Also making their comeback this week was ASTRO’s subunit consisting of Moonbin & Sanha. The pair returned with the single, WHO, and mini-album, Refuge, on Tuesday. It follows their unit debut back in 2020 with Bad Idea and is the second subunit from ASTRO to release music this year (the first being JinJin & Rocky’s Just Breath). Moonbin and Sanha were also quite lucky in making their comeback as schedule, as both were diagnosed with COVID-19 a week prior to their comeback. Many groups are delaying their comebacks or postpone the start of promotions due to COVID, whereas Moonbin & Sanha managed to just dodge this potential impact and recovered just in time for their scheduled comeback. However, ASTRO’s fan meet event, which was scheduled for 13 March, had to be pushed back to April.
It is clear from this comeback that Moonbin & Sanha (the subunit) was formed to showcase a very intense and more mature side of the group. Bad Idea definitely had mature vibes, while WHO has adopted a darker profile. And at the helm of this ‘darker profile’ is a powerful dance track. It is also quite minimalistic throughout – to the point where WHO felt very bare. But the powerful and intense nature of WHO helps offset the bareness of the song. Part of me likes that. Unique and innovative in a way. But another part me of felt like it wasn’t enough. And sadly, I am leaning more to that latter side. While the powerful rock influenced flair we get in the chorus definitely gets WHO into the memorable category, I fear its stay would be short-lived. In other words, the intense beat is enough to get it there, but WHO didn’t have anything to keep it there. The chorus could have been backed up by a hook, through a two part chorus, and this (provided it was executed properly and fitted in with the rest of the track) could potentially have ‘sealed the deal’ for WHO to stay in the ‘memorable category’. It also could have potentially helped offset that bareness that I had mentioned in a more satisfying and fulfilling manner. When I turn to the verses and bridge, there are some good vocals in there and there was a really bone chilling ‘Who you looking for’ line. But nothing captivating or strong enough.
The dark side of the pair is definitely shown throughout the video. The video takes on a religious concept, which I think is a bit of a unique concept in KPOP. Some scenes of the video seems to depict the idea of hell and possession, which is a pretty cool topic to portray. It also fits in with the lyrics of the song, which is about express the confusing emotions between evil that cannot be escaped and the desire for healing (taken from Soompi). Both Moonbin and Sanha’s visuals were definitely top notch in this video, with the mature look really shown off in this video.
The powerful nature of the song lends well to the performance aspect of this comeback. It allowed them to show off their performance skills, coolness and fierceness on stage. Definitely a performance I recommend you watch.
Song – 6.5/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.5/10
After 10 years, NU’EST has wrapped up promotions as a group and have agreed to part ways. It was announced at the end of February that the group would officially disband once their contracts finish up mid-March. While this was a bitter pill to swallow for some fans (and quite unexpected), it was then announced that the group would release one last album before disbanding on 15 March 2022 to coincide with their 10 year anniversary. Titled Needle & Bubble, the special compilation album featured remakes of their past hits and two new songs, one of them being Again (the title track for this album release). Member Baekho and Minhyun have signed on to stay at Pledis Entertainment, with Aron, JR (now Kim Jonghyun) and Ren leaving the company.
Again continues the string of pleasant singles that we have heard over the last few weeks. For those who knows my blog well, I use the word ‘pleasant’ in either a positive or negative manner. In Again‘s case, I use it in a positive manner. Again falls into the category of a pop ballad and sounds very reflective throughout, ideal for the circumstances that NU’EST finds themselves in. Regardless of how you view the situation surrounding the release of Again, its tone and flowy nature is quite effective. It might be able to bring back some happy memories, which I am sure fans of the group (L.O.Λ.E) are happily reliving. But as this is the group’s final track (barring any potential reunion or regroup in the future), it might also lead to some listeners shedding a few tears due to the bittersweet feeling Again might bring about. The song’s instrumental, as a whole, was very inviting and warming to listen to. I quite enjoyed the piano in the instrumental. It adds a beautiful touch to the song, especially as it peeks through from underneath the other instruments. Vocally, the reflective tone the members bring to the song really helps boost up the song and emphasise a lot of the descriptors words I have already used to describe Again. The melodies were also quite soothing and easy on the ears. I quite like how the focus on the vocals and that the instrumental was not overpowering. Everything was well-balance, and made for an enjoyable and pleasant listen. Overall, Again is a fitting track for NU’EST to end their time together as a group with.
The music video was just as I had expected it to be – reflective and pleasing to watch. What really got me was the ending, with Minhyun’s warm smile when he saw the other members of the group approach him. That scene, though its intention was probably to be lighthearted and warm, really hurt me. Not to the point where I was in tears, but it really put everything about this release into perspective for me. In addition to that, I believe this music video references a few of their past releases. Aron’s scene with the payphone seemed to allude towards their Hello release. JR’s solo scene with him on top of the stacked mattresses and Baekho’s scene with the reflection of light off the surface of water on the walls (and the coloured Blue walls) reminded me of Where You At‘s music video. The chess board in Ren’s solo scenes might pay homage to some of their videos that featured chess game, such as HELP ME and BET BET. Minhyun’s scenes behind the broken windows might be reference to the broken glass concept images NU’EST W had for their Where You At comeback. These might just be coincidences, but given that this is their last release as a group, it would make sense to why they might have included these subtle touches that refer back to their old releases. Either way, they make for a great video.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
Next up on the comeback rush of this week is KIHYUN, MONSTA X’s main vocalist, who made his solo debut yesterday with the track VOYAGER and single album of the same name. KIHYUN is the second member to go solo, with fellow rappers Joohoney and I.M being the first members of MONSTA X to have officially released solo tracks (i.e. Joohoney with his mixtapes and I.M’s God Damn). But this review is for KIHYUN’s latest song, so let’s check it out.
As a main vocalist, I expected KIHYUN to go down the typical route of a ballad of some sort for his solo promotions. But VOYAGER is no ballad. Instead, VOYAGER delves into an upbeat rock profile that is both refreshing and lively to listen to. The consistent drumming in the chorus was definitely a highlight for me. VOYAGER isn’t strictly just rock though, with the instrumental composed in a way to be almost funky, tapping into current trends in KPOP. There are also some jazzy undertones in VOYAGER when the piano becomes more present in the bridge, which gives VOYAGER a nice accent. Other than the instrumental, KIHYUN does an amazing job vocally to make VOYAGER more dynamic and charismatic. I really like the cheerful tone to his vocal colours in the chorus, which makes VOYAGER instantly appealing. This also compliments the upbeat nature of the song. I noticed a slight raspy texture to his voice that allows him to work so well with rock instrumentation. I would definitely be down to hear more of KIHYUN as a solo artist, in particular exploring more of the rock genre, as he is well suited from how VOYAGER was pulled off and what we heard.
Not exactly sure if the music video is meant to string together and form some sort of theme or message. It seems like there might be hints towards one, but nothing too recognisable. Instead, the video comes together more so like a collection of closeup shots of KIHYUN. This is absolutely fine and would make for a great video. I just got the impression that there should have been something in this video to pull everything together in this video. But aside from that, I liked how confident and cheerful he appeared, which comes off and stays with you after watching the video.
Song – 9/10 Music Video – 8/10 Overall Rating – 8.6/10
The final act to make their comeback yesterday was Kang Seung Yoon, who returned with the single BORN TO LOVE YOU. It is Kang Seung Yoon’s first single since his comeback last year in March with IYAH. So it has been a while since we have heard from Kang Seung Yoon. We also haven’t heard much from WINNER (the group in which Kang Seung Yoon leads). This is partly due Jinwoo and Seunghoon’s military enlistment. The good news is that the group is confirmed for a concert in April/May, and a full group reunion might mean that a comeback is on the cards. I also remember reading somewhere that the members are keen on making another comeback before Kang Seung Yoon and fellow member Mino needs to enlist in the military. But nothing is for sure until it is confirmed. For now, we will have settle for a solo comeback with Kang Seung Yoon for our WINNER fix.
BORN TO LOVE YOU is another ballad to add to Kang Seung Yoon’s portfolio. For me, I found this ballad to be rather typical, which is a major disappointing following the likes of IYAH, which I gave a 10/10 for. It is also a bit surprising, since I do find myself easily enjoy many ballads quite a bit. There isn’t much to really captivate with in BORN TO LOVE YOU, aside from the emotional heft and passion that drives the song. You can feel the pain that is going through the lyrics of the song and his voice, which is all about the emotions following a breakup. This undoubtedly allows Kang Seung Yoon to sound pretty good and adds a boost in terms of appeal for the song. I also like the power he puts behind his vocals, adding some more heft to the song. But that is only one part of a song. The melodies, particular in the chorus, were nice, but memorable as can be with a typical ballad. What also dulls BORN TO LOVE YOU is the instrumentation. I found the piano and guitar to be quite good, simply because they give ballads passion and drive, and I felt that they complimented the vocals well. But the trap elements or drums we get in BORN TO LOVE YOU are on the plainer side and felt too dominant (relative to the vocals/piano/guitar in the song). Maybe if the song kept to acoustics with the piano and guitar, the song would have been more enjoyable. But as it stands, BORN TO LOVE is just another ballad.
Kang Seung Yoon’s acting is pretty good in the video. And that would be expected, given that he is an actor as well. But what drew me to this video was how his emotions that he put behind his vocals are portrayed throughout the video. It is quite heartfelt and emotional to watch him struggle on the bridge, with or without rain. On top of that, the relationship shots we saw were very convincing (from the good memories to the bad ones). I also liked the idea of the rain in the apartment, which contributed to the water in the apartment. Not exactly sure what it is represents, but I am guessing sadness and tears.
Song – 7/10 Music Video – 9/10 Overall Rating – 7.8/10
Another group who made their comeback yesterday is (G)I-DLE (though sans one member, Soojin, who was permanently withdrawn for the group following past bullying accusations made against her). The group has since reformed into a five member group, and made their long awaited comeback with TOMBOY, which leads the group’s first studio album, I NEVER DIE. This is the first comeback following the release of HWAA in January 2021. It also follows the solo debut of Yuqi (who debuted with Giant and Bonnie and Clyde) and the solo comeback of Kim Soyeon (with Beam Beam).
Just like the name suggests, TOMBOY takes on an edgy appeal. This edgy sound is something that I have personally thought would fit (G)I-DLE really well and that is what I get out of TOMBOY. The instrumental has this punkish rock profile that is powerful, tough, intimidating and fierce. The electric guitars are top notch and slamming throughout. But while the instrumental gets the praises, the other elements to TOMBOY are a bit … flat. From start to end, I felt the members delivery just didn’t live up to the hype and energy created by the instrumental. You can tell what the intended effect of all the parts were (it all goes back to being edgy), but their delivery and execution was weakened by the poor lyrics of the song. Within the first few seconds of the song, we get ‘Look at my toe‘. The repetition of the line ‘Ye I’m a tomboy‘ and similar variations loses its effect every time it is repeated. And ‘Sometimes we swear without cigarettes. I like to eh on drinking whiskey‘ doesn’t show for anything. Furthermore, it was all delivered in the same manner/tone and didn’t give much opportunity for the group to show off their own character or personality. It isn’t all weak though. There were some good vocal moments, such as the pre-chorus, which I liked. But it just wasn’t enough to save the likes of TOMBOY. The ‘Man or Woman‘ sequence and the extra bit of instrumentation we get at the end was good though. But again, not enough to save the song. Overall, I liked the idea of TOMBOY and think it fits with the group. But it was just not executed in a manner that it a great enough manner.
The music video was a lot cooler than the song. It was dominated by a heavy presence of the colour red and had some edgy imagery (i.e. blending of the Ken doll for some blood). It does steer the concept towards ‘try hard’ territory. But I don’t think we get there yet. The music video contains a lot of confidence and charisma that might have just helped hold back the music video from entering that territory. What I really enjoyed was that whole doll sequence, where the members (as dolls) drug the male doll, kidnap him and hang him upside down while threatening him with a gun, whilst innocently swaying their heads from side to side. Also really enjoyed the timing of the car explosion.
The charisma and confidence I just mentioned is all over this stage. It made the performance extremely worthwhile to watch, even though the main move looked meh. The verses were also good, and the final sequence just oozed of coolness and edginess, which I am sure is exactly what the members/choreographers wanted.
Song – 6.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.3/10
As previously mentioned, today is the start of a wave of comebacks that we will be seeing in the second half of the month. It is notable given how slow and quiet the last few weeks have been. Of course, this will mean more reviews and I hope I will be able to stay on track. First up is Brave Girl’s Thank You, which is featured as the title track on their sixth mini-album (that shares the same name). This is the group’s first comeback since their rise thanks to the resurgence of Rollin’, Chi Mat Ba Ram and After ‘We Ride’.
Thank You takes on the funky side of retro. Sure, this sounds pretty ordinary given that it is combines two style influences that is consistently the main feature of KPOP songs nowadays. But what I quite enjoyed about Thank You was the elegant nature that comes about from Brave Girls’ mash of the two influences and I personally find it fitting for the group. It is fun and lively, yet maintains that mature side of the group that we know is part of the group’s profile. When it comes to the other parts of Thank You, I find them to be quite pleasant. For Thank You, I use the word ‘pleasant’ in a positive manner. Firstly, the track has a wholesome meaning since it is dedicated to the fans who have stayed by their side during their toughest times, Secondly, I found the vocals nicely done. Each of the members didn’t overwhelm or underwhelm with their delivery. To me, it was the case of Goldilocks’ perfect. I also like the autotune in Thank You, which helped highlight the retro side of the song. I will be critical with the melodies and hooks. I wished they were more profound in Thank You, just to be that extra bit more satisfying and fulfilling. What we got was good enough, but I seem to think more could have been done. Also, the rapping in the second verse could have been a bit cleaner. It just felt a bit muddled (sorry Yujeong!). And thirdly, everything in Thank You just works in harmony with one another to give off that pleasant feeling.
Majority of the video was shot in front the green screen. At first, I thought it cheapened the video. But I realized that I was watching the video at a lower than optimal visual quality. Turning the quality up, the video actually looked quite good. Usually, I don’t mind what quality I watch the video at. But for Thank You, it really effected the experience. So, I recommend you watch the video at the highest quality in which your device can handle. I also believe elements from their past videos are in this music video, which would make sense given the song’s meaning. I was reminded by After ‘We Ride’ with Eunji’s solo scenes with the white flowers, her hat, the seats and light projections. Chi Mat Ba Ram came through with the re-appearance of the sky whale in the background of one of the choreography shots, while Yuna’s scenes where she is riding the motorcycle reminded me of We Ride’s car ride.
Unfortunately, some of the members have tested positive to COVID-19, so their comeback showcase originally to be held today was delayed as a result. So I don’t think we will be seeing a live performance for this comeback until next week. But what I did see in the music video looks good. Nothing felt memorable like in their past performances, but I liked how the choreography encompasses the retro/funky influences. I also like the change up in the final chorus, which helps makes the performance appear more fun.
Song – 8/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 7.8/10
A year after his solo comeback with Sugar, Kim Woo Seok (currently an inactive member of UP10TION) is officially back on stage with his 3rd mini-album, 3rd Desire (Reve), and title track Switch. This comeback also follows he continuation of his acting career through the recent drama Bulgasal: Immortal Souls.
Switch is another decently pleasant track. Nothing overly memorable or special about it, but it isn’t terrible. It just a pleasant track. There is a fair bit out of Switch that I personally enjoy, but I enjoy them more as standalone elements than in a whole song. Just thinking about that is a bit abstract, but that is the best way I can describe my feelings about Switch. The pop instrumentation, particularly the rhythmic guitars, was the main driver of the pleasant description I gave to the song. It also gave the song a sleek profile throughout, which was a nice touch. As for Kim Woo Seok himself, his vocals were light and airy. I quite enjoyed the lightness. They aren’t the most riveting set of vocals ever, but they had a sweet and dreamy tone to it, which complimented the pleasantries of the instrumental. The melodies of the song were quite a strong point to Switch as well. The melody for the ‘It’s not fair, it’s a love affair‘ line was the strongest in this song, hypnotic in a way. It was an interesting direction for the song in general and I wished they explored more of it. But when you piece these good elements together, Switch comes off too light, too airy and too pleasant. And too much of these ended up making Switch forgettable, enabling for it to drifting away into the background. It is not something that you want from a title track. Switch needed something to ground it, and it should be something dynamic (e.g. more pronounced rock influences, particularly in the final chorus – you can hear something along the lines of this, but its just not fulfilling enough). I felt this dynamic energy was lacking in the song, and hence everything felt too one-sided. Had there been something to hold the song down and make it pop out more, I think Switch could have been more memorable.
I find the music video for this comeback to be suitable for the song. It is quite colourful and vibrant, in a way that fits the pleasant energy and tone of the song. Kim Woo Seok’s visuals are quite strong throughout the video. I did like the mix between animation and real life shot, as it brought some uniqueness to the video and visuals. However, aside from that, nothing else pings as memorable for me.
Again, there is nothing memorable coming from the performance, as well. But the choreography overall had a pleasant vibe to it, just like the other elements of this comeback. I can’t really fault this on Kim Woo Seok or the choreographer, simply because the song didn’t have any strong moments within it for them to really work with. At least, they did well with what they had.
Song – 7/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 7/10
Returning with a complete image shakeup this week is Weeekly with their latest single, Ven para. It is featured on the group’s first single album, Play Game: Awake. Ven para is the group’s fourth comeback since their debut with Tag Me, and it follows 2021 releases that featured their After School and Holiday Party. This comeback features all of the members in the recording and music video, but unfortunately member Shin Jiyoon is sitting out of the promotions for this comeback.
Gone are the days of Tag Me and Zig Zag. While their 2021 releases (After School and Holiday Party) moved away from the group’s cutesy debut sound, they still maintained their youthfulness. With Ven para, that is also out the door. Instead, we get this edgy piece that is very much more mature and serious than ever before. I don’t mind the verses. I quite liked the subtle use of the brass and the flute at the very end of the verses. I could have done with less autotune, just so the verses appeared a bit more clean and sleek. The rapping sequences in the second verse were impressive, and gave itself a a more noticeable clean and sleek profile that the first was heading towards. The choruses inclines quite suddenly with a powerful and intense backing, Its energy and atmosphere peaks almost straight away, which I thought was interesting. But the chorus was brief and the chorus ends as soon as it started. I kind of wished there was more of it. The bridge tones down Ven para with some good vocal sequences, before a shouty chant sequence returns the song to its powerful glory. I quite like the idea of this chanty sequence – just didn’t like the high pitch the ‘Ven para acá‘ finished on though. What is lacking in Ven para is a memorable hook. What we got was decent, but it just didn’t stay in my head or impress me. Had there been a stronger hook to Ven para, I think this sound change would have been more successful. As for now, it is a decent track.
The music video was fiery, thanks to the fire and images of the sun. The red colouring in some of the sets also helped push this concept further. I do like how it isn’t overwhelming though. They offset the heat with a cooler choreography set that features a heavy presence of the blue colour and looks sophisticated. I liked their use of green screen in the video. It might not be the most stunning look ever, but it is a lot better than some other applications of the green screen that I can think of.
I quite liked the clapping and other hand movements in the chorus. I also enjoyed their charisma on stage, which fits this comeback very well. A good performance, overall.
Song – 7.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.8/10
Making their debut yesterday (after a two-week delay due to COVID) was TEMPEST, the latest addition to YUEHUA Entertainment’s family (the home of EVERGLOW, YENA, WOODZ and UNIQ). They kick things off with the single Bad News and their first mini-album, It’s Me, It’s We. The male group consist of seven members – Hanbin, Hyeongseop, Hyuk, Lew, Hwarang, Eunchan and Taerae. You may recognize Hyeongseop and Lew, who promoted as a duo (Hyeongseop & Euiwoong) back in 2017 and we last saw them promoting Love Tint in 2018. They also participated in Produce 101 Season 2. Member Hanbin participated in I-Land, while member Hwarang participated in Under Nineteen.
Bad News was a decent debut track. It isn’t impressive nor hits anything out the park, but it was a good introduction to this new group. I much appreciated the bright and energetic profile of the song, which felt somewhat refreshing in this day and age. The members and producers did a good job of making this a chirpy and funky track, especially with a song title like Bad News. You don’t really expect sunshine and blue skies when experiencing bad news, but that is what the impression I got when I listened to the song initially. But while I did appreciate the bright and energetic atmosphere and colours of the song, the instrumental was pretty standard at best. The glitchy start to the final chorus was pretty decent, refocusing my attention onto the song. It actually took me a while to work out that was part of the song (and not my internet connection playing up again). As for the other aspects of Bad News, the member’s vocals were pretty solid. There was some really smooth vocal deliveries in the pre-chorus which I really enjoyed. Elsewhere, the members were quite satisfying to listen to. I do think the vocals could have gone further, with ad-libs at the end would have been nice. As for the rapping in Bad News, it was all fantastic. I quite liked the whispery raps we got at the start of the bridge. Paired with the music, it was my favourite part of Bad News. So what could have made the song better? For sure, punchier hooks would have been great. We would have gotten more out of the members, and this potentially could have taken Bad News to the next level. The instrumental could also have had some memorable moments as well. Given that Bad News had a funky profile as well, something memorable in the instrumental department could have easily been incorporated, given that is what funky music is known for. There were some decent hooks in the song already, but as I mentioned at the start, nothing felt impressive.
The music video is standard at best, just like the song. While it fits the bill with its bright colours and cheerful and smiley demeanour in the video of the members, it was fairly plain. This is keeping in mind that EVERGLOW’s (their senior labelmate) music videos have always been very cool and aesthetic. And this just felt ordinary. Maybe the whole point of the video was to introduce us to the members, which it did just fine. But I wanted more out of the visual component of this debut.
The performance was pretty good. Nothing that memorable once again, but I have to commend the members for their stage presence. They performed and really portrayed that energetic and bright energy mentioned earlier in a very confident manner. They don’t come off as rookies whatsoever. Maybe those survival shows did pay off as it gave some of the members stage/performance experience.
Song – 7/10 Music Video – 6/10 Performance – 8/10 Overall Rating – 6.9/10
Making their return today is Cherry Bullet, who returns with new single Love In Space and second ever mini-album, Cherry Wish. The female group returns for the first time in over a year, following their February 2021 release Love So Sweet. Since then, some members of Cherry Bullet (Bora, Jiwon, May) participated in the Girls Planet 999 survival show, but none of them placed in the top nine (who went on to debut in the special project group which debuted earlier this year).
It seems like Cherry Bullet is finally getting into the groove of great releases. Love So Sweet set the bar high for them, and I think Love In Space has what it takes to rival the likes of their previous song. It too also delves into the retro sound profile, but opts for a more synth pop sound. I really like the consistent tapping synth used in the later parts of the choruses (there is probably a technical name for it, but I am no musician!). It is quite memorable and catchy. This follows on from a satisfying dive into the retro sound profile for the instrumentation. As for the verses in Love In Space, they are a lot more interesting thanks to the fast delivery of some of the lines. They really caught me off guard the first time, and I felt they added a cool presence to the song. I really like how the pre-chorus reminded me of Love So Sweet‘s main hook. It really appeals to me, especially since I really enjoyed that release. Elsewhere, the vocals were also quite good. I also love that ending, with a brief extension to the song. Suspenseful, but extremely satisfying. I think my main problem with the song comes during the bridge. It just brought a typical atmosphere to the song, and didn’t feel special enough. I kind of wished the producers put together something a bit more unique for the bridge. And the answer might have been a few second later. I did quite like ramp up to the final chorus, which has that unique touch that I am looking for. But apart from that, Love In Space is still a solid song.
The music video has this intergalactic concept without going into space. The whole video comes off quite abstract, but essentially the members are searching for their long lost partner who is far away. I think they skip all the space travel that you expect to see with a space concept, and focusing on searching that their long lost lover. In the end, the cat leads them into an elevator and it takes them to the growing tree. The tree looks likes a tentacle as it grows from the ground, before blooming into beautiful pink leave tree. And it is a happy ending from there. A bit weak and typical on the plot front, but it works well with the lyrics. The video itself is one of those videos where the producers have made it a bit fluffy to fit with the group’s image and it detracts from the story a bit. But the visual effects and visuals of the members make up for it.
The choreography for this comeback is quite good. Not as memorable as their last, but it does the job. I liked the routine when we hear that consistent tapping synth in the later parts of the chorus, and the fast pace end to the performance.
Song – 9/10 Music Video – 7/10 Performance – 8.5/10 Overall Rating – 8.3/10
The second comeback that kicks off this week is Rocket Punch’s return with CHIQUITA and their Yellow Punch mini-album, which is their fourth one since debut. This new release follows Rocket Punch’s 2021 comebacks, which includes their awesome singles RING RING and (their Japanese debut single)Bubble Up.
CHIQUITA continues the retro sound that RING RING delved into. And CHIQUITA definitely satisfies with its retro influences. I love the 80s disco sound that the group draws upon in the chorus. It just hits in all the right spots for me. The bridge had this mature spin, which was extremely likeable. The double ending synthesizer extension we got at the end was also very satisfying, and provided that extra bit more in a classy way that CHIQUITA felt like it needed. The group also shows off vibrant vocals that make CHIQUITA punchier and louder, which takes the song to the next level for me. The utterances of the title, CHIQUITA, had this elegant feel to it, while the melodies had a bold and memorable feel to it. But while it seems like the song is getting all praises, there were some minor touchup the producers could have done to really take it up further to the next level. The first is in regards to the verses, which felt slightly underwhelming and a tad empty for my liking. It just felt like there was a slight imbalance between retro influences, giving the impression that the verses were slightly weaker. I wished it was had more retro detailing/touches to make it feel bolder and on par with the chorus. The second are their vocals in the later parts of the CHIQUITA. I wished the producers played around a bit more to give CHIQUITA‘s last chorus (in particular) an extra boost and concentration of energy. But as mentioned, they are minor things. CHIQUITA, as presented, is a great song already!
Like the song, the video also takes on a retro concept. While there was some nice visuals and effects in the music video, I felt like more could have been done to make this video look more retro. This would have made the video much more exciting to watch and probably reel myself in for a few more replays. What we got was heading in the right direction, but lacked some elements (for example, more disco balls and neon lights, more outfits that align with that era) for me to call it a pure retro concept fitting for the music.
The choreography was quite good. I really enjoyed the chorus routine, which really hit the spot alongside the song. I also enjoyed the spinning of half the group at the start of the routine, and the bridge sequence as well.
Song – 9/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 8.2/10
Super Junior is one of the two acts that are first up this week. The legendary group has returned with special single album, titled The Road: Winter for Spring, and is lead with the title track, Callin’. This comes almost a year after the group’s comeback with their tenth studio album, The Renaissance, and title track House Party. And I believe that we will be seeing more of the group later this week, as it seems like the group will be promoting this new release, after news that Ryeowook would be sitting out of promotions as he recently tested positive to COVID-19.
Callin’ is a ballad that delves into the pop rock genre. It is quite a beautiful one that captivates me the few times I have listened to the song tonight already, which is undoubtedly a very positive effect. The melodies in Callin’ are very flowy and dreamy, while the vocal work amazes me and shows off the members in a stunning fashion. They are so clear and quite dominant, so much so that it is the focus point of the song. I am also absolutely liking the layering of vocals just before the chorus. It just gives Callin’ an interesting texture, refocuses my attention on the song, and makes it more than just a straight forward pop rock ballad. The harmonies also help adds definition to the main vocals, which enhances the stunning nature of Callin’. The instrumental is pretty standard for the genre selected, but I like how it compliments the vocals extremely well and aids in bolstering the vocals. There are some squeaky synths in Callin’ that seems like they are out of place, but I don’t mind them. They actually provided a bit of unique touch to the song, given their unique profile. Altogether, I find Callin’ to be an extremely inviting and warm aura track, which I am sure is the intended direction of the track judging by the lyrics (which talks about wanting to love despite of their past bad experiences).
I liked the animation at the start and end of the video and how it interlinked with the actual shots of the members in the home. It appears that the members had seek refuge in the home from the weather, which seems to represent the painful memories and bad experiences. They warm themselves up, which in turn reminds them the good memories, until they are ready to move on and ‘rediscover’ love. They also do a lot of reflection during this time. The animated ending shows them rediscovering the feeling of love after leaving the confines of the home, as expressed in the lyrics. Overall, a nice and well thought out video for a song like this.
Song – 8.5/10 Music Video – 9/10 Overall Rating – 8.7/10
I am finally getting around to posting my first International Song Review post in a long while. My last post was way back in October 2021, and since then I have been fairly busy and unable to write any of these posts. But I am now back on the bandwagon. For those who may be unfamiliar with this segment, I review songs that aren’t in the Korean language (or are not marketed for the Korean music scene in some cases – such as some side tracks on Korean albums) that have been released by Korean artists (or artists that have a direction connect with a KPOP group). In this post, I will be covering songs released by MONSTA X, SEVENTEEN, TWICE, WONHO and Jeon Somi.
You Problem – MONSTA X
MONSTA X spreads the ongoing groovy and funky trend that we are currently experiencing in KPOP to the Western music scene. The group, now down to five members as Shownu has enlisted in the military, released this disco number early December 2021. It is quite unlike any of their Korean title tracks, which have been very EDM focused and performance heavy tracks. You Problem settles for a simpler approach, and one that is quite pure and fun. I love the guitar work in this backing of You Problem, along with those disco vibes we get in the chorus (as already mentioned). I also enjoyed the vocal focus of the song, which each member (even the rappers) singing in this track, complimenting the lighter than usual tone for MONSTA X. Kihyun and Jooheon’s falsettos in the chorus make the song even cooler! The hooks are super memorable, and the hooks are so damn catchy. Even after two months, I am still digging You Problem!
For the music video, it is set in a bowling alley that is reminisce of bowling alleys from the 70s. Definitely suiting the light tone, fun vibes and retro direction of the song. There are also heavy presence of other retro elements throughout the video, such as the checked pattern (commonly associated with racing) and neon lights. Even the glittery tinsel decoration behind the group when they are performing as a ‘band’ screamed out retro. The performance I saw also had a fun vibe. It was loose and fluid, as if the group was freestyling their performance. But also showed their personality, which made it even more enjoyable.
Overall Rating – 8.8/10
Power of Love – SEVENTEEN
Power of Love‘s music video officially dropped at the end of November, and closes out their Power of Love project that started earlier in 2021 with the release of Mingyu and Wonwoo’s Bittersweet (ft. Lee Hi). It is a neat ballad with a really meaningful message that even in difficult times, having the Power of Love can help you through it. I liked how even though the instrumental had sleigh bells ringing throughout the whole instrumental, Power of Love doesn’t feel constricted to just Winter or the Christmas season like other songs that ultilises sleigh bells. It was also quite soothing and it was a nice display of all the members’ vocals. Unfortunately, however, Power of Love doesn’t fair well in the memorable arena. It is a good ballad, but I am not necessarily looking for the song when I feel in a mood for ballad. I guess Power of Love was produced to be more on a sweet side. I do think there could have been room towards the end to oomph up the ballad a bit, just so it didn’t feel the same from start to end. I think Power of Love would have come off better if it went down this path.
The parts of the video where some of the members were in built sets (I believe it was just limited to Joshua, DK and Vernon) looked quite cool, and I wished the video had more built sets (as it felt stylish and modern). But instead, the producers for this video chose to just use green screen, and I felt this really cheapened the video. While the actual backgrounds applied through the use of the green screen looked aesthetic and the members look good as always, I wished the post-production team incorporated the members better. We have seen great use of green screen in the past, and this is just not one of those instances. It is just quite unfortunate.
Overall Rating – 6.2/10
Doughnut – TWICE
Doughnut was released on 15 December 2021 and the track itself comes in the form of a ballad. Not exactly the first genre of music you think of when you hear of a sugary treat. But it does create an abstract appeal, which makes Doughnut memorable for me. Talking about abstract, I also like how the members likened the void they experience without their partner, and the constant looping they refer to in the lyrics to the shape of a doughnut. To me, the song definitely needed this extra appeal, especially since I thought it was a bit of a blur. Everything from start to end felt similar, and I couldn’t work out where the chorus was in the song had it not been for the music video. While I did like the city-pop direction the instrumental was going and the delicate nature of their voices (which isn’t something we get in TWICE title tracks that much), I just wished parts of Doughnut were more distinct. The most significant distinct moment of the song was during the finale sequence with the use of synths to give off textures. But it was too late to really sell Doughnut to me.
Visually, I thought this was a very neat video. The snow, warm indoor settings and dress colours compliments the Winter season in which the song was released. That scene in the bridge where Mina and Chaeyoung are lying on the ground over a wreath was extremely memorable for me. I am a bit confused about the start and end of the video, with the ‘doughnut crime scene’. My guess is that the crime scene symbolises that the loop and void represented by the shape of doughnut is broken and that the members had moved on from what they thought were ‘the only one in the world’. Though, I am more confused about the amount of jam spilling from the doughnut (How did they get so much in the doughnut to begin with? And in a doughnut with a hole?). As for the choreography, it felt fitting for the balladry nature of the song.
Overall Rating – 6.8/10
ON THE WAY～- Wonho
Wonho’s Japanese debut single, ON THE WAY~, is actually the oldest song in this review post as it was first unveiled on 27 October 2021. It is a decent track that pleases with its sweet lyrics, thanking fans for staying by his side and that he treasures them greatly. Don’t be fooled though. ON THE WAY~ is no typical ballad. Instead, it features a satisfying band instrumental that really makes this song more appealing. I also like how amped the chorus gets. It did feel somewhat overpowering at first, but Wonho manages to shine throughout ON THE WAY~ with his blissful and honey-like vocals. I did wish there was something more to the song, like a more profound electrical guitar solo sequence (we did get an instrumental break, but it did feel enough) to make it even more satisfying.
The accompanying video was also quite nice. Not one that I see myself going back to however, since it just Wonho acting sweet and grateful to match the lyrics of the song. There are also some band shots and some decent outdoors shots. I am sure fans would adore this video.
Overall Rating – 7/10
Anymore – Jeon Somi
The final song on this post is Jeon Somi’s Anymore. You would have heard Anymore way before the music video dropped (which occurred on Christmas Day), as it was originally featured as a side track on Jeon Somi’s first solo studio album, XOXO, which dropped at the end of October (the 29th to be exact). It is an all-English track that delves into pop-rock territory. I quite like this song because it doesn’t feel complicated or difficult to navigate like EDM tracks. Anymore just sounded pure and doesn’t mess or fluff around. The soft pop rock sound that we hear in this song just suits Jeon Somi’s tone and she sounds very good. The melodies were also very memorable and satisfying, as well.
I need to applaud Jeon Somi’s visuals and acting in this video. Both were highlights that draw me back to the music video. I liked how she well she portrayed her heartbreak and emotions, whilst looking stunning as always. As for the music video concept, all looked terrific and worked extremely well with the song. I liked how chaotic the chorus appeared to match the increased energy we get from the chorus, while the verses were more still.
Returning back to Monday, STAYC also made their comeback on this day, with RUN2U and their second mini-album, Young-Luv.com. This new release follows their successful 2021, which started off with their hit ASAP, and their September 2021 release STEREOTYPE(the latter earned them their first music show win since debut).
RUN2U has a lot of potential to be the next big track for STAYC. And for the most part, I feel that the song lives up to that potential. But the verses were just so boring and lackluster. One of the reasons why I feel this way was because of the bare/minimalistic instrumentation. Now, the bareness stays on in the other parts of the song that I would describe as highlights of RUN2U, as it helped draw out some interesting elements that I ultimately enjoyed (though it comes back to bite them later on – more on that in a little bit). In the verses, the bareness/minimalistic just made RUN2U feel so empty and dry. Another reason is that I didn’t get much out of the vocals and rapping. They lacked character and profile. This does get better though, as when we enter the pre-chorus territory, we get a familiar profile of the vocals that reminds me of STAYC’s 2021 tracks. Apart from the verses, as I flagged earlier, other parts of RUN2U was quite catchy and memorable. I really like the squeaky brass synth used in the chorus as the song’s central element. It did sound off at first, but I find it extremely charming now. I also liked the ‘So I’ll run to you‘ repetition in the chorus, and the melodies that make up the lines that follow. The pulsing/descending spiral like synth at the start of the song was also quite notable for me, which kicked RUN2U off with a bit of sophistication. The “Little Bit Little Bit” hook was also memorable for me, but not as much as the chorus’ hooks. When we got to the final chorus, I wished the producers added something new into the mix, just to give us a bit of freshness, excitement and pop to make RUN2U end on a much stronger note. That bareness and minimalistic vibe they adopted throughout the song bites them at the end, and makes the song feel repetitive in a bone-dry way, which ultimately is not a good thought to have at the very end of the song. Thankfully, it had the catchy chorus to rely on (which I just really dig) to make the final chorus a bit better.
Colourful sets, a range of closeups and choreography shots. That is the music video summed up. So a bit generic and typical. I did like the more elegant shots (the scenes with the crystals hanging down, the colourful flowers) the video had, and I wished the video explored more of that side for this comeback. They also felt a bit more cohesive as a concept compared to the mashup of colours we got in the brighter and colourful sets.
The choreography was on the meh side of the spectrum for me. I did like the domino pattern than began the performance with, but the rest of the performance just felt a bit flat and nothing really stood out at me.
Song – 7/10 Music Video – 6/10 Performance – 6.5/10 Overall Rating – 6.6/10
A new player is on the playing field! JYP Entertainment’s latets female group, NMIXX, make their debut today with O.O, which is featured on the group’s debut single album, Ad Mare. NIMIXX is a seven members female group consisting of Haewon, Lily, Sullyoon, Jinni, BAE, Jiwoo and Kyujin. While the release dropped today, NMIXX unfortunately hasn’t been able to start off their careers as planned with a debut showcase as some of the members have tested positive for COVID-19. Unsure what that means for their promotions for this week, but hopefully the affected members recover quickly to be able to perform O.O on stage for us soon.
Hang tight, as there is a lot of unpack from O.O. When I listened to the song, it sounds like three songs were mashed into one. We have heard this before and sometimes it works (unexpectedly). O.O is one that doesn’t not work for me, and is not a good first step for a debut. I have listened to it a few times and I just can’t get over how distinct each section of the song. The first third of O.O was this edgy and powerful sound that I was not a fan of. It was quite overwhelming on many fronts, such as the vocals and rapping. They were poorly processed and sounded quite strained for the most part. It was a bit ‘try-hard’, if you wanted me to be direct about the sequence. The second third of the song was much more likeable and enjoyable, in comparison to the preceding sequence. It was a lot brighter, taking on a pop profile with hints of rock. The vocals and rapping were better here, but they still felt they were pushed too far. If there was a takeaway from this middle sequence, it is that they are youthful. The final (and third) sequence went down more of the hip-hop route. This also wasn’t that bad, but it lies in between the first and second sections of the song in terms of likeability for me. It was noisy, it was intense, it was overwhelming as well. It sounded like they were competing with the music, and I wished the producers had went with a slightly milder sound so we could hear more of NMIXX. Attitude and sassy also come to mind. When you consider the three parts as a whole, as intended, it felt like the whoever put the three pieces together were trying to fit three puzzle pieces together that were never going to fit. I am hoping that with time, O.O becomes a bit more bearable and that I find myself enjoying it more. Time after time, my reviews have turned up side down as a result to second chances and repeat listens. I personally think that O.O has a lot of warming up to do in order to recover, but who knows.
Like the song, it made sense that the music video would be in three segments as well. To match that edgy and powerful tone in the first sequence, we got a mysterious visual piece. Members are running into walls, colours are all very neutral and dominos are falling throughout the city. Personally, I found this sequence to be the coolest of the three when it came to the visual aid. In comparison to the first sequence, the second sequence of the video (for the second segment of O.O) felt like a unicorn did its business. It was super colourful and really encapsulated an innocent and youthful vibe (just like the song). For the third part of the song, the video adopted a darker vibe to compliment the noisy hip-hop sound. I do wonder what the final scene to the video is about. It is a bit ambiguous, but also very mysterious at the same time.
The choreography aspect also felt promising. One of the perks of having what felt like three different songs in one is that you can do a fair bit on stage. The start of the performances looks very cool, while the swing in the second sequence looks quite unique. I also liked how powerful the routine looked.
Song – 4/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 6/10
Just like last week, we start off this week with another another long awaited comeback. After almost four years, BTOB has made their first comeback as a full group with the single The Song and their third studio album, Be Together. Their last full group comeback was through the release of Only One For Me back in 2018. Since then, the group members have completed their military enlistment. Elsewhere, the active members (as they returned from the military or just prior to their enlistment) released the special album Hour Moment and the single Beautiful Pain, kicked off their own solo careers, formed a subunit (BTOB 4U, consisting of Eunkwang, Minhyuk, Peniel and Changsub, and debuting with Show Your Love), participated in Kingdom: Legendary War and released a special mini-album as quartet under the BTOB name with Outsider. BTOB also lost a member, Illhoon, who left the group in 2020 due to his drug use controversy. Needless to say, we have been well fed in terms of BTOB releated activities despite have no full group comebacks.
BTOB returns with a ballad, the genre that skyrocketed them to success and was the genre of some of their biggest releases since debut. So there is a familiarity and nostalgic feeling from The Song that reminds me of the good old days for the group. Aside from that, The Song is quite a beautiful piece. I liked that The Song didn’t fall into the trap of having a typical instrumental of classical instruments. We have had a few pieces in the past from BTOB, so it was great to get something a bit different this time around. It is still relatively typical and plain, but I appreciate the different yet familiar direction the band elements (drums, electric guitar etc.) of the instrumental steers this song towards. Other than the backing, the main focus point of The Song (and any ballad) would have to be the vocals though. And BTOB sounds amazing in this song. That nostalgia that I mentioned initially comes through via the vocals and rapping, and I liked how the rappers (i.e. Minhyuk and Peniel) incorporated their parts into the song without breaking the song. That is what I love about BTOB’s ballads – they are just experts at blending rap sequences into their ballads, especially when you think they won’t be able to do so this time around. The harmonies in The Song also make it spectacular. I am bit a disappointed with the lack of memorable melody though. I feel that their previous ballad hits that they promoted always had a melody that everyone got into and made the song appealing. While their voices captivating, the melody we got in The Song didn’t really evoke thought out of me, nor did it repeat in my head after the song. Maybe a few more listens could help develop the melody for me, but I just don’t think it is there to begin win. Overall, another great ballad under BTOB’s belt.
The song is all about wanting to be with their fans once again, with the lyrics name dropping a number of their past tracks. With that in mind, the music video brings together the different members who are all alone and in different locations, so that the members can deliver that message to their fans, as we see by the performance on stage at the end of the video. It is the reality of the last few years, as they had to split up for their military enlistment and do solo or unit work rather than a full group comeback. I like how as they come together, they return to Eunkwang’s residence, who for those who don’t know is the leader of the group. I presume the letters that we see throughout the video is a representation of the fans, given that the Melodies (BTOB’s fandom name) fanclub colour is ‘Slow Blue’ and the stamps (and letterbox) were of this colour. It is a touching video, with a beautiful landscape in the background, as well.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
KPOPREVIEWED 