Category: Reviews

[Review] Parade – Kang Daniel

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A slight change to the review schedule for today. Sliding in a scheduled post instead of what I had planned for today. Back to normal for tomorrow!

Kang Daniel made his last comeback way back in May of this year, with the studio album The Story, and the title track Upside Down. In the months following the release of the album and promotion of the title track, Kang Daniel has released a series of music videos to accompany some side tracks from The Story. I will be covering these releases in anticipation for an album review for The Story next weekend. The first side track with a music video I wish to cover is Parade, the fourth song from The Story’s tracklist. It was the first side track to receive a music video, which dropped at the start of June of this year.

Parade is one of my favourite side tracks from The Story album, and I quite glad it got the music video treatment (more on the video in the next section). The track begins quite eerie with the organs. Kang Daniel’s wispy vocals works really well with this instrumental backing. This vibe lasts for the whole first verse. The chorus then changes the momentum of Parade from eerie into pop territory, which I thought was very interesting. The instrumental is amplified and Kang Daniel’s vocals are given definition with the help of backing vocals. There was a pleasant and yet an almost monotonous vibe to the chorus. But the relatively more dynamic backing to the chorus helped made it appealing and aesthetic to my taste. The eerie vibe and organs return in the second verse with the added trap to follow on neatly from the first chorus. The second chorus repeats. For the bridge, we get that eerie organ back for a brief moment, before the song launches back into the chorus. Even though it sounds repetitive in words, I always found the choruses to be a fascinating contrast to the verses and this is the reason to why I kept on repeating Parade upon its release. The way Kang Daniel ends the song with that “Yeah~” was quite different to the rest of the song, surprising me with something unexpected once again. Overall, Parade is a well crafted song that just sounds better very time you listen to it.

Parade talks about embracing our differences and taking a stand against the world that feels plain and non-autonomous. In the video, Kang Daniel is depicted in a world of office workers, travelling into the office and working a typical 9 to 5 job. He dons a black suit and pretty much looks like everyone else. But when we get to the choruses, the scenes in which he looks plain in changes. Instead of Kang Daniel blending in with everyone, he becomes the centre of attention. The people around him on the train and in the office start dancing with him. Ironically, I quite like how it isn’t freestyled. But rather the choreography feels set and follows a routine. However, I did like how aesthetic it felt. Also, Kang Daniel looks really good in a suit. Like really handsome.

I quite enjoyed the choreography for this release. There isn’t much going on in terms of moves, but you can definitely feel that the thought behind it was definitely present and carefully considered. The lack of emotions somehow added more fuel to the performance and the fact that chorus felt controlled and lacked freedom was still an interesting aspect of the performance, overall.

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

[Review] VISION – Dreamcatcher

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As I have focused on the male rookies earlier on the week, I have decided to focus on the comebacks by the female artists first. Next up is Dreamcatcher, who made their return earlier on in the week with their new single VISION and their 7th mini-album, Apocalypse: Follow Us. This follows the group’s MAISON comeback earlier this year and the release of their second studio album, Apocalypse: Save Us.

I described MAISON as their most electrifying release yet, but I think VISION overtakes that. The choruses is the reason why, as it had a very lurching electronic techno backing that almost elicits a head-banging motion. The same type you think of when it comes to rock – I like it how whatever Dreamcatcher does in their title tracks, it is always some sort of rock fix, even if it is pseudo. The energy that comes off the choruses was quite full on, and I really liked that. VISION‘s chorus had a similar set up to MAISON, but the structure definitely feels more well-rounded here. I think, if anything, the vocals could have gone a step further, but it was still a decent effort. I did like the softer fade they had with the ‘Vision~‘ at the end of the choruses. And when you join everything together, it is still a banger. As for VISION‘s verses, they really serve powerful vocals when it matters most and this really bolsters up the verses. I kind of wished that was the case for the chorus. The raps we get were awesome and definitely hit it right. The bridge’s instrumental featured a marching band like effect, which I felt was suspenseful and a nice way to make the final chorus feel more loaded and explosive. Definitely a powerful song that fits right into Dreamcatcher’s repertoire.

The music video for VISION features a future that is devastated by the rule of an unknown force. Dreamcatcher uses their powers (lightning) to overthrow the unknown force, which the members at the end succeed in doing. This definitely complements the vision of the future that the members are singing/rapping about in the lyrics of the song. I liked how they did it all in style and how some of their outfits felt fitting for their vision (i.e. the dresses and crowns – elegance and a symbol which represents power). I just wished the members had donned those exact outfits for the end when they appear in that breaking new segment. What they wore there felt too contemporary and didn’t fully feel like they won or gained power. Other than that, I really liked their militaristic concept the choreography scenes had undertaken. In these scenes, Siyeon reminded me of Hyolyn (former member of Sistar) throughout the video with the bob cut and the aura she gives off in this video. And that is quite a compliment!

I love the energy that Dreamcatcher pulled off throughout the performance, both in their moves and live vocals. The whole performance from start to end was awesome to watch and just had so much powerful energy. But the highlight of the performance was the bridge and final chorus. Everything just felt perfect on stage during these two moments. An A+ performance, in my opinion.

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

[Review] ILLELLA – MAMAMOO

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Let’s knock out some reviews for some new and recent releases. And there is a lot of them this week. First up, I am covering MAMAMOO, one of my favourite KPOP of all times. So far this year, it has been fairly quiet on the group front with all members focusing on their solo careers via solo comebacks and collaborations. Slowly, the group turned towards group activities, beginning with the Mamamoo+ subunit consisting of Solar and Moonbyul, whom collaborated with Big Naughty with Better (yet to be reviewed). Now, the group has returned to group promotions as a full group with the release of ILLELLA and their 12th mini-album, Mic On.

For me, ILLELLA feels like a return to form for the group. Since the release of AYA in 2020, I felt the group hasn’t really been showing themselves off as much in their title tracks. While each song did have their individual charm (even though I didn’t realize it at the time of review), I do miss the days when MAMAMOO performed a meaty song with thanks to their vocals. With ILLELLA, the group definitely delivered strong vocals that had bite to them. And with a song that has some nice percussive bass, I feel that ILLELLA has proved itself to be what I have been craving for. Sure, ILLELLA is still a length away from being the group’s best track. But it still does a decent job of throwing itself up there. The biggest charm of ILLELLA alongside the vocals is that it features a dose of reggae influence, which adds some zing to the pop that features as an underlay in the song’s instrumentation. The biggest flaw, on the other hand, is the fact that the song sounds repetitive, which is probably thanks to that guitar riff and the way the hooks were looped. It dries up the song, which is disappointing. I wished the song had done something more to dispel this repetitiveness. Potentially, having an instrumental piece of song kind earlier in the song and that dance break we got as part of the music video but not the official audio would have been great addition to ILLELLA. It was quite unique and the broke the song up decently. The way it used the ILLELLA hook and glitched it was rather intriguing. This would also been quite an addition to help prove to others that MAMAMOO can indeed perform a more complicated routine. But overall, ILLELLA hits the spot.

I quite enjoyed most of the music video. It is one of those videos that makes the members look good, with the standard formula of closeups and choreography shots. The outdoor scenes with the colourful outfits, the more brown and earthy tones brought forward through their fitness wear choreography scenes, the different solo shots we got of the members, the black leather outfits (Solar looked so good in that dress!) – there were definitely many scenes where the group looked amazing. The biggest no-no for me was when the members were on top of the car, driving down that city-pop highway. It just felt so cheesy and forced. The truck dance break was also pretty bad conceptually, but it was bearable (as the video reverts to that proper dance set).

The song definitely had rhythm, and you can feel it in the accompanying choreography for this comeback. I liked how the members also really embraced the reggae and used it to their full advantage to give us a sensual performance piece. I also really liked how the dancers added to the stage performance, allowing the group to focus on their live aspect of their performance.

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

[Review] Parallel Universe – NINE.i

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NINE.i is another rookie that I had not reviewed yet. This 10 member male group made their debut back in March of this year, and the lineup of NINE.i consist of Jewon, Eden, Winnie, Minjun, Vahn, Vari, Sewon, Taehun, Joohyoung and Jiho. FirstOne Entertainment is their managing company. Their debut single Parallel Universe was featured on their debut mini-album NEW WORLD. The group later promoted Beauty Inside from the same mini-album.

Parallel Universe is another pleasant song to add to the list of KPOP releases of 2022. But for this particular release, I found the pleasantness to be a charming factor. Interesting, given my comments in the last review I posted. I guess pleasantness has its moments and Parallel Universe is one of them. Sure, the electronic based pop song isn’t the most riveting release of the year and I do feel at times Parallel Universe could have done more. But the way they kept instrumental was consistent throughout the song ended up feeling aesthetic to me. Even when the instrumental amps up (ever so slightly) for the dance break, it is done so in manner that does not stray from the pleasing nature of the rest of the song. Their vocals and raps complemented that pleasant nature that I keep talking about. All of which helps keep the song consistent. And this is one of the few times where I quite enjoyed the consistency factor, as well. My pick for best showing of these vocals and raps in Parallel Universe was the layering of vocal and rap in the bridge, which also doubled up as being a neat ramp up to the final chorus and peak for the song. There was a satisfying concentration of energy during the choruses that taps into both pleasantness and consistency. Overall, Parallel Universe is a pleasing song that just works and does not come off as boring or plain.

I feel that the music video also carries on that pleasant aesthetic from the song. But the resulting storyline just doesn’t feel like it is hitting the mark for me. The music video plays on the idea of a parallel universe, where one version of the group is having an enjoyable time at home, while another version of the group is having more fun at the carnival. It is a feel-good type of the video (which I believe complements the lyrics and message behind the song), but it doesn’t really go anywhere. I did liked the golden aura/colour tone in this video, from the sun and the carnival lights. I also enjoyed the post-production to this video and the electronic-like touches for that dance solo moment in the video. The choreography shots seem to also carry on the pleasant aesthetic, but I felt I wished the stylists thought out their black outfits a bit more. The light blues, greys and light tones in the more blue dance set looked more appropriate as a pleasant vibe, whereas the black outfits felt too prominent in this video.

Their synchronisation in this music video was top notch. I do feel like the smoother routine they had opted for does make it easier to achieve this effect, so I would like to see the members do a more hard hitting and sharper routine to really show off this skillset. However, that being said, I did like the additional energy and effort they put towards the chorus. And the solo dance sequence was quite cool. The way the members introduced themselves back onto the stage after the solo dance sequence (i.e. running back on) felt a bit messy, and I wished some refinement was considered here. But overall, a nice performance piece.

Song – 8.5/10
Music Video – 7.5/10
Performance – 8/10
Overall Rating – 8.1/10

[Review] 1 of 9 – YOUNITE

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Next rookie we are visiting is YOUNITE, who made their debut back in April this year with 1 of 9 and the mini-album, Youni-Birth. A nine-member, the group consists of Eunho, Steve, Hyunseung, Eunsang, Hyungseok, Woono, Dey, Kyungmun, and Sion. You may recognize Eunsang, in particular, who made his solo debut back in 2020 with Beautiful Scar and later returned with Lemonade. They find their home at Brand New Music, which is the home of AB6IX, BDC, Bumkey and Han Dong Geun (to name a few artists). Following their debut, YOUNITE made their comeback in July with AVIATOR (which will be a focus of a future review, and a much preferred single over their debut).

So, if you read between the lines for that last statement, you could probably tell that I am not entirely a fan of their debut single. YOUNITE didn’t do a terrible job per say with 1 of 9. It was just a forgettable single for me. The individual aspects were fair, but when you piece them together, 1 of 9 isn’t the standout debut track I am looking for as a first step into the industry. 1 of 9 is a pleasant pop track, with a bright instrumental that leads into the Summer period quite nicely. There was a retro touch to the song, which lends well to how I have described the song. It was a decent piece, but I feel like a more dynamic flair would have been appreciated in the instrumental back to give the backing some more oomph and bite. It also leans over into sweet territory just slightly too much for my liking. But I do appreciate the pleasantness of the instrumental, as already described/mentioned. The vocals and rapping are just as bright and sweet-sounding, so it definitely works well with the instrumental. The members did a decent job and I felt it was also a good showing of potential. I did wish there was a more catchy hook and weighty melody to the 1 of 9, just to give it a more memorable ring. This would have really boosted the appeal of the song for me, as well. Everything I have mentioned so far that I wished 1 of 9 had done or incorporated would have boosted the memorability factor of the song and solve the forgettable issue I had with 1 of 9 as a whole piece.

The bright and sweet descriptors that I have used to describe 1 of 9 have also been carried over into the music video, with a fluffy and cute music video to accompany the release. Not really my personal style, but it was a good introduction to the nine members with steady shots of the members and a very colourful/bright tone that helps show off the members (as opposed to the usual dark or edgy concepts). I quite liked the idea of the YOUNITE Village that the video is set in.

I feel like the performance was a strong part of this debut. Obviously the song doesn’t enable anything hard hitting to really happen in the routine. But the members and their choreographer still managed to put together a piece that has a bit of energy and fun to it. The movement of the members was quite smooth throughout the performance, especially when they moved about the stage.

Song – 7/10
Music Video – 7.5/10
Performance – 8/10
Overall Rating – 7.4/10

[Review] DU DU DU – TAN

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The next rookie group to be covered is TAN, who one day I will revisit to review their more recent releases such as Louder, Walking On The Moon and Beautiful Lie (which will be released later this week). But for now, I will be focusing on their debut single, DU DU DU, which was released way back in February of this year. TAN is a project group, formed through the MBC survival shot, The Wild Idol. From the show, the final lineup of TAN consists of Changsun (current member of 24K), Taehoon (participated in CAP-TEEN), Jiseong (member of NTX), Sunghyuk (former member of RAINZ), Jaejun (former member of C-Clown, under the stage name Maru, and TREI), Hyunyeop, and Jooan (former member of We In The Zone).

TAN’s debut essentially has what I want in a debut song. There is a uniqueness to the song that allows DU DU DU to stand out from the pack, and this should do wonders to TAN as a strong foot forward. The unique aspect of the song is the acapella start and feature throughout the song. It is different to the reliance of synths nowadays and there is also an intriguing vibe at the same time coming from it. The acapella itself is rather low, and so the rest of DU DU DU is built around it. We get a groovy bassline (as pointed out with the deep voice uttering ‘bassline’) and a deep/thick vibrating synth as the backing of the part of the first verse. Interestingly, the acapella we get at the start of the song returns as a backing to the raps. This is quite unique and different to how acapella has previously be utilised in KPOP (from the top of my head). When we reach the chorus, we get more acapella in the background, a smooth and sleek melody made possible by the falsetto vocals and a more substantial beat that is in line with the groovy bassline. The second verse continues the groovy underlay of the song, but with more riveting vocals and rap. I am very into the opening line of the second verse, where the line is delivered without any instrumental backing. That was a cool moment in DU DU DU. There is also a bit of extra detailing in the instrumental in the second verse, which builds on the momentum of the song. In the bridge, we get a more focused piece from the main rapper and I liked how the instrumental changes into more of a hip-hop piece here. After that, a well done high note and a further change in instrumental without changing the melody or tone of DU DU DU. And after that, DU DU DU closes with the same acapella that opened up the song. With a solid showing of vocals and rapping from the group, and a song like DU DU DU, I am now confused to why I had put off reviewing this song earlier on in the year.

I am not entirely sure what to make of the music video. It begins with a member falling into the unknown, which raises a few questions. But the music video doesn’t really answer those questions. Instead, we get a bunch of different sets for the choreography and solo shots. It all looked good and artistic, but I wonder if there was a thread in which everything is connected. It feels like there is, given that artistic nature to it. But I can’t really pinpoint the connection. But aside from that, I liked the two colour tones of the video. One is the darkness that features heavily as the unknown I mentioned earlier. The second is an earthy brown (like the one we see in some of the choreography shots and the set of the featured image). An earthy brown isn’t my first pick of a core colour, but it definitely looks cool.

What an alluring performance piece. I never really paid attention to the live stages for DU DU DU, but watching it for this review tells me I have been missing out. They were quite charismatic and had stage presence. The synchronisation was top notch. I liked how the main members during the chorus snapped from non-choreography to the actual choreography within a blink of an eye. There is definitely potential for the group on the stage, and I can’t wait to review to see if their later releases reach/exceed this potential.

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

[Review] MOVE – TNX

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Something I have been doing unintentionally this year is pushing song reviews for rookies aside to cover the bigger releases. So, as we are gearing towards award season (nudge nudge, hint hint), I thought I take some time to cover some more rookies. I kick things off with TNX (stands for The New Six), a six member male group under P Nation. The group was formed through the TV show LOUD and features Taehun, Kyungjun, Hyunsoo, Junhyeok, Hwi and Sungjun as part of its lineup. They debuted back in May of this year with the single MOVE and the mini-album WAY UP.

MOVE doesn’t offer anything new or make much of an impression on me – probably why it was bumped so often. And this is the biggest downfall of MOVE for me. It just felt like a standard electronic dance release from a multitude of male groups currently active in KPOP. If you were expecting something fresh, different or intriguing, than I would not recommend TNX’s debut. But if you are after a release that is mainstream, then MOVE is the release for you. Per usual, there were aspects of the MOVE that I did enjoy. But if you read through my blog, the things I am about to point out are pretty much common in other releases as well. I did like the thumping aspect of the instrumental, which gave off a dramatic flair. For this song, it was much needed to give the song some definition, which I thought was lacking in MOVE. The group shows off solid rapping and vocals through the verses and pre-choruses, respectively. There is some potential, but I just wished we got to hear them in a less polluted atmosphere (i.e. the instrumentation). Some definition (again) would have helped the members in MOVE, just so they sound and appear bolstered alongside that thumping and synths used. Talking about synths, the producers of MOVE used pretty ordinary ones throughout the song. I wished they went with more abstract or unique synths than the usual siren-like synth in the verses/choruses or the crunchy one in the choruses. The strings in the bridge were a nice addition, and I liked the way the instrumental concentrates in the final chorus. Moving onto MOVE‘s choruses, I felt the instrumentation overpowered the members, and again I wished there more definition. The hooks weren’t as memorable here, as opposed to the pre-chorus, which was disappointing. Overall, MOVE is a fair release. But I hope we get something better for their first comeback.

Again, the concept for this music video was pretty ordinary. It features a rebellion, lead by the members. The main reason to why I am describing the concept as ordinary, however, is due to the fact that we don’t get much of a backstory. Based on the ending, it appears the rebellion is successful, with the members leaving the lab without anyone hindering them. What I did like about the video was the striking nature of the colours in this video. Probably the most noticeable is the red coloured straps and jumpsuits donned by the members and the background people on the sterile white/light silver clothing and settings. The green (see the feature image) was also striking by dominating much of the set, and I liked the subtleness of the navy in some other scenes (though still striking enough).

Choreography wise, I think this is the strongest aspect of the debut. I really liked the aggression and energy behind the different moves throughout the performance. Their stage presence was definitely strongly felt. I also enjoyed the final sequence, where the song concentrates itself. We also see a similar effect in the performance.

Song – 6.5/10
Music Video – 7.5/10
Performance – 8.5/10
Overall Rating – 7.2/10

[Review] 28 Reasons – Seulgi (Red Velvet)

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From the final comeback of the week to one of the first. This post focuses on Red Velvet’s Seulgi, who made her solo debut on Monday was 28 Reasons – the title of both the lead single and debut mini-album. This is the first major release from a member of Red Velvet, since their Feel My Rhythm promotions from earlier in the year.

28 Reasons explore some dark and mature sounds, going further from even Red Velvet’s darkest releases. The song is described as a bass-heavy pop dance track. There isn’t much else to the instrumental aside from some whistling and crunchy gurgles effects during the chorus, so the background acts more of a blank canvas due to its minimalistic vibes. Though, it definitely sets the dark tone of the release. This idea of a ‘blank canvas’ enables Seulgi to really take reign in 28 Reasons, showcasing her powerful and stunning vocals that aren’t usually shown off in her group releases as it is done so here. I liked how she offsets the heavy bass with her vocals, which draws you in and doesn’t make 28 Reasons too heavy to digest. I also really enjoyed it when Seulgi amped up her vocals during the chorus, which instantly adds additional oomph and body to 28 Reasons. It does get slightly dry in the second verse, with no further build up occurs and begins the idea of the the song drying out as it progresses. You have to wait for 28 Reasons to reach the mid-point of the bridge to hear it briefly change momentum with a complete stripping of the background, replacing it even with a more vibrating synth and Seulgi rap-speaking in the bridge. This is soon followed with an amazing high note, before reverting back to the same chorus but with extra oomph through what seemed liked an additional layer of vocals on top of what we heard earlier on in the song and ad-libs that follow on nicely from that high note. I do feel that 28 Reasons could have used something more within the background, particularly in that second verse region, just to give it that different feel and give the song more momentum. But overall, 28 Reasons is a good solo debut track that highlights Seulgi’s strengths.

Just like the song, the music video explores dark and mature territory with a very moody, edgy and haunting concept. The moody and edgy sides comes in abundance throughout the video, through the choreography shots and solo moments. I liked how they also share a minimalistic vibe (just like the song) with a very spacious backgrounds and sets with not much going on. The haunting imagery comes during those scenes where Seulgi stands in the grass between transmission towers. In particular, that scene at the very of the video where she stares into the camera. The video, overall, pretty much sums up the song in a visual manner.

I read somewhere recently that the hand actions in the choreography of 28 Reasons was inspired by the Scarlet Witch’s hand motions in Wandavision. That is pretty cool and a nice little crossover for someone who enjoys both KPOP and Marvel Cinematic Universe. I really enjoyed how smooth her movements were. Her charisma and charms were also on full display throughout the performance, making it a captivating stage to watch.

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

[Review] CASE 143 – Stray Kids

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Now onto the new releases of the week. There were a few comebacks that need to be covered, but I am starting off with the latest one. Well, because it is Stray Kids. That’s right, Stray Kids made their comeback yesterday with the new title track CASE 143 and their 7th mini-album, MAXIDENT. This comeback follows their MANIAC (Korean) and Circus (Japanese – yet to be reviewed) comeback from earlier in the year and their newest mixtape release, Time Out.

CASE 143 was a mildly confusing song at first. But the more listens I gave it, the more interesting and less confusing it became. CASE 143 is primarily a playful and fun track, but it also taps into the heavy hip-hop sound we got in MANIAC at times. The two don’t usually go together, but I am not surprised that Stray Kids made it work. The choruses is where CASE 143 is most playful and fun, with a descending melody that is, without a doubt, an addictive feature of the overall song. I also enjoyed how the lyrics were delivered in a syllable-paced manner, which added to the addictiveness of chorus and CASE 143. It does give off a repetitive vibe that might dull CASE 143 in the long run, but I am not too worried about this yet. The verses is where CASE 143 takes on that heavy hip-hop influence, which is pretty synonymous with Stray Kids. I don’t have any issues with the very contrasting sides of the song, simply because the lighter feel of the chorus allows the rappers to really be slightly more playful than usual with their rap delivery in the verses. Take Chan’s sequence in the second verse as an (extreme) example, which ended up gearing towards the lighter and perky side of CASE 143. Aside the rapping, CASE 143 also features some decent vocal moments that we don’t usually get in a Stray Kids title track. The vocal melodies in the pre-chorus and bridge were much smoother than usual and works well with the lighthearted side of CASE 143. Lee Know’s lines in the bridge in particular feel so lovely. The last aspect of the song that I really enjoyed was that entire final sequence (i.e. from the 3 minute mark of the music video), where CASE 143 pretty much falls into place and finishes off in a satisfying manner. Overall, a slightly different take on Stray Kids, but still a fun and addictive song.

Stray Kids continues to battle big monsters in this music video. Their Thunderous days saw them fight the Sound Monster. In this video, the police version of Stray Kids (the more serious side of the group) investigates and tracks down the Heart Monsters (not entirely sure if there is a name for them). These Heart Monsters appear adorable, but they seem to take over their host’s minds (i.e., the version of Stray Kids in more colourful clothing) by weakening them to be cute and also cause havoc (i.e., causing Felix to flip the table and the place ends up on fire and some late night graffiti). The police gets pretty far into their investigations and tracking down the liar of the Monsters, unplugging the power source of the Heart Monsters. But it appears the Heart Monsters have taken full control of the all versions of the members in the video. The appearance of the group at the very end (i.e. when they crash out the video/screen) maintains the serious side of the group via their black outfits, but the way the members carry themselves are lighter and carefree, which suggests that the Heart Monsters also got to the police version of the group. Aside from the plotline, the video features amazing post-production (i.e., editing and CGI), which adds that cute and playful side to the video. A great video, overall.

The energy and powerful side of the choreography peaks towards the end of the song (at the similar part mentioned above) and this serves as my favourite part of the whole performance. On top of that, I quite liked the waves in the earlier choruses and the 2PM Heartbeat reference in the choreography.

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

[Review] FIRE – EXID

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An artist whom we have not heard from for a while now is EXID. Their last Korean release was back in 2019 with ME & YOU, which followed the news that some members would be leaving their company at the time (Banana Culture) and an agreement between the members that EXID would go on hiatus to focus on solo endeavours. The group did remain active throughout 2020 in Japan, however. Last week, EXID regrouped to release the single album X and the title track FIRE to commemorate their 10th anniversary as a group since their debut back in 2012.

For those are not aware, I am a very big fan of EXID – even for releases that pre-dates their viral Up & Down. So to hear news that the group would be returning and releasing new music was quite exciting for me. However, FIRE is not like their any of their past hits. Instead, it slips back into pretty mediocre territory, which is slightly disappointed with. It would have been nice to hear music that reminisces over their past hits like Up & Down, Ah Yeah, I Love You etc. But given that this is their first release in three years, I am still pressing the replay button to the song. FIRE starts off with (and features prominently throughout) an ethnic influence, which I personally find to be a dated trend in KPOP. Hani and Elly (formerly LE) leads the charge into FIRE with an underwhelming interchange of vocals and raps. I wished their parts were more bolstered and defined, just to add some dynamism. Hyelin and Solji’s melodic pre-chorus comes next and this was by far the best part of FIRE. Then FIRE‘s chorus comes into play, which is is set up to be only instrumentation with the minimal lyrics. There isn’t anything wrong with this, but I felt a title like FIRE would have alluded to something more ferocious or electric. And I wished that the chorus, of all places, would have reflected this. At least the ‘Burning Up‘ sequence of the chorus does pick up the song to a degree to just add a bit of dynamic flair to the song. Junghwa’s main part occurs in the second verse. If you have not noticed from Hani’s vocal delivery (or the chorus sequences of the music video), FIRE is a mature comeback and Junghwa’s part really reiterates that. The amazing pre-chorus repeats, before we are taken to the 1st bridge, 1st half of the chorus and then 2nd bridge (which probably featured the cringiest set of lyrics in the song) and ending it all with the second half of the chorus (i.e. the ‘Burning Up‘ sequence), which helps end FIRE on a more dynamic note. Overall, FIRE is definitely not their best song ever. But it is still bearable and I would still take the song over no song any day.

As mentioned before, the concept for this comeback is sexy and mature. And this is a major selling point to the comeback in my opinion. The member’s visuals were charming and alluring throughout the video, and I am loving all of it. The only questionable element of the comeback is the prison location. I assume it was part of the producer/director’s vision for this comeback. Aside from that, I was burning for some fires in this video, probably due to the lack of energy I was getting from certain points in the video. This wish was fulfilled when that car exploded in the background. Some dynamic camera work at the end helped add energy to the video. I would have liked more, but what they did at the end was satisfying and fulfilling enough.

When it comes to EXID and their releases, you think of their key dance moves. If you were into KPOP in early 2015, you would know all about EXID’s Up & Down hip thrust move. And each subsequent comeback had a key move like so. FIRE does have that potential, with the hip movements in the first half of the chorus. I also quite liked the way the members were spaced out for the final sequence of the song, as it forces the camera to zoom out to capture everyone. And with the dancers circling Hani, Solji’s high note, LE’s vocals and Hani, Junghwa and Hyelin fast arm movements, it all comes together to look epic.

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

[Review] Drip N’ Drop – MIRAE

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Next up on the blog is the review for MIRAE’s latest comeback, Drip N’ Drop, which dropped last week on Wednesday. Drip N’ Drop is the title track off the group’s fourth mini-album, Ourturn, which also was released on the same day. This is the group’s first comeback since their Marvelous promotions earlier this year.

Following the likes of Marvelous is going to be a tall order to fulfil in my opinion. That is a song that really kicked off the year on a strong note for me, so there is high expectations for Drip N’ Drop. So the big question is – do I think Drip N’ Drop lives up to the expectations? Unfortunately, my answer is no. I think Drip N’ Drop has a few weak points that takes it down a notch when compared to Marvelous (and I will explain which ones in a bit). Despite that, let me iterate that Drip N’ Drop is in no way a bad song. I actually enjoyed the deep house and a funky underlay that makes up Drip N’ Drop‘s instrumentation. They are trends in KPOP that we have heard before and the combination of both is not new unexplored territory. But I liked the powerfulness behind the instrumental, which helped add a bold factor to Drip N’ Drop. Talking about making things bold, I also really enjoyed the way the song bolstered up the title of the song to make it the main hook. The layering of the vocals was quite simple, but it also felt clean. I am also a big fan of the percussive effects used to launch the song from the bridge into the final chorus. It added a really dynamic factor to the song and also ticks the box of including something different to keep the song from feeling neutral and/or repetitive. The lack of melody in Drip N’ Drop is what disappoints me the most me. I feel the producers could have really used melody to add more hooks to the choruses to make Drip N’ Drop more appealing. As with the lack of melodies, this left the members with not as much opportunity to shine in Drip N’ Drop. But aside from these factors, I still enjoyed Drip N’ Drop.

The helmet from Marvelous music video makes an appearance in this video, and I had previously theorized that the members were all friends on Mars once. Based on the ending of this video and what I just expressed, it appears MIRAE are going home. This connection is only a small one, however, as the members send messages to each other throughout the video, presumably to converge to that final spot for the spaceship off-screen to teleport them away. Aside from that theory of what is going on in the video, I actually quite enjoyed the prominent colour theme of the video – blue. I thought it was going to be much, but they kept it refined and aesthetic. I also enjoyed that moving background for the main choreography shot.

The choreography was pretty good. No particular move or section stood out for me, but the performance as a whole is still worth watching.

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

[Review] PARTY ROCK – CRAVITY

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Next up in my pursuit to review the releases of last week is CRAVITY, who returned with their fourth mini-album, New Wave. Leading the mini-album is the single PARTY ROCK. This comes after CRAVITY pre-released their first English single Boogie Woogie and their Adrenaline comeback from earlier in the year (featured on the second part of their first studio album – Liberty: In Our Cosmos).

PARTY ROCK embraces CRAVITY’s upbeat and fun side of funky pop once again, following a similar sound profile to the likes of Adrenaline. However, when you compare the two tracks together, you definitely feel a noticeable difference. Adrenaline comes off as a much tighter and hefty compared to this new release. On the other hand, PARTY ROCK comes off as much lighter and looser, which makes that fun and upbeat feel so much more natural and easygoing. And this just nudges PARTY ROCK forward on the rating scale for me. The chorus had great bright and appealing energy that brought a smile to my face. The members do a good job of bringing all that energy to life and makes the central piece of PARTY ROCK vibrant enough. I do feel there is potential for the members and producers of PARTY ROCK to have taken the chorus to the next level with bolder delivery and a more concentrated instrumental to just make the chorus a more prominent peak to the song. But what we were given is sufficient enough, as it managed to still get me to enjoy the song. I am loving the “We go jumpin’, party rockin’, never stoppin’” line, being my favourite and pick of most memorable line out of the whole song. That hook (and the rest of the hooks throughout PARTY ROCK) were super catchy and definitely ups the fun factor. The weakest aspects of PARTY ROCK were the verses, simply because they didn’t have much of a memorable zing to it. Had this been the case (and the chorus was just a little more leveled up), PARTY ROCK would have been a top notch song. As for now, it is still a great single for CRAVITY.

The music video that accompanies the release of PARTY ROCK was decent to watch. But there wasn’t much to really talk about from it. From what I could see, it is just another video where the members are having a bit of fun. Throw in some choreography shots and solo shots, and that is pretty much the video for this release. Even the usual elements that I do mention or touch like post production, sets, outfits or visuals were all pretty standard. In other words, it feels like a video which concept has been seen and done many times before.

The choreography for this comeback is just like the song – fun. Nothing too mind-blowing or innovative here, but everything feels lighthearted and easygoing. My favourite move out of the entire routine coincides with my favourite line that I mentioned earlier (also my favourite moments in the music video).

Song – 8/10
Music Video – 6/10
Performance – 8/10
Overall Rating – 7.4/10


[Review] Brand New – XIUMIN (EXO)

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As you might have noticed, I had not posted any reviews for any releases from last week. So this week will be an extra big week to catch up on those outstanding releases from last week on top of reviews for the new releases this week. Only then will I be able to review the even more outstanding releases that have been stockpiling. First up is XIUMIN with his solo comeback with the Brand New single and his solo debut mini-album that shares the same name as the lead single.

Whilst XIUMIN’s solo ventures have primarily come from OSTs or SM Station releases (i.e. Young & Free with Mark from NCT and You), Brand New encroaches onto new territory for the relatively new solo artist. Brand New is super upbeat dance track, kicking right into gear from the very start with the catchy and vibrant chorus chant that features prominently throughout the single. I like how this same chant brings forth old school vibes in the song and adds a energetic dimension to Brand New. The lyrical component of the chant is a bit questionable for what Brand New is trying to achieve in terms of the song’s meaning, but I like it more for the addition of much needed oomph to the song. XIUMIN was in charge of the rest of the vocals in the verses. And his vocals sounded so pleasant throughout Brand New. I did wish the melody was a bit heftier and had more body, just so that XIUMIN himself could have stood out more prominently. Alternatively, the bass could have been turned down a fair bit. It drowned out XIUMIN a certain parts of Brand New. But overall, Brand New is a fun and cool track at times, but also pleasant and soothing during other times.

Based on the song’s description, what I could get could out of the lyrics and the different scenes throughout the music video, my guess is that the video depicts the creation and delivery of a present that is XIUMIN himself. But apart from that, it is a fair video to watch and accompany the likes of Brand New. Nothing too mind-blowing, but not terrible in anyway where it deters me from watching it. It also has been a while since we have seen XIUMIN in the public eye (at least it has been a while for me), so it is great to see him again (and be reminded of his stunning visuals).

The choreography was pretty good. I really enjoyed the chorus of the routine, when the energy of the song and routine is at its peak. But I also enjoyed the smoothness of the dance choreography during the verses, as well.

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

[Review] BEAUTIFUL MONSTER – STAYC

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This is another review for a song I should have reviewed sooner and closer to its original release date. This one, in particular, was a surprise to me that I had missed it when I was going through my list of releases to review/catch up, since the artist in question has been on a roll with their releases. STAYC made their comeback in July of this year with BEAUTIFUL MONSTER, the title track from their third single album We Need Love. It follows the release of RUN2U from earlier this year.

BEAUTIFUL MONSTER changes up STAYC’s range of title tracks with a more subdued release, featuring a lot more acoustics within its instrumental than usual, with guitars and pan flutes being some of the new instruments that STAYC are playing within this release. If you don’t follow STAYC’s releases, their title tracks have been quite heavy on the synth front. That being said, there was still some electronic elements to BEAUTIFUL MONSTER‘s instrumental, but the acoustics just stand out a lot more this time around. This heavier presence of acoustics allow the song to standout in STAYC’s discography. So far, however, I have been isolating the acoustics and electronic sides of the song. But it was quite interesting to hear the harmony that the two sides created together, and was undeniably a strong aspect of the song. It created a pleasant atmosphere, even during the stronger notes in the chorus. BEAUTIFUL MONSTER was driven by vocals melodies, which all complemented that pleasant atmosphere I just mentioned. However, their vocals were a bit soulless at times, if I am being honest. This did help those melodies pop out. But at the same time, it brought a dullness to BEAUTIFUL MONSTER, which one could describe as an aesthetic or unpleasing. As I like the song, I think it is more aesthetic, but understand why some people might say unpleasing or boring. Overall, BEAUTIFUL MONSTER does a decent job of being different. It may not be a riveting piece for some, but I thought it was a memorable piece for the group.

BEAUTIFUL MONSTER is about a partner, who is both a beautiful person but also a monster, depending on how they treated the members (toxic, if you ask me). The premise of the video focuses heavily on the ‘beautiful’ side, with the sweet closes up of the members and shots of the members longing and reminiscing of their partner. But throughout the video, monsters pop up via the addition of post production cartoons. It was a cute and more pleasant way of showing an actual monster in this video, which works cleverly with the music. I did wish there was a stronger showing of the monster element, just so the messaging is a bit clearer. But a nice video to watch, nonetheless.

Just like the music video, the choreography offers two sides. The beautiful side were the smoother and more graceful parts of the routine. And the monster side, which the members depicted with their claw like hands and poses in the chorus. The contrast was nice and helped create a strong performance routine.

Song – 8/10
Music Video – 7,5/10
Performance – 8/10
Overall Rating – 7.9/10

[Review] go UP – JAY B (GOT7)

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GOT7 managed to remain a group, as evident through their GOT7 and NANANA comebacks earlier this year, even after the members going their separate ways. But since the members ventured to different companies, I have dropped the ball when it came to two members – JAY B and Yugyeom. Today’s review focuses on JAY B’s (sorry, Yugyeom fans, you got to wait a little longer) recent solo comeback, go UP, which is featured on his second solo mini-album Be Yourself. This follows his solo debut last year with Switch It Up, later comebacks with B.T.W (ft. Jay Park) and Sunset With You, and the recent signing with CDNZA Records.

go UP deep dives into old-school funk, with what I would describe as a fun and energetic track. To be honest, my knowledge into the funk genre is fairly limited (aside from some Bruno Mars, a few other well known hits that have topped the charts and the use of the adjective ‘funky’ when describing groovy numbers), but go UP manages to succinctly and straightforwardly sum up my understanding of the genre. It features slivers of brass, the plucking of bass guitar strings and an unrelentless amount of percussion to really bring the song to life. I believe this is all pretty standard of the funk genre, but it doesn’t change the fact that go UP is still a fun and enjoyable track, nonetheless. What really attracts me to the song is JAY B himself, who does a strong job of successfully encompassing go UP‘s energetic profile, by going through different vocal techniques to help aid the song’s liveliness. You have his usual raspy vocals that he has shown off in his R&B releases, but we get some really cool falsettos along the way (i.e. the verses) and some cool ad-libs (such as that final ‘yes‘ in the strings of yes’ from the second verse). Together with the instrumental, JAY B definitely makes sure that go UP‘s energy is the star of the track, and makes sure that you emerge from this song having a great time.

JAY B starts off the music video floating in mid-air at a port, observed by an older gentlemen and a younger boy, accompanied with the narration ‘This is how we are getting funky in Seoul, South Korea’. We then cut to the aftermath of a party, which JAY B is waking up from. I can’t help but think the older gentlemen and the younger boy are like some sort of guardian angel for JAY B, as they feel very judgmental with their plain expression as JAY B stumbles around. But they do not say no to a good time, as they join the crowd that JAY B attracts during the day time that gets bigger and bigger as the video progresses. And it is so good of a time that so many people getting high off that energy, causing that barge to lift up from the water, similar to the floating JAY B at the start of the video. Overall, I thought the video did a good job of bringing go UP‘s energy to life in a visual sense. And JAY B looks really good throughout the video. We also get to see some of his b-boying skills towards the end of the video, as well.

The choreography for this comeback was fun. Fun in both a movement manner and a expressive manner. I notice that some movements were stiff and small, but it looks intentional and helps give off an entertaining profile. His facial expressions were on point throughout the performance and gave off the impression that he was genuinely having fun. That shoe toss on the end was definitely just right for the performance, as well.

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

[Review] ParadoXXX Invasion – ENHYPEN

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I am gearing up to review ENHYPEN’s latest mini-album, Manifesto: Day 1. But before I can proceed with writing and post that album review, I need to review the second single from the album that also got a music video and promotional treatment, ParadoXXX Invasion. Alongside ParadoXXX Invasion, the mini-album also featured the title track Future Perfect (Pass the MIC).

ParadoXXX Invasion follows the same veins of the title track in that it is a hip-hop track. But I am of the opinion that ParadoXXX Invasion could have potentially been a much stronger title track. Simply because I find ParadoXXX Invasion to be a more well-rounded track. But there would be a need for some changes to make it even better. The song brings forth a very old-school hip-hop type of feel that I feel is quite vibrant and powerful in its own right. The beat got me nodding along to the music and you can feel the unmissable energy coursing through the song. The hooks were catchy (more so than the title track), and ParadoXXX Invasion left a memorable ring in my head after the song is over. And I feel this song is better aligned with the Summer period in which it was released in. However, ParadoXXX Invasion isn’t exactly ready to be a title track just yet. The rapping was definitely executed well, but I think ParadoXXX Invasion could have had more substantial rap sequences to take the song to the next level, just so that hip-hop energy is very concentrated and more impactful. There was no bridge or peak to the song, which was a bit disappointing. The ending was just another repeat of the choruses we heard earlier in the track, with no added ad-lib or intensification to the instrumental (similar to my main complaints with Future Perfect). A bridge would have allowed the song to build up to that. But overall, the hip-hop energy is what sold me on ParadoXXX Invasion and its potential to be a better title track.

Given a few factors (namely the school on a truck beginning), I feel the concept of this music video is a ‘school’s out’ type of scenario. That is my guess. But regardless what is the official concept of the video, the music video for ParadoXXX Invasion did two things quite well. Firstly, it really encapsulated that hip-hop feel in a very cool and a not-in-your-face manner. I quite liked that, and it made it enjoyable to watch alongside the song. The second was that is shows off a very youthful side to ENHYPEN. Their visuals and energy throughout the video was quite refreshing. I feel this thanks to the fact that the music video felt a lot more carefree and freestyle to a degree. Some of the video is shot in a sunny outdoor location, but yet in a very industrial setting. Other parts were shot in the studio (i.e. indoor locations/alleyway) worked well with the song’s hip-hop roots (i.e., back alleyways and thrift-like stores).

The choreography was quite cool and vibrant. The hip-hop influences is also quite evident. The energy the members put in really paid off and made the routine very appealing to watch.

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