Category: Reviews

[Review] Gasoline – KEY (SHINee)

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We are still a couple of months out from a year since KEY impressed with his solo comeback. BAD LOVE (title of both the title track and first mini album). But that hasn’t stopped KEY from returning with a new music. More specifically, a new single and his second studio length album, both of which have been titled Gasoline. The new material dropped officially today, even though he did informally pre-release the sides tracks Another Life and Proud and performed Gasoline at the recent SM Town concerts.

But the focus of this review is purely on Gasoline, the title track. The biggest question that I have for myself heading into this comeback was whether Gasoline tops the likes of BAD LOVE (which knocked my socks off last year). Unfortunately, I can confirm that the new release does not exceed the standard that was set by last year’s release. I will explain why in a bit. Gasoline is a hip-hop dance track that really grabs our attention from the get-go with its bold and fanfare instrumentation at the start and during the choruses. Heavy thumping takes over the in verses and the brass elements that contribute to the fanfare influence in the chorus is taken down a few notches. All of this was very good and definitely is very memorable. I quite liked the decision to skip the chorus following the second verse, going straight into the bridge. It was an interesting change of momentum and the thumping beat was quite exciting and thrilling. It definitely got the adrenaline running through my body. My issue with Gasoline was the lack of melody. There was some, but none of it was rewarding or fulfilling like in his previous comeback. Also, the boastful and confident main hook of the song (i.e. the ‘A-List, The Latest, Made It, I’m Ready, Big Rings, Your Scream‘) felt so cringy and was very questionable to me. I see how the first four compliments the idea of being confident and ambitious, but the latter two that I quoted makes no sense. The start-stop manner it was delivered in was also a bit plain and wearisome, and I wished the hook was more gratifying to listen to. KEY’s rapping throughout the track was good, but it is the way Gasoline‘s centric moments were delivered that I find to be a letdown.

The music video makes up for the Gasoline‘s lacking aspects. I am blown away by the quality and jaw-dropping visuals that KEY delivers in this comeback. My guess is that KEY is like a god in this video, with the dancers worshipping him. This would work well with the confidence and ambition that KEY expresses in the lyrics of the song. The golden colour that appears throughout the video (and subsequently becomes a memorable aspect of the video) also helps out with this. Another thing I quite liked about the video is that KEY isn’t scared to show off a completely different style to other idols and isn’t shy of trying unique outfits. It left such a strong impression on me, as a viewer, which works hand-in-hand with the message he is trying to get across. The sets were also grand and imposing, helping to make KEY stand out.

I quite liked the powerful aspect of the choreography, which felt fitting to the way he delivered the track. The routine was definitely quite busy, as well, thanks to the number of dancers featured in this comeback. But I think this helps give the choreography a boastful image as well, which works well with the message the song gives out.

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

[Review] Can’t Stop Shining – TEMPEST

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Next review from yesterday’s list of comebacks is TEMPEST, who made their first ever comeback with Can’t Stop Shining and the mini-album SHINING UP. This comeback follows their debut with Bad News and It’s Me, It’s We. I am glad that they were able to get over the first hurdle of their careers – making a comeback. It is quite common for groups to debut and then disappear. And I am glad TEMPEST did not succumb to that fate, especially following their debut which grew on me following its review.

The three minutes that Can’t Stop Shining goes for was by far one of the most pleasant three minutes I have heard in KPOP recently. For this comeback, TEMPEST goes down the dance pop route with their track. The instrumentals that start off Can’t Stop Shining were very airy and breezy. There was a beat to it, but it was kept light. The chorus is when Can’t Stop Shining peaks, with a relatively more robust backing. But instead of being ‘noisy’, the refreshing energy and subtle groovy vibes we get in the chorus thanks to the synths and beats keeps in line with the light, airy and breezy descriptions I had already used to describe Can’t Stop Shining. Most of the vocals were smooth and soft to a certain degree, but they manage to also come off as vibrant. Their vocals, especially during the chorus, brought a smile to my face and leaves a positive impression on the song, overall. Even the rapping in the second verse was refined to show intensity but also fit the rest of the song very well. The stripping of the instrumental for the bridge is pretty cliché, but the reveal of the piano was nicely done. The launch back into the final chorus was probably the highlight (as it usually is intended to be) as it was the most dynamic aspect of Can’t Stop Shining. I do think other parts of the song could have been slightly more dynamic (i.e. some of the vocals) but still allow Can’t Stop Shining to stay within the confines of being pleasant. But as it is, Can’t Stop Shining is a successful comeback track in my opinion!

Based on the start of the video, I was expecting something edgy and urban out of this comeback – either through the video or the music. The abandoned room and the anger on one of the members’ face (i.e. the guy with the skateboard) sold this idea to me. But it turns out, I read too much into it. The whole point of the start was the home video aesthetic, which featured throughout the rest of the video subtly. The pop and pleasant nature of the song comes through, taking the video in a completely different direction. We get colour through the flowery scenes. We get breezy from the shots outdoor on the beach. And we get a whole bunch of smiles from the members. Overall, a neat video that works well with the song.

The chorography for this comeback was nice. Nothing stood out at me as an impressive or mind-blowing moment. But the routine worked well with the song and the pop vibes that I described above.

Song – 9/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 8.3/10

[Review] FLASH – Rocket Punch

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The new week starts off with a number of comebacks, making it hard to decide which song to review first. I left the selection up to my Twitter feed, and Rocket Punch’s FLASH appeared up top on my timeline. And so, I am here to kick the week off with my review for FLASH. This comeback follows the group’s CHIQUITA and Yellow Punch Korean comeback, and their Japanese single release FIORE, from earlier in the year.

Rocket Punch turns to heavy beats and electro synths in FLASH, making this track suitable for a club or party environment. The bass really oomph up the song and gives FLASH definition and depth, aspects of a sound profile that definitely sounds good. Surely, one would seize at the opportunity to really build this instrumental into a dynamic piece. Well, I don’t think FLASH did. There was this generic and typical tone to the vocals that left me so disappointed. The verses were a bore to get through, with the same twinkling-like synth done time and time again and there was a clear lack of excitement in the vocals department. The pre-choruses and first and second rounds of the choruses faired better. The ramp towards the chorus definitely felt strong and did bring in that dynamic factor that I hoped for (but it was brief and I would have liked to see dynamism throughout the rest of FLASH). The choruses featured catchy hooks and melodies. Vocally, there was improvement in the chorus, especially with the higher pitch in the first half. The final chorus, on the other hand, was a massive let down. As soon as we launch into it, we are thrown back into the ‘Light Signal Action‘ repetition half of the chorus, exactly how it was given to us in the first round of the chorus (which I did enjoy). This would have been fine, but the issue with the final chorus was that this repetition was just on repeat and just felt so draining. The same instrumental was used and there just wasn’t anything extra to give FLASH a last hurrah before ending. Overall, FLASH had a good set up, but it just didn’t eventuate.

Like the song, the music video was quite underwhelming. I look at the other artists of Woolim Entertainment (i.e. Golden Child and DRIPPIN) and see such strong music videos. And I turn to the accompanying video for this comeback and feel quite disappointed. The video needed more flashes in terms lighting and didn’t needed to have such a pale colour scheme. The solo shots were standard and the sets could have been a bit more dynamic (and not from one of those one-stop shops of video sets). Rocket Punch deserves a cool video, just like their other labelmates.

Why is performance video that was released today so bright? It was extremely distracting to focus on the choreography. I hope we will not be seeing Rocket Punch on stage with every light bulb directed at them. Aside from my mini-rant just now, the choreography looked good. I liked the flash hand movements they had in the chorus. I just wished the moves were a bit sharper, just so the routine has a more polished look.

Song – 6/10
Music Video – 5/10
Performance – 7/10
Overall Rating – 5.9/10

[Review] Talk that Talk – TWICE

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TWICE ends this week with their long-awaited comeback with Talk that Talk and their 11th mini-album since debut, Between 1&2. This is the group’s first comeback since the release of SCIENTIST last year, the announcement of their full-group contract renewal with JYP Entertainment, their fourth world tour and another string of Japanese release (some which I have reviewed, and others I have yet to).

Talk that Talk, for me, is a great release. Out of the pop releases that I have reviewed recently, TWICE’s song was definitely one which shined brightly. And this comes as no surprise to me, given TWICE has excelled with pop tracks in the past. So what sells me Talk that Talk? Firstly, I found the feel good energy of Talk that Talk to be stickler. The explosion of energy at the start of the choruses was effortless and helped make the track satisfying. Even though the song has been released just a few hours back, I have been returning to Talk that Talk just for this aspect alone. Secondly, the melodies throughout the song (verse, chorus, bridge and all) were simple and straightforward. There isn’t any messing around with the vocals or the instrumental. Everything was clean, neat and embodied the energy perfectly. As a result, the melody rings on and also drives me back to the song. Thirdly, I really did enjoy Talk that Talk‘s instrumental. In addition to the already-mentioned energy, there was a dynamic factor and bounce to the backing that I really enjoyed. Fourthly, strong vocals throughout makes this song a stunner. Is there anything I wished was better executed? I think the rap lines could have been clearer and had more of a kick to them. But other than that minor detail, I am very much into Talk that Talk. It might just become one of TWICE’s best title tracks ever, in my point of view!

Once again, the members looked amazing in this video. There is this fierceness to the members’ visuals which definitely complements the fierce nature of the song (something I didn’t comment on above). However, the video does balance it out with more lighthearted and whimsical tones via the props and post-production editing (i.e. holographic love hearts, floating paw prints and emojis, teddy bears getting pierced, cat videos etc.). I also liked the mix between 90s and modern trends in the video. The QR code at the end of the video apparently takes fans to the Instagram post of when they announced the name of their fandom – ONCE! The post-production which places the video in a virtual setting was also awesome! Great video, overall!

I really enjoyed how the choreography embodied the aforementioned energy. It made for a fun and exciting choreography. The members definitely looked like they had a ball on stage! A massive pity that Jihyo was unable to participate as her absence did leave a bit of a void. But I am sure once she returns, everything about the performance would be complete.

Song – 9.5/10
Music Video – 10/10
Performance – 9/10
Overall Rating – 9.6/10

[Review] FOCUS – Ha Sung Woon

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Making his final solo comeback yesterday before he carries out his military enlistment is Ha Sung Woon. He returns with the title track FOCUS and the mini-album Strange World. This comeback follows his recent special release, Can’t Live Without You, from earlier this year.

FOCUS is another neat pop song to add to the list. More could have been done in the song to make it even better, but that doesn’t mean what we have been presented with is bad. FOCUS is groovy vibes in the midst of its pop instrumental, thanks to the guitar work and that synthesizer synth in the instrumental half of the choruses. Said synthesizer synth was actually quite catchy The bass adds oomph to the song, while the percussion gives FOCUS a snappy effect. All of which helped make FOCUS very appealing as a track. Ha Sung Woon vocals were quite strong throughout. His falsettos in the bridge were nicely done, while the ad-libs he throws in the end were very cool. The staggered effect in which the choruses start off with (accented by the punchy bass) helped add a memorable aspect to the song, which I thought was rather cool. Like other songs recently, my gripe with regards to FOCUS is that the song could have done more. FOCUS never really strayed from its root sound, which I felt made the song too consistent. I kind of wished there was something else to FOCUS to give the song some more flair or dynamism. For example, I felt some rapping could have taken the FOCUS to the next level. Or even may be an instrumental breakdown that changes FOCUS‘ momentum ever so slightly. But as how we got it, FOCUS was still a great comeback track.

The music video shows Ha Sung Woon becoming infatuated with someone who he sees and likes. But he becomes so intent on her that he doesn’t notice that she leads him to his demise (i.e. the hypnosis, trapping him in the car and setting said car alight). We don’t actually see the car go up in flames, but the ending does show Ha Sung Woon in the middle of the ring of fire, which I presume alludes to the fact that he was in the car when it was alight. This storyline matches the lyrics, which is all about the dark side of focusing on a lover. I liked the darker looks and premise of the video, and I quite liked Ha Sung Woon’s looks throughout the video. All his expressions also look really good and conveys the story so well.

The sliding footwork is the best aspect of this choreography routine. It looks cool, sleek and has the potential to become iconic, in my opinion. I really liked the use of the dancers to make the routine more dynamic. The rest of the performance was captivating to watch (emphasising Ha Sung Woon’s performance skills) and I also liked how intense the routine got for the final chorus.

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

[Review] Losing Game – LEO (VIXX)

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Yesterday saw the return of LEO, the main vocalist of VIXX, a group which we don’t hear too often nowadays. He returns with the title track Losing Game and the mini-album Piano Man Op. 9. This is LEO’s second solo release since completing his military enlistment in 2021. He did release a standalone single at the end of 2021 titled I’m Still Here, but I actually missed this release and have not reviewed it. His last review on my blog was for Romanticism and his mini-album Muse.

Losing Game is a decent track. I liked the different elements that make up Losing Game. But as the song progresses along, it felt just didn’t develop into much. Let’s start off with what I liked. Losing Game‘s R&B instrumental had this slow yet groovy vibe to it. It was subtle, but it was there. The piano that appears throughout the instrumental was deliberate to bring out the emotions behind Losing Game, while the crunchy percussion in the song adds some interesting textures to Losing Game so it isn’t too bland and brings some modern flair to the song. LEO’s vocals were very captivating for the most part and his singing style is well suited for the likes of Losing Game. This voice really shines during the bridge, when most of the instrumental was stripped away. I also enjoyed the opening melodies of the chorus, with the “Need you right here” being the one line that replays in my mind after the song completes. My only gripe about the song, as already mentioned, is that it lacks development. What do I mean about this? Well, the song sounds exactly like how it started. While sometimes it is a good thing, I felt Losing Game needed a climax or a peak. It held back and this didn’t really help make the song appealing as it could have been. I do think we in a direction of a pea when a guitar presence emerges from the instrumental just at the end of the bridge, and Losing Game would have been cooler to pick more of that guitar up for the final chorus. But it fizzles instead to the same chorus. Overall, decent comes to mind. But I am sure Losing Game could have been more proactive and taken to the next level had it not been held back.

Losing Game is about a relationship being one sided, and we do get that impression in the video. There is a female character in the video which we can see is in a relationship with LEO. But we don’t see her face often. And when we do, it is covered with a mask to suggest that she is hiding something. In the end, she runs away, leaving LEO behind. LEO obviously goes after her, but he can no longer find her, suggesting that she might have never loved him. I liked the melodramatic settings of the music video. LEO’s opened jacket look was a bit questionable in my opinion. I am on the fence on whether it matches the concept or not.

I actually liked the stillness that started off the performance. That never really gets much attention, so I thought I point it out for this review. There was some really good flow in the movements during the verses. And I like the body waves that opened with the chorus, complementing the sensual vibe that is brought to the comeback via the R&B instrumentation.

Song – 7/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.5/10

[Review] Mango – Super Junior

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It has been almost 17 years since Super Junior started out, and yet they are still going strong! It still amazes me to hear that Super Junior are still at it in this tough industry! Super Junior returned in July of this year with their 11th studio album The Road: Keep on Going and the title track Mango. Their last comeback was from last year when they returned with House Party and The Renaissance (their 10th studio album). In addition, the group also did release a special single earlier this year titled Callin’ ahead of their ninth tour.

To me, Mango is best described as a pleasant pop song and I believe this helps make it one of their best title tracks in recent memory. The pleasant side is appreciable, especially in an industry that is heavily dominated by heavy and intense EDM/synths. And the pop profile of Mango‘s instrumental makes it straightforward and satisfying to listen to. The melodies are probably the best aspect of Mango for me. They were quite catchy and easy on the ears. And it just isn’t the chorus melodies that I found to be easy on the ears. Even the verses had some great melodic flow and it made the entirety of Mango more enjoyable. I also found myself humming to the song a number of times since I checked out the song. The vocal work was quite solid. However, with such a vocal centric song, I did expect some harder hitting ad-libs and more powerful moments that weren’t held onto until the end. This would have helped make Mango potentially more stunning and potentially addresses my next issue with the song. Call me hypocritical, but while I did like the pleasantness of Mango, part of me did think it also contributed to the feeling that Mango was a bit plain. Now, I am not expecting a House Party breakdown (that would ruin the song for me – yes, the feeling is still strong). But I kind of wished Mango did something just a bit more to give Mango a wow factor. This could have been strong ad-libs or vocals throughout the song (as already mentioned), or a suitable rap sequence that kicks the momentum up. I do lean towards the latter option a bit more, simply because Mango is missing a substantial rap sequence (we did this rap speak hybrid, but it was more speak in my point of view). I know I have previously advocated that not all songs need a rap sequence (hypocritical me strikes again), but Mango could have used one (provided it was well executed and fits in with the pop vibes of the song). But overall, Mango is still enjoyable and neat Summer pop track for us.

The music video also could have used a bit of a wow factor. Don’t get me wrong, but it is great to still see most of the members on the screen. And the pleasant pop vibe of the song does admittedly constrict the number of concepts that could have been part of this comeback. But this is KPOP we are speaking about and they belong to SM Entertainment. Surely, someone in the company could have thought of something a bit more creative. Aside from that mini-rant, I did like the colourful nature and lighting, which made it suitable for the Summer season. I also enjoyed the Broadway/theatre entrance setting, as felt fitting for the pop vibe of the song. But I guess I wanted more from the music video aspect of this comeback.

The choreography was great but yet simple. It didn’t have anything impressive from what I could see, but it was definitely showed how to have a good time. My favourite part is choreography during the the extended ‘la la la‘ sequence just before the bridge.

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

[Review] After LIKE – IVE

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The next release of the night belongs to IVE and is titled After LIKE. This is the group’s second comeback to date, and follows the tall order of LOVE DIVE (which was released back in April) and their debut hit ELEVEN (released back in December of last year).

I didn’t want to spoil the reason why I am also so keen on After LIKE. But now that we are in the song segment of my review, I think I can finally divulge. Like everyone who is highly anticipated After LIKE, I am enjoying the fact that the song samples part of its instrumental from the legendary disco hit I Will Survive (by Gloria Gaynor). I think it is ballsy for any producer to even touch songs like I Will Survive, given that it is so widely known by so many people. You got to make sure to do it justice. So, do I think After LIKE does it justice? I definitely do. Instead of oversaturating After LIKE with the sample, it is used sparingly (three times following the choruses) and merged neatly into the song, fitting in with the upbeat deep house instrumental that make up the rest of After LIKE‘s instrumental. It is interesting that After LIKE doesn’t go into full retro mode, which might have been the more cliché move but big expectation with such a sample. I quite liked how they kept it modern and simple. The sample does end up being the focal point, but it is used well. As for the rest of After LIKE, I can also say that it is a strong showing from IVE. Admittedly, the verses were a bit plain, but showed some good vocal work. After LIKE doesn’t mess around and gets straight to the point, which is something I quite liked. The chorus had some really catchy hooks and melodies that I don’t mind going back to. The rapping following the second chorus (and layered over the sample) was a very refreshing delivery for IVE and packs a of punch in the energy department, which I thoroughly liked. Overall, After LIKE definitely played its cards well and was great as I had expected!

The solo shots in the music video were really good. I liked the central colour for each member, which helps makes the music video colourful and vibrant, much needed with dark background for the choreography shots. Their central colour also corresponds to the accessories donned with their super plain outfits in the first round round of choreography shots. I am also loving the final set of choreography shots, with the fireworks in the background. The firework display was epic and helps makes the video go out with a bang! Whilst it might sound like I most of the video, I actually have a big issue about it. The really shaky camera work was terrible and very distracting. I understand the need to keep the music video dynamic, but I think the production team went over the top. There was a need for cleaner and smoother shots in this video, just so we could appreciate the music video and the members better. And it disappointing that the video didn’t give us that opportunity.

I liked, how despite the energy and upbeatness of the song, there was a sense of refinement behind the members’ moves in the chorus. It was quite neat and made for a good routine. But the best part of the choreography occurs the first and last runs of the I Will Survive sample. The sharpness contrasts the more refined moves aforementioned and leaves a much stronger impression on me.

Song – 9/10
Music Video – 7.5/10
Performance – 9/10
Overall Rating – 8.6/10

[Review] 458 – CIX

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Starting off this week are some new comebacks from two artists, both of which I am keen to get right in and review. The first artist I want to cover is CIX, who returns to Korea for the first time in just about a year with their new single 458 and the mini-album OK Episode 1: OK Not. I am particularly keen on CIX’s release because of its music video teaser release last week which perked my interest. The last time we saw the group on the Korean stage was through promotions of their first studio album (OK Prologue: Be OK) and WAVE. Since then, the group had released music in Japan (yet to be reviewed in the International Song Review segment) and held their first concert.

458 is a very intriguing track. It begins off with some striking piano work that brings forth a mysterious and dark colour, while the deep and lower register vocals keeps it captivating and alluring. As it progresses to the chorus, everything starts climbing in the pre-chorus and there is a hopeful tinge behind Yonghee’s vocals. I quite enjoy this sequence and think it is the best part of the song. However, this is closely followed by the chorus, which lands 458 into the electro hip-hop sphere and gives the song some impact. I like how it maintains that low register and aligns itself with that dark and mysterious atmosphere, yet still managing to change the song’s dynamism with the unsettling but also enchanting electronic synths. The second verse and chorus feels like a repeat of the first round of both sequences, just with the addition of some extra subtle percussion in the second verse. Following the second chorus, we are given a dance break that continues the presence of that same unsettling scratchy synth from the chorus. I liked how some of the ad-libs find themselves here. The rapping that follows was good, however it could have been more energetic and dynamic. I think an element of change was needed in 458 just about here and the rapping would have been a great conduit for this. The chorus repeats one final time, before we get an additional distortion at the end and a blip to bring 458 to a close. While I do appreciate the consistency in a song like this, 458 could have used one extra switch up just to give it some extra punch. But overall, 458 remains captivating throughout for me.

As mentioned in the introduction, this comeback had intrigued me via its music video teaser. The dark yet modern aesthetics were definitely worthy of a shoutout. It, like the song, was quite impactful and definitely was jaw-dropping at times. The members were also all shown in visually stunning and aesthetic manners throughout this video. Some of the scenes show the members being winged or even had their wings clipped, suggesting fallen angels are related to the storyline. But aside from that, I have no clue on what is happening in the video. That ending suggests we might be getting another series of interlinked music videos. Let me know if you have any theories regarding the story or meaning behind the video.

What a performance. I really enjoyed the balance between the softer movements and the more intense moments. There was also a slight sensual tinge to the performance as well, which helped smooth out some of the moves and made it a strong performance for the group. The dance break could have been a bit more show-stopping if I am being honest, as I expected the performance to really climax there. But I guess the presence of the ad-libs from Bae Jinyoung got in the way there.

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

[Review] Pink Venom – BLACKPINK

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It has been almost two years since we have heard BLACKPINK through a full group comeback via the promotions of Lovesick Girls and The Album. Currently, we are progressing full speed ahead towards BLACKPINK’s official comeback in a month time with their second studio length album Born Pink and a yet to be unveiled titled track. But ahead of the release of Born Pink, we find ourselves here today just about to review the pre-release for that album, Pink Venom, which dropped earlier today.

It appears that Lovesick Girls was a once event in terms of the group’s discography. BLACKPINK returns to familiar powerful territory with Pink Venom, following the same vein of their past releases such as How You Like That and Kill This Love. There isn’t anything wrong with this classic BLACKPINK sound and style. It is just quite overdone by now. Pink Venom attempts to change it up with a mixture of traditional and tribal-like instrumentation throughout the song, sans the second verse which deep dives the song into 90s hip-hop territory. I think this instrumental combo lacks that knock out of the park feel that their previous tracks have. And I am quite sure the typical formula also dulls the potential of Pink Venom. The chorus was probably the most interesting aspect, but I am of the opinion that it is disappointing. Lisa and Jennie go into this high pitch soft whisper-like motif. I feel that this detracts from the powerfulness potential of song, and weakens the integrity of Pink Venom. It is somewhat unique, but very fragile. It makes me want to handle the chorus with care, which isn’t something you would want with a BLACKPINK song that starts off powerful. The verses and pre-choruses were more appreciable and enjoyable by a long mile. There was potential between the vocals in the pre-chorus from Jisoo and Rose, to the rapping by Jennie and Lisa in the verses. The chorus just lets it down. Pink Venom ends with a ‘La Ta Ta‘ hook, which I didn’t think really gave Pink Venom that punchy ending that I had expected. There was something lacking in the background to really hone the ending in and make it all climatic. It appears that Pink Venom isn’t my cup of tea this time around. Maybe more listens would make the song more approachable, but for now, Pink Venom just doesn’t live up to their previous tracks of a similar nature.

Per usual, BLACKPINK’s music videos are top notch. And once again, Pink Venom‘s does not disappoint. Visually, this music video had it all. Vibrant colours, impactful shots and stunning looks. Best shots for each member are: Jennie’s red outfit at the start of the video. Lisa’s gangster look, Rose’s leather look and Jisoo’s Korean hanbok inspired look. The scene with Rose and the black paint was also quite epic and could potentially be interpreted as quite deep. The sets looked amazing, especially that first choreography shot with the fabric blowing about in the background. I also enjoyed the subtle black and pink colours on some of the sets.

While musically, I think the chorus is weak, the choreography might be the next big thing for the group (until next month’s release). The small movements with their hands behind their back, for example, works well with the softer and fragile delivery of the chorus, while the bigger movements work well with the slightly more aggressive parts of the chorus (i.e. the ‘woah woah woah‘). The ‘La Ta Ta Ta‘ end sequence looks cool in the performance, as well.

Song – 6.5/10
Music Video – 10/10
Performance – 8/10
Overall Rating – 7.9/10

[Review] Your Song – ONF

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Following a very successful 2021, ONF decided to enlist into the military as a group to reduce the impact on their promotions as a group (i.e. the eligible members enlisted at the same time, as opposed to what commonly happens with other groups who enlist one member at a time causing long hiatus as a result). Commonly, military enlistment periods involve idols taking a break from the stage and other media (i.e. film, tv shows, social media). As a result, ONF’s comeback today is best described as unexpected. But I (and fans alike) are not complaining. ONF released the title track Your Song and the album Storage of ONF today, their first release since Goosebumps in December 2021.

Your Song starts off as an unsuspecting pop ballad. There was a peacefulness, calmness and ambience to the first verse which had already won me over. The synths used in the background of the first verse felt very appropriate for both ideas of Summer and the idea of a pop ballad. The vocals were got were stunning and Wyatt’s rapping was suitable for the pop aspect. One would expect the song to follow through with this pop ballad direction. But Your Song changes up the momentum, developing into a full fledge pop track with potential for choreography. They bring in guitars and a very refreshing pop vibe to the song, losing the balladry roots that started off the song. From there, the song continues with the changed momentum, giving Your Song a liveliness and brightness that just charms you. Also continuing to charm me are the vocals, which the group sound stunning. Wyatt’s vocals in the second verse impresses me (he needs to sing more) and I really liked the push the main and lead vocalists gives themselves during the chorus. There are no further dramatic changes in momentum occurs in Your Song, which I am glad is the case. The bridge brings a smile to my face with their harmonies and the simple ‘Na Na Na‘ sequences. They do touch on the balladry aspect again very briefly soon after, but Your Song reverts back to that pop vibe that the song grew to in the final chorus. Overall, I thoroughly enjoyed this release even if it isn’t what ONF puts out typically.

Even as a special release, ONF still manages to bring in that futuristic concept that has been part of ONF’s recent repertoire of videos (i.e. Beautiful Beautiful, Ugly Dance, Popping, Goosebumps). But there is no action or plot in this video. A completely different dynamic prevails in the futuristic world as a result of this. The song conveys the message that if there is a connection through music, we can meet by even transcending time and space (taken from SOOMPI). This felt fitting for the group’s current circumstances, as they are not together at the moment. But through music, they were able to reconnect – even if it was just virtually. I thought this was very clever and showcases a more thoughtful and heartwarming message. It makes me wonder what the group and their company have instore for us next, given that this comeback had to be thought of way in advance and it appears this concept is something long term).

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

[Review] WHISPER – THE BOYZ

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One of the comebacks that is starting this week of new releases is THE BOYZ’s WHISPER, their latest title track from their 7th mini-album BE AWARE. This is the group’s first Korean comeback since the release of SHE’S THE BOSS (yet to be reviewed) in Japan, the group’s first (and ongoing) world tour and their Korean MAVERICK comeback from November of last year. WHISPER does not feature member Eric, who has been on hiatus since March for health reasons. Hopefully he is on the road to recovery and will be back with the rest of the group for future promotions.

Without a doubt, WHISPER is designed to be a summer track. It has quite a colourful and equally upbeat instrumental, described as a retro 808 bass and futuristic synth sounds (taken from SOOMPI). You might think because WHISPER is a summer song, it follows up nicely from last year’s THRILL RIDE. However, I don’t think the two songs are on par with one another. For me, THRILL RIDE was exciting, vibrant and had great energy that made me not want to stop playing the song. The synths were robust and dynamic. However, when it comes to WHISPER, I find the newer song to be more generic and the instrumental doesn’t really bring that same level of excitement nor does it capture my attention. I do feel the vocals/rapping faired a bit better, even though it does sit on the subpar side of the spectrum. The word I have been using a lot in my review is ‘zing’ and WHISPER could have used a whole lot of this. The best aspect of WHISPER, in my point of view, are the hooks. While I am sure some people will definitely raise the hooks as elementary and generic as well, I kind of liked it. Particularly, the “Stay Stay, Play Play, Sway Sway“. But all the hooks in WHISPER did what hooks are meant to do, and it gave WHISPER a memorable factor. Whether the rest of the song catches on like the hooks, it might be too soon to speculate. My thoughts on the song could simply be due to the fact that I haven’t heard the song enough times for it to marinate in my mind or develop a connection. But as for now, WHISPER is pretty generic and standard for me.

I have no clue on what is happening in this video. And it is to the point where I can’t even join pieces of the video together to make it make sense. There seems to be a light and dark theme going on, with the dark side infiltrating the light side (see the section of the video that corresponds with the first pre-chorus). But then that theme is dropped, but reappears ever so slightly in the sections that correspond with the bridge. On the other hand, the video is bright, loaded with the colours blue and pink and super energetic looking (thanks to the presence of the members and the choreography shots). But to continue the confusion, there were guns and an alien abduction scene at one point in the second verse. And the ending was very cryptic yet mysterious. Yeah, I have no clue this time around and would greatly appreciate if anyone has any theories that might help me decipher the story or intent of this video.

The choreography for this comeback looks great. As already mentioned, it is quite energetic and suits THE BOYZ style very well. There is a bouncy aspect to it, which I quite liked. I also enjoyed the idea of the position of the backhand close to mouth to mimic a whispering action, which is simple and sensible as the performance’s main move.

Song – 7/10
Music Video – 6.5/10
Performance – 8/10
Overall Rating – 7.1/10

[Review] Ring The Alarm – KARD

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KARD’s last comeback was way back in 2020 with GUNSHOT. And following that, J.Seph enlisted into the military and the group practically went on a mini hiatus. For the other three members (BM, Jiwoo and Somin) solo promotions and activities were their primary focus up until this year, when it was confirmed that J.Seph would return and KARD would return as a group for a new comeback. KARD officially dropped Re: and the title track Ring The Alarm back at the end of June of this year.

For me, KARD always excelled with songs where they went hard and powerful. Ring The Alarm unfortunately didn’t live up to that expectation for me. And this might be the reason to why I have been holding off on reviewing Ring The Alarm. I want to like the song, given that it is KARD. But the best I can come with even after a month is that Ring The Alarm was an okay song, with decent melodic hooks and a nice ring overall. However, I feel like the weaker aspects of the song ironically speaks the most to me. The moombahton with rhythmical bass instrumental was quite weak and doesn’t really bring much excitement to the table. If I had to describe it, I would liken it to a dull colour. Though I do appreciate that the summer vibes that comes from it. The members themselves don’t add much to the song. Rather, they blend into the dull background and they don’t give much zing to the song. I know they could have gone harder to just give Ring The Alarm more body and intensity. That being said, I did find manage to identify a few aspects that had potential, but they are very minor sequences/details and are easily passed. Some examples include the start of the song with the alarms and bass and the ‘Move your body‘ chant that both BM and Jiwoo contributed to. The part in J.Seph’s rap sequence where the instrumental was minimised continues to play in my head and I liked the minimalistic aspect of said part. Even the slight amplification at the very end which gave Ring The Alarm outro a slight taste of intensity was sufficient in winning me over. But as I said, these are small details and not the larger sequences that make up the other 98% of the song. I think it is safe to say that I wanted more. Simply because, by the time Ring The Alarm wrapped up, I was left unsatisfied.

Part of me thinks the music video follows the song down the dull path. However, upon closer inspection for this review, I find parts of the music video to be striking. Certain solo shots for some member had a boldness to them, which I liked. For example, Somin’s red heart scenes, Jiwoo’s diamond set, BM’s mountain climb scenes caught my attention. But apart from that, the music video wasn’t memorable and I couldn’t figure out what was happening (if there was even a plotline to the video).

The choreography for this comeback was actually quite good. Even though the song’s dullness softness the choreography a fair bit compared to the group’s past performances, I liked that KARD managed to showcase their usual style in the performance. J.Seph really stood out for me in this routine, as he puts a bit more hip-hop energy into his execution, which makes captivating to watch. The outro sequence also had a neat bounce to it.

Song – 6/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 6.7/10

[Review] Test Me – Xdinary Heroes

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It is time for another review for a release from the near past. The focus of this review is on Xdinary Heroes’ long awaited comeback with Test Me, their first release since their debut with Happy Death Day back in December. Test Me was released less than a month ago as the title track from the group’s first mini-album, Hello World. A music video for the side track and secondary promotional single Strawberry Cake was released in the middle of this week and will be the subject of its own review post in the near future. But until then, here is my review for Test Me.

Test Me is a song that I find myself easily jamming to. Most days, I find Test Me having just the right level of energy to get my head nodding to the music. On the more optimal days, you can find me potentially going into a head banging motion instead whilst listening to the song. There was a subtle electrifying feel to the instrumental that really gets me going. Though I am of the opinion that the group could easily had gone harder, bolder and more pronounced on this front within Test Me. The brief repetition of the song’s title that is shouted out, which serves as the main hook to the song, was catchy and memorable enough for me. The rapping in the second verse was super engaging and packed a punch. Similarly, the vocals do the exact same thing, but there is less of a punch in this department. However, Test Me is slightly weak in sections. I didn’t enjoy the second half of the chorus as much I liked the first half. I felt the momentum unraveled or disengaged in the latter half of the chorus, which stuck out for me. I wished the momentum was maintained. The bridge was also another weak moment, with the layering being unsatisfying and unfulfilling. Had Test Me gone harder (and the same energy was transferred to this part, as well), I think the idea of layering in the bridge would have been more satisfying. But aside from the song’s weaker moment, Test Me still manages to be a likeable song for me.

The music video has this futuristic concept that I thought was very cool. The coloured neon lights and robotics in this music video was really great and fun, even if it was all virtual and computerised. In terms of a plotline, a competition to determine the best rock artist is happening, but the winner was pre-selected from the very beginning. Xdinary Heroes themselves also participated, but were disqualified even before their song began. So they make it their mission to rig the system and get into the final, where they defeat the preselected winner and took the trophy home themselves. All is great, but the question at the start of the video, however, is probably the more intriguing element of this video – “Are Xdinary Heroes the villain or hero” in this case, since they rigged the already rigged system. What is a playful and fun video ended up turning into a moral dilemma. I like it!

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

[Review] Time Out – Stray Kids

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As I constantly hinted throughout the last week when I was preparing for the group’s ODDINARY album review, I would be review Stray Kids latest release some time this week. And so, the time has arrived to review the group’s latest mixtape release, Time Out. This release unexpectedly dropped last week on Monday to celebrate four years since the naming of their fanclub, STAYs. Time Out follows the release of three other mixtapes from the group – Gone Days, On Track and Oh.

Stray Kids jumps onto the rock train through Time Out. There was a few aspects that I enjoyed about the song. The first is the intensity of the rock in this track. It brought forth a vibrant, bright and refreshing atmosphere, which makes Time Out suitable as a Summer season. I also like it how it is a different sound to what Stray Kids usually put out, so again it demonstrates Stray Kids’ potential to be versatile. The guitar work was extremely satisfying and packs a punch. In terms of vocals, I liked the liveliness that each member brought to the song. It is a different side to the group that we don’t hear often, as they are usually more serious and edgy. So this goes back to the point about them showcasing their ability to be versatile. I did like Changbin’s part in the pre-chorus. His vocals was very textured thanks to his raspy and deeper tone, and the energy he put behind his part in the pre-chorus made it dynamic and striking. On the more critical side, I did find the hooks and melodies to be on the weaker side of the spectrum, as they don’t come off as memorable. For Time Out, it is the praises for the elements above (namely the instrumental and Changbin’s line) that does this for me.

The accompanying music video is quite simple. It is footage of the members enjoying time with one another on the beach and at a beach house, which makes sense given the song’s sound alignment with the Summer season. It is great to see the members in a more light hearted and carefree manner, full of smiles and uplifting energy. It is very different to the darker notes of their music videos from their latest mini-album.

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

[Review] Replay – Golden Child

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At the start of this week, Golden Child made their comeback with their latest mini-album, AURA (their 6th one to date), and their latest title track Replay. This is Golden Child’s first Korean comeback since the release of Ra Pam Pam and DDARA from last year and the first release following their Japanese debut with A WOO!! and first Japanese comeback with RATA-TAT-TA. Replay unfortunately does not feature Daeyeol, who earlier this year became the first Golden Child member to enlist into the military.

Right off the bat, Replay is electrifying and shocking (in the best way possible) EDM dance track. It has been a while since I could say that with a song, as it has been a while since we have been given a song that really lurches out at you from the first second. And that is one of the aspects of Replay that I quite enjoyed, how the song starts with the chorus, kicking Replay into gear from the very first second with its high-octane energy and never giving you a chance to even ease into the song. Hence why I described Replay as shocking. We do get some reprieve in the verses, but they do maintain the intensity from the chorus, so that the entire track feels cohesive. A bit more about the instrumental – it is super gritty, textured and abrasive throughout, but done so in such a way where it feels satisfying and enjoyable. I like the heavy rock presence we get in the bridge as a dance break and at the end, which capitalises Replay‘s intensity and energy and takes the ending to an epic finale. I liked how the members stayed on top of the instrumentation, as they easily could have been drowned out with the loud, noisy and busy backing. But instead of being shouty or overly aggressive, a sense of refinement was used and the members only pushed themselves slightly. The rapping adds further intensity into Replay, amplifying everything that has been described above. If I have to be critical about Replay, it would be the hooks. They just didn’t take it to the same level as the rest of the song. But honestly, with the thrilling nature of Replay, I can overlook that.

I am not entirely sure, but I believe the premise of the music video is that the members are in jail and they escape so that they can have a chance to ‘replay’. The reason why I am not entirely sure about this is because I feel the music video was a bit under developed when it came to the plotline, but I believe there is one there. It was just really light on. Aside from that, it was a reasonable music video. The editing helped make the video appear more intense, the use of flashing lights heightened this feeling and the members looked amazing throughout the video with their tougher looks.

Choreography was fantastic. I liked the play of textures throughout the performance. The chorus routine was relentless and intense just like the music, whereas the verses allowed the members to showcase a smoother set of moves. I liked how aggressive the choreography for the rock parts of the song were, which really summed up the performance well for me.

Song – 9.5/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 9.2/10