overbearing or overwhelming, while the instrumentation elsewhere maintains that upbeatness and momentum of the song quite well. The strings at the start, while don’t appear to add much value to the song than just being the intro, actually serves well as an introduction and leads well into the track. While Bubble is very much an ‘all-good’ type of song and I really enjoyed it, I do think Bubble could have been taken further. Some harder synths and melodies would not hurt Bubble and could have helped bolster up the final product, delivering an even better track. But as it is, Bubble is definitely a bubbly track.

In the music video, we see what appears like a Disneyland-esque park, which draws a crowd of people waiting to enter. STAYC is a group of students living in a dorm, and they ditch their dorms for one day to join the line. From there, they have a fun day out and enjoy their time at the park with everyone else. I liked how they kept the storyline light on and focuses on the fun nature in a light-hearted and enjoyable manner, which reflects well on the song.

The choreography is very bubbly and playful. Like the music video, the performance fits well with the song. Nothing really stands out on its own, but there were some good moments and cutesy elements to the choreography that didn’t feel too heavy.

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

[Review] Freakin’ Bad – Xdinary Heroes

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Xdinary Heroes made their comeback way back in April this year, but I am only getting around to reviewing the lead single from this comeback now. Again, apologies for the lateness of this review. Freakin’ Bad leads the charge as the title track, coming from the band’s 3rd mini-album, Deadlock. Following the release of Freakin’ Bad, Xdinary Heroes also released additional music videos for some side tracks off the same mini-album, and I have intentions to review those songs/music videos in separate reviews in the future. But as for now, here are my thoughts on Freakin’ Bad.

Freakin’ Bad didn’t make much of an impression on me when it was first released in April. It actually took a while for me to get into the song through multiple listens. But now, I find Freakin’ Bad to be an exciting rock track that feels very Xdinary Heroes. I like that Xdinary Heroes has managed to find a distinct sound with their unique vocals and energetic instrumentations, both of which comes together to give a quirkier sound to your usual band/rock songs. Freakin’ Bad definitely feels like something that only Xdinary Heroes can pull off. The band instruments bring a continuous 80s vibe to the song that feels very straight-to-the-point and forward. But what makes Freakin’ Bad even better within the instrumental realm are the solo/instrumental break sequences, like Ju Han’s guitar solo midway and the synthesizer and drumming at the end. Vocally, I do think the higher pitch the members are executing feels ambitious. For the most part, they pulled it off well and I am impressed with Jooyeon’s scream and the chanty sequence at the end of the song. (As a short tangent, that “If you seek it, why owe you” line doesn’t make much sense, but was a clever way to adding some ‘freakin’ bad’ language into the song). But some other parts felt a bit too screechy for my liking and felt unpalatable. Had Freakin’ Bad somehow refined those screechy moments but maintain the energy and dynamism of Freakin’ Bad, then this comeback could have been even more defining for the group.

The intense energy of Freakin’ Bad is transferred well into the music video with its more rough camera work and edgier concept. And I quite enjoyed this music video. In the video, we see the band getting caught in the mall for some unknown reason, before they are questioned and taken away to jail. On the way to jail, the band utilise their instruments and speakers to blow up the police truck to escape and run away. And while they do celebrate their successful jailbreak, the ending shows the members setting off the alarms once again, proving that they are up to no good once again. Plot-wise, I could have used a bit more detail, just to round it out a bit. But apart from that, I enjoyed how the members’ solo shots were effectively and efficiently weaved into the story without it feeling stop-start and that the video flowed super well, as a result.

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

[Review] TAXI – JO YURI

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Last week, we saw the return of JO YURI with her latest mini-album Love All and the title track TAXI. This new release follows her October 2022 comeback with Loveable and the announcement that she will be joining the upcoming season of Squid Game.

TAXI is a rather straight forward pop song and I think more can be done with it to really take it to the next level. But what we got in terms of vocals and melodies earned massive points for TAXI. pleasant and brings a memorable ring to the track. I really enjoyed how effortlessly smooth and pleasant JO YURI’s vocals were, with that slightly raspy tone she has being well utilised in making TAXI more appealing. This lead into the pop melodies that JO YURI brings to life in TAXI, which gives the track a fun, bright and enjoyable motif. The instrumental was a bit dull and typical, in my opinion. But it had enough to create a bubbly and upbeat number. I particularly like that deep repetitive piano piece in the verses and the added vibrancy the synths in the chorus gave TAXI. However, I felt the song could have added a bit more zing, either by a more ear-catching detail to the instrumentation, or a post-chorus hook that could have reiterated the catchiness of TAXI. But what we got in TAXI is pleasant and enjoyable as it, and that is absolutely fine.

The music video sees Jo Yuri take a taxi to meet her crush, which she uses as a metaphor for “one’s feeling of wanting to run to one’s crush as fast as they can” (taken from Soompi). In that same Soompi article, she makes the comment that if something urgent was to happen or if she needs to see someone, she would think of taking a taxi as that is the fastest route for her. And we see that reflected in the music video, which can be split into two halves. The first half sees her trying to get her drivers license, but she fails her test. This leads to the second half of the video, where she just misses her crush (who I presume she was supposed to meet at the restaurant), but he isn’t there. Instead, someone knows where he is and gives her the address. And because she can’t drive, she needs to take a taxi (or a tow truck, given there is no driver). In the end, she meets up with her crush. Overall, it is a lighthearted and cute video that plays well with the lyrics and meaning behind the song.

I like how refreshing and summery the choreography and stage performance for this comeback feels. Obviously, it suits the current season quite well, as well as the upbeat nature of the song. Nothing necessarily stands out for me, but the overall performance was enjoyable nonetheless.

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

[Review] ROCKSTAR – xikers

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xikers made their debut at the end of March of this year with the mini-album HOUSE OF TRICKY: Doorbell Ringing and one of the title tracks from their debut mini-album was TRICKY HOUSE. The other title track is ROCKSTAR, and is the subject of this post. Since their debut, the group has also returned with their second mini-album, HOUSE OF TRICKY: How to Play, which is lead by the single DO or DIE and Koong (the latter will be the subject of another review in the future).

Their recent release of DO or DIE took on a punkish rock sound that I described as thrilling to listen to. But DO or DIE isn’t the first time that the group trekked into rock territory. xikers previously did so with the single ROCKSTAR, which is equally as thrilling (if not more) than DO or DIE. At times, ROCKSTAR felt like a more dynamic and vibrant take on what ATEEZ would sound like if they did a rock/dance track (i.e. Guerrilla). The main difference between them and their more senior labelmates is that added dynamism and vibrant tinge that I had just mentioned, which gives xikers an opportunity to make the intense rock sound and style their own. And they did so successfully. The energy that comes off ROCKSTAR is super powerful and intense. Their execution felt elevated and polished to the point where they did not feel like a newly debut group. The vocals were a little muffled due to the processing to match up with the rock intensity, but the rapping really benefits from the energy driven nature of ROCKSTAR. The first half of the chorus was features a grungier sound, while the second half of the chorus (i.e. when the head-banging rock comes into play) shows a relentless approach to the rock sound. I also equally enjoyed how intensified it got at the very end of the song. Such an ender just gives ROCKSTAR the chance to signal the end and feel complete the song without repeating everything we had heard earlier on in the song. That would’ve ruined the song, and I am so glad that the producers only thought of how ROCKSTAR could have gone up from there. Overall, ROCKSTAR is a very strong showing to why xikers is one of the male rookie groups to look out for in 2023.

The lyrics of the song are about youth and chasing one’s dreams (taken from Soompi), and we see the group go from schoolboys to (what I presume are) artists at the end. The energy and passion, as per the featured image of this post, comes from the members’ hearts and that their desire to become artists is within them, waiting to be unleashed. And in the end, the storm and eye helps the members unleash the that power and desire. I would have liked more explanation of the eye and/or storm (but I am presuming both are the same thing), maybe through an intro scene or an outro scene, as I feel like this is a unique concept that could be a recurring element in their music videos. We know KQ Entertainment love their trilogy concepts and story-telling in their music videos.

That intensity that I mentioned earlier on in this review is definitely showcased and alive on this stage. It is the best aspect of the performance and makes the whole watching experience thrilling and electrifying. I really like how the members put their all into the performance and do not hold back at any moment.

Song – 9/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.7/10

[Review] Love Me Again – V (BTS)

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V is the final member of BTS to release solo work since the announcement that the group would focus more on solo endeavours as they move towards their military enlistment. His official solo debut won’t occur until early September. But in preparation of that release, V has pre-released Love Me Again on Wednesday, alongside a music video for the single. In addition to that, V has also pre-released another single Rainy Day with its own music video just yesterday – both song and video will be the subject of its own review.

There is no doubts that Love Me Again showcases the wonderfully husky and raspy vocal tones that V is known for. The track really nails down in that department at the start and continues to bring these vocal tones as Love Me Again progresses. The R&B instrumentation is very comforting and mellow-sounding, with the atmospheric instrumental break (which doubles as the bridge of Love Me Again) being quite dreamy. But while the track is executed well, I did think it lacked a compelling element to get me back once it ended. Love Me Again is the type of track that I would listen to if it appears on my playlist or queue, but I wouldn’t necessarily go out of my way to search for the track or go back to it. I also found the track, while wispy and floaty, to be over sooner rather than late, and I felt this prevented the song a chance to show or develop that compelling element if it was in Love Me Again already.

I feel like similar comments can be made with regards to the music video. V, himself, is quite well known for his visuals. So the focus on his face in this video is warranted. V is also dressed in a sequined top, which glimmers and dazzles in the light. But aside from that and the retro-style karaoke setup during some parts of the music video, there isn’t too much else to the video. And the lack of ‘else’ in this video does make it become on of those where ‘you watch it once, you have seen it all’ videos. The only other comment I can make about the video is question why the background is cave-like.

Song – 7/10
Music Video – 6/10
Overall Rating – 6.6/10

[Review] ISLAND – The Wind

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The newly debuted seven member male group, The Wind, made their first comeback last week with the single WE GO. Usually, I go ahead and review WE GO. But have been wanting to review ISLAND for a while now. So, today, I will reviewing their debut single ISLAND and shall return to review WE DO soon. ISLAND dropped mid-May as part of the group’s first mini-album, Beginning : The Wind Page. It kicks off the careers of Shin Jae Won, Kim Hee Soo, Thanatorn, Choi Han Bin, Park Hayuchan, An Chan Won and Jang Hyoun Joon, all of whom are signed under With US Entertainment.

While ISLAND doesn’t bring anything necessarily new to the table, the debut single does offer some relief from the current sound that male groups are putting out. ISLAND is a simple yet bright and bubbly pop dance track, reminiscent of something that GFriend would have put out during earlier on in their careers. You could say some of the instrumentation could have been lifted out of GFriend’s discography, such as the synths used in the background. There is also a youthful tone of the song that just makes such songs so blissful to listen to. ISLAND is also quite melodic, which I found to be a huge driver in ISLAND sounding pleasant and enjoyable. This also helps bring a smile to my face whenever I hear the song. The melodies, however, could have been punchier in some areas, just to give that extra memorable element to the song. I did enjoy the more chanty lines you hear at the end of the choruses that all the members contribute to. This style of delivery in ISLAND just add extra oomph alongside the vocals, and makes ISLAND more than just a melodic track. With this in mind, I do think ISLAND could have incorporated a more substantial rapping department without breaking the song and ruining the pleasantness that we got. There was definite room for more in ISLAND to go that extra mile. But as it stands, ISLAND is a very strong debut track and successfully launches the group’s career by attracting attention towards the group.

Just like GFriend’s debut single, the group’s music video highlights their youthful visuals and tone by opting for a schoolboy concept. To me, this is highly expected and doesn’t come as any surprise. In the lyrics, the group sings about wanting to meet and explore the unknown with their special someone. And in the video, we see the additional elements of the group getting ready for an adventure at a train station and that curiosity to see what is beyond school. One thing that I really appreciated from the video is that it takes on that cutesy and sweet concept that tends to come with the school-aged concept. But it does so without feeling cringy or overly saturated, which I find helps makes the video much more appealing to watch, as a result. I also like the emphasis on the colour blue in the video. A bit traditional, but it does feel refreshing.

While the choreography of ISLAND doesn’t stand out, I do like how breezy and energetic it feels. It works extremely well with the song and the group’s youthful charms, without a doubt. I do also want to applaud The Wind in their efforts on pulling off a live performance with stable vocals in each performance I have watched of them. It just makes the performance more worthwhile to watch.

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

[Review] LIP GLOSS – THE BOYZ

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Also making their comeback yesterday was THE BOYZ. While the leadup to the comeback was a touch rocky, the group has pulled off another Summer comeback with the single LIP GLOSS and the first part (of three) that will constitute the group’s second studio album, PHANTASY. This part is titled PHANTASY Pt. 1 Christmas in August. It was announced by their company that the male group will be making two further comebacks this year to complete the release of the second studio album. This one serves as their second Korean comeback of 2023, following the release of ROAR in February of this year.

LIP GLOSS is a very catchy and summery title track from the group that doesn’t rely too heavily on electronic synths like their last two Summer comebacks (i.e. THRILL RIDE and WHISPER). I really like how light yet upbeat the track is (thanks to the lower synth and EDM reliance), which feels refreshing. I will admit that I did find the hook, melodies and vocal work to be weak early on in the track. But as LIP GLOSS progresses, all three elements grow immensely on me, and that impression was reduced immensely by the time I reached for a second listen. The melodies and hooks become quite playful and works extremely well in maintain that aforementioned lightness and summery vibe. Maybe punchier vocals could still help LIP GLOSS in the long run. But as a vector for the lightness and freshness, the vocals that LIP GLOSS serves is just fine. I did like the interweaving of the entire group vs. a singular member’s vocals in the second half of the chorus, which adds to the song’s playful exterior. We do get some some abrasive house synths in the bridge’s breakdown, which facilitates a stronger presence for the rappers. The lightness in the verses and choruses does hold them back, so I appreciate that they have an opportunity to show something aligned with their delivery. I did wish for a stronger return to the final chorus, but what we got still managed to work. Overall, LIP GLOSS is a strong summer return for the group, and I can’t to hear more from the first part of the album as I have heard great things about it.

The music video serves some eye candy for fans in its beach and island theme getaway, with some of the members taking off their shirts for the video. On this beach and island, the members come across a stunning woman whom they are very attracted to. They do get a bit flirty with her (and vice versa), but not in a cringy way (allowing the video to be watchable). However, it is revealed at the end that she did lead them on. But don’t worry, as they group attracts another group of ladies who are also partying at the island. While that is the main part of the video, the group does return to perform LIP GLOSS from the second verse to the end in an after credits sort of manner. I quite liked this idea and it works extremely well with the light and simplicity of the summer concept. It also contributes to the fun nature of the song.

The playful vibes come off in the robust and energetic routine that is paired with LIP GLOSS. I really like the brightness that the members give off in the routine, which helps makes the choreography enjoyable to watch. I also liked how hard hitting the performance gets during that bridge breakdown, only to then revert back to those playful vibes in a matter of seconds.

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

[Review] Fast Forward – Jeon Somi

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It has been almost two years since Jeon Somi made her last comeback with XOXO (which featured the tracks Dumb Dumb, XOXO and Anymore). But fans welcomed her back on Monday with the release of her 1st ever mini-album, Game Plan, since her solo debut, which features the title track Fast Forward.

To me, Fast Forward is one of those songs where if you blink, you will miss it. Intentional or not, I think Fast Forward (like other songs spanning just over 2.5 minutes) deserves a bit more somewhere along the way. The fast tempo of the track, while contributes to a strong dance track, does drive the song towards its end sooner, rather than later. That personally is the biggest gripe I have about the song. Other than that, Fast Forward embraces a very cool rendition of 2010s deep house style that you might expect to hear in a club environment. The first verse begins and the pre-choruses shows a strong command of Jeon Somi’s vocals, before we launch into the song’s bold yet bouncy, upbeat and non-lyrical chorus. This is immediately followed up with a Madonna-Vogue-esque styled second verse (which I personally find to be the best part of Fast Forward and would have totally liked to have heard more of), before another run at the chorus. The bridge that follows doesn’t add much to the song, but does give a strong presence of keyboard, before a final run at the same chorus comes into play. Jeon Somi really did nail the song and its style, but Fast Forward could have benefited with a longer frame to give itself some thing more (potentially a strong ender that isn’t a direct repeat of what had already been heard).

The song serves as a message for a lover in the lover future and the desire to fast forward to being with that lover. We see the first high-school crush of Jeon Somi’s in the video via those scenes in the school yard where she is firstly crying and later on is shy in front of her crush (who has a terrible hair cut). These scenes may imply that she had opened her feelings to her crush, but got rejected and is thus heartbroken. But in the context of the lyrics, this heartbreak is the first of many due to come her way on the path of finding her true lover in the future. We then see Jeon Somi go through people at the club, who on screen appear glitchy (representing short-lived relationships, brief relationships, or lengthier one that she must experience before finding ‘the one’). I think the training scenes also represent that “I don’t need another person” mindset that many go through on their quest for love. Altogether, I think the video is a nice showing of the song’s lyrics. And of course, Jeon Somi looks very stunning throughout the video, particularly during the choreography and her goddess scenes.

From what we can see in the music video, the choreography is very well done. It embraces the bouncy aspect of the song and shows Jeon Somi off in an even more confident light, especially those moments where she is the centre of attention.

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

[Review] DO or DIE – xikers

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Making their first comeback earlier this week was the rookie group xikers. For those who missed their debut, xikers is a 10-member male group who debuted under KQ Entertainment in March of this year with the mini-album House of Tricky: Doorbell Ringing and the title tracks TRICKY HOUSE and ROCKSTAR (the latter and mini-album have yet to be reviewed and I will get around to reviewing them). On Wednesday of this week, xikers returned with their second mini-album, House of Tricky: How To Play and double title tracks Koong and DO or DIE (the latter is the focus of this review post today).

xikers embrace a punk rock sound in DO or DIE, which I find exhilarating and thrilling to listen to. I found it to be super effective and a successful instrumental that gets right to the point and doesn’t mess around. Upon my first listen to DO or DIE, I found myself head-banging along to the music and energy, pretty much as soon as the song started. Since then, I have managed to control myself enough to write a review. But I will probably be slipping back into head-banging mode once I complete this review for subsequent listens. The electrifying concentration (yet slowed down tempo) in the bridge and the groaning-like approach to the vocals was a cool and logical progression to “switch-up” the song that has already embraced an already intense form of the rock sound. A bit confronting, but it felt right. The final chorus throws in some really cool drumming, adding to the intensified end of this punk rock dance track. The vocal parts in DO or DIE were well executed, with some parts being super clear and other parts being slightly filtered and processed. But it is done in a way that works with the punk rock sound, giving off a rough and craggy. The rapping in DO or DIE benefits from the energetic nature of the song in that it comes off as punchy and dynamic, while the filtering and autotune helps give off an edgier effect. The energy and intensity of DO or DIE unfortunately does forfeit the appeal and impact of catchy hooks and/or melodies, so I wished the song really built that department more to really stand out. But as it is, DO or DIE is super awesome in its own right.

The music video concept is a zombie video game. But instead of a survival game where one might usually run away from the zombies and shoot at them in order to survive, the members pretty much interact with the zombies in an unexpected way – by finding the ones who have music in their bodies. The right zombies then become the rock band who plays for the group. As the zombies play, more zombies come and end up forming a crowd around the group as they perform. From there, the video becomes a bit drab in that it flicks over to reality, where the members appear to look for the second half of the game from the video store. I would have liked to see that it not be reality, but more so an extension of that zombie universe.

The performance leaves me speechless (in a good way). It looks quite tiresome, but yet the members make it look so dynamic and powerful from start to end. Something I hadn’t mentioned about the song yet is the fact there is some commentary in it between the bridge and final chorus. On stage, that sequence makes everything feel so much livelier. I also liked how one of the members kick over another member during the bridge, adding to the thrill of DO or DIE.

Song – 9/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 8.4/10

[Review] dangdang – MAMAMOO+

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Earlier this year in March 2023, MAMAMOO+ made their unit comeback with the single GGBB. That was a fair comeback with an unfitting dance break that caused a flow issue. Four months on, Solar and Moonbyul are back with their first mini-album, Two Rabbits, and their latest title track dangdang. The pre-release single Save Me is also featured part of this mini-album (which I have not yet reviewed).

dangdang is an appealing track. The guitar twangs in the background, the heftier beats in the choruses, and some of the hooks, melodies and vocal delivery is all evidence of appeal in my books. But I find the track to be rather mild and light on as it opts for a more pleasant atmosphere. While I do like pleasant tracks, I do feel like dangdang could have gone a bit harder. The final chorus is a prime example of this potential. Of course, by holding back dangdang for majority of the song’s run, the final chorus is a lot impactful. But I think the song could have explored other avenues to give the song more oomph. The vocal work from both Solar and Moonbyul was very nice. Solar brought a falsetto and wispy approach to enhance the lightness of the track. However, that is kind of the only mode I remember from Solar in dangdang and I wished she had more substantial parts. Moonbyul’s vocals and rapping helps ground dangdang, but I wished her rapping was punchier to be more memorable and give dangdang something interesting to throw at us. More interesting verses could have been another option, and maybe a few strong hooks/melodies would have been nice as well. Overall, dangdang isn’t bad and I find it to be a stronger release than their past tracks. But I am left wanting more as the song progresses.

The music video appears to be quite fun, which works well with the song. There seems to be a trend in KPOP lately to use a lot of dancers in music videos. This music video doesn’t feature as much as other videos have in the past, but I feel like the start of the main portion of the video looks really cool as a result of the higher number of dancers. I liked the boldness of the blue and yellow sets in the middle of the video. And per usual, Solar and Moonbyul look amazing in the video. The music video also features the intro track, Two Rabbits, to the mini-album.

Their stage presence and smiles really makes the performance even better. While nothing really stood out for me in terms of individual moves, the playfulness of the routine, the duo and dancers comes off quite strongly and this helps makes the stage worthwhile to watch.

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

[Review] The Flash – KWON EUNBI

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KWON EUNBI has been trending lately due to her stage presence at the recent Water Bomb Festivals. And her comeback today is timely to ride on this wave of new found popularity. Her new single is titled The Flash and forms part of her first single album of the same name. We last saw KWON EUNBI via her Underwater era from October of last year – a comeback from the soloist that I have yet to review.

The teaser for this comeback (which felt unexpected when it appeared on my subscription lists, as I hadn’t read any news about her comeback prior to the release of the teaser) pretty much got me on board with this comeback, and I can safely say that The Flash in its entirety did not disappoint. The Flash is a super upbeat pop dance track that catches on within a few listens. The electronic synths create a very dynamic atmosphere and I feel both KWON EUNBI’s vocals and The Flash‘s melodies build on this dynamic nature to create an exciting song. In amongst the electronic synths are some well selected synth details that adds flair and style to the song, which creates further excitement and dynamism in the song. The best part of The Flash comes as the song launches into the final chorus from the bridge. I feel like the impact here makes the ending of The Flash more satisfying to listen to. The only thing that comes to mind that could potentially make The Flash even better would probably be a sharper instrumental. But the lack of that strikingness doesn’t break the song for me whatsoever and I like The Flash very much the way it is presented to us now.

The music video has a balance mix of choreography shots and close-ups of KWON EUNBI. She is super stunning in this video, and I liked that they highlight both the dance aspect and her visuals. I also like how KWON EUNBI breaks the fourth wall during the choreography of the first chorus. If I had one request, it was for the video to explore more of the close-ups, particularly with the backstage shots of KWON EUNBI in the makeup chair. The sets also look stylish and beautiful, as well.

I really like the presence of the ribbons at the start and during the bridge segment of the routine. They add nice visual aspect to the choreography, but also boasts a level of complexity that looks impressive. I am also a fan of the routine in the second half of the chorus, which looks effortlessly sexy.

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