Category: Reviews

[Review] Anthem of Teen Spirit – EPEX

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A new week means new comebacks. And starting off this week is EPEX, with Anthem of Teen Spirit. This is the title of the group’s latest comeback and the title track of the group’s third mini-album, Prelude of Anxiety Chapter 1. ’21st Century Boys’. Anthem of Teen Spirit comes after the group’s debut with Lock Down and Do 4 Me comeback, all of which occurred last year.

Anthem of Teen Spirit has all the hallmarks for a standard intense dance track. The key word in that statement is ‘standard’. Unfortunately, for the most part Anthem of Teen Spirit was pretty generic. You have to get through the first verse and first half of the first run of the chorus to get to anything worth talking about. And since this was the case, Anthem of Teen Spirit was a bit bland from the start. The opening verse didn’t have much going on, and the first half of the chorus has that stock standard shouty nature to make the song seem edgy. The hooks here are pretty shoddy here, as well (i.e. ‘Click, Clack, Brrr, Like‘). The instrumentals were also pretty generic and doesn’t score points for innovation. However, Anthem of Teen Spirit takes a turn from the second half of the chorus onwards. The ‘Brom pom pom‘ caught my attention for fully encapsulating that intended intense nature of the song within a span of two seconds. Highly effective, if you ask me. It doesn’t make up for the start, but it is a sign that Anthem of Teen Spirit is heading the right direction. The chorus is then followed up with some really fast rapping that left me impressed. Powerful rapping also featured in the bridge, and my impressed thoughts extended to the bridge as well. I also like how the instrumental intensifies in the bridge as well, creating a nice and satisfying peak to the song. Overall, the generic nature of Anthem of Teen Spirit outweighs the positive aspects of the song. But it does get better as it progresses along.

My thoughts on the music video also follow a similar pattern. The video is dark, suitable for an edgy sound. But this one is just dark. You are pretty much thrown into this world without any context. Some of the members are being hunted by other members, but for an unknown reason. My best guess is that this whole video is based on a fight between two members. But it is unclear. Ambiguity is good in some case, but not when it leaves question marks throughout the whole video about what is going on. I also question the dance set with the diamond fixture, but with a more curious demeanour. Its intriguing and could be a symbol that represents one side of the members. But once again, it is unclear. However, it does look cool.

The choreography portion of this comeback fairs the best. I liked how powerful and intense the stage looked, and it also helped translate to a better listening experience. The moves during the ‘Brom pom pom‘ hook was cool and best part of the performance.

Song – 6.5/10
Music Video – 6/10
Performance – 7.5/10
Overall Rating – 6.6/10

[Review] LOVE DIVE – IVE

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In December 2021, IVE made their debut and took the industry by storm with their first single, ELEVEN. Four months on, the monster rookie group is back with their first comeback, LOVE DIVE, which dropped earlier this week. The group surely has some tough competition this week, but they are definitely have proved that they can hold their ground on the charts.

My first listen to LOVE DIVE yielded a very bland response. I just wasn’t feeling it the first time around. Not entirely sure why, but maybe I was feeling a bit off that day or I didn’t pay close enough attention to the song. But that response was short-lived, as I was reaching for the replay button after my second listen to LOVE DIVE. A lot of LOVE DIVE ended up appealing to me. It felt just as catchy and momentous just like ELEVEN, but it was more subtle and lowkey, whilst also taking on a mature and darker profile (compared to their title track). I also felt that a lot of the different segments of LOVE DIVE were quite dynamic, textured and robust in their own right. For example, the opening verse left a strong impression on me (just like how ELEVEN‘s did); the ‘Narcissistic, my God I love it‘ line was super memorable and impactful (and I quite enjoyed the subtle knocking sounding that played during this part); and the choruses’ ‘Woo‘ was smooth and ambient. These sections do repeat themselves, but they still felt fresh the second time around. LOVE DIVE‘s weakest point, but not by much, was the instrumental break we get in place of a bridge. While I liked the whispery vocals and the light but consistent percussion, that constant alarm-like whistle just didn’t work right for me. The part did need something there to fill the void, but the chosen sound just didn’t cut it. Once again, there were strong vocals from the members, with some of my favourite moments already mentioned above. Overall, LOVE DIVE is a strong addition to IVE’s portfolio that adds to the groundwork laid out by their debut track.

The music video was fun and worked well with the song. But there was not much of a personal connection to really ‘pull me’ into the song. For the most part, the video showed images of the members enjoying their time and hanging together. I didn’t really get much else of the video. The song had a strong independence message, with the lyrics portraying how one should dive into love anytime if they have the courage to love (description taken from SOOMPI). I would have liked to see that better reflected in the video. The good thing was their choreography shots showed us confidence and power, which aids with the first bit of the song’s description.

The entire performance for this comeback is top notch! I liked the entire look and feel of the choreography. It showed off the charisma and stage presence of the group extremely well, with this being felt strongly during the dance break section of the performance.

Song – 9/10
Music Video – 7.5/10
Performance – 10/10
Overall Rating – 8.8/10

[Review] Glitch – Kwon Eun Bi

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Also making her comeback earlier this week was Kwon Eun Bi, who returns with her new single Glitch, and mini-album, Color. This is Kwon Eun Bi’s first comeback, following her solo debut with Door in August of last year. Since then, the former IZ*ONE member/leader also released a single titled ESPER (which I highly recommend you listen to as it is an awesome dance track) for Universe Music and UNIVERSE mobile application.

The instrumental for Glitch takes on a ‘glitchy’ approach, which felt extremely appropriate for a song titled as Glitch. What I like about this glitchy approach is that it isn’t contained to just one part of the song. Instead, it run as a common theme throughout the song, making the entire 3:45 minutes a unique and aesthetic listen. Glitch is described as having ‘neuro bass sounds’, which itself is a unique sound in KPOP and unexplored territory. The latter description of Glitch having a ‘minimalist start and a dynamic second half’ was quite accurate as well. The start had minimal instrumentals, yet it was still textured enough to give off an interesting vibe. The funky underlay to the instrumental provided momentum and the buildup to the chorus was extremely satisfying. As for the chorus, I quite like the consistent beat, followed by return of the upbeat and funky instrumental that is slightly amplified to help give the centrepiece a bit more definition. From there, the dynamic nature of Glitch is stepped up, with an abrasive turn in the instrumentation for the second verse, before a turn towards dubstep-like territory at the end in a successful last ditch effort to incorporate some energy to Glitch. You don’t really expect these turns and changes in sound, so Glitch definitely keeps on your toes. As for Kwon Eun Bi herself, I liked how light she kept her tone and vocals throughout the song, contrasting really well with the bass of the instrumental. It also came off as striking, and helped increase the uniqueness to the song. If anything, I wished the song had more hooks, just to make it even more memorable. But as it is, Glitch is already quite memorable already.

As for the music video, the glitchy effect comes through in a visual sense thanks to the post-production. It makes sense that they also went in this direction for this music video. But I like how it the video wasn’t just an overwhelming amount of just post-production that made the video look cool. There was actually really promising shots and cinematography throughout this video. Some of the choreography shots relied on a glitchy background displayed on the big screen, and I liked the subtle yet prominent blue colour theme in this video. Kwon Eun Bi also looks awesome and very pretty throughout the video, with her outfits showcasing an awesome sense of style.

Not exactly sure if this choreography would be described as tutting, but there were some moves that reminded me of tutting, in general. But for the most part, the performance was more delicate rather than sharp (with the latter being a hallmark for tutting). But the delicate nature was also offset by a strong attitude vibe, which helped make the choreography and Kwon Eun Bi sleek and confident. The dubstep part also looks powerful.

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

[Review] Grey Suit – Suho (EXO)

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Starting off this week is SUHO, who makes his long awaited solo comeback with Grey Suit, the title of both his second mini-album and title track. This is the first time we are hearing from SUHO after his solo debut back in 2020 with Let’s Love and Self Portrait. Following his solo debut, SUHO enlisted into the Korean military and recently completed his civic duty back in February of this year.

I quite enjoyed Grey Suit as it is. The slow and soft rock style of the song is totally up my alley. And I found that there was a lot to like about the song. Within Grey Suit, SUHO showcases divine yet emotionally loaded vocals that are just so captivating. Within the delivery of Grey Suit, I found that SUHO brought a hint of huskiness to some parts of the song to give it a really welcoming texture, while there was also a presence of a higher tone during the bridge and chorus that sounds charming and heavenly. All of which helped emphasise and reiterate the pleasant side of Grey Suit. The melodies in which SUHO brings to life in Grey Suit are drifty and gives off that swaying effect I commonly refer to when I review ballads. As for the instrumentation, I liked how it clearly differentiates the different parts of the song by amping up the background and playing with the intensity. It is quite appreciable, especially when there are a number of recently released songs that blur the different parts together (in some case, too much). I guess it is the small things that ultimately win me over. I did feel that Grey Suit could have been a bit more adventurous. I did notice that there was some backing ‘spoken words’ that resembled a bit of rapping for me. I think this could have brought an interesting dynamic to the song and given Grey Suit a bit of uniqueness. But overall, a nice track.

There really isn’t much going on other than SUHO feeling grey throughout the entire video, which is the whole point of the song. I quite liked the idea of the closet full of grey suits. Your outfit is where you would bring out the colour from within you (i.e. your mood, your personality etc.), and grey is usually a used to depict emptiness and plainness. To reiterate the emotions he is feeling, I noticed that the colours are glitchy around SUHO at first, to represent the conflicting emotions. But this also suggests that it is something that can be changed and it is most likely one’s outlook is preventing from experiencing the colours again. At the end of the video, when SUHO escapes the wardrobe, you will notice the colour is consistent and confirms that he had moved on from post-breakup emotions. I also like how they managed to also bring the band into the video, which works extremely well with the rock sound.

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

[Review] memeM – PURPLE KISS

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Another group to make their comeback this week was PURPLE KISS, who returns with their third mini-album and title track, both titled memeM. This is their first comeback, following their debut with Ponzona early last year and Zombie comeback in September of last year.

memeM feels like it is a song that sounds like it has been done elsewhere in KPOP before. It feels familiar, but not nostalgic as I mentioned in my last review. Rather, it is more typical. And this is the case of most synth heavy dance tracks in KPOP nowadays. Of course, there is the odd release that I like as it comes off as fresh. But for the most part, songs like memeM don’t really offer anything new to the playing field. At least the producers of memeM and PURPLE KISS were able to infuse a few elements that gives the new song some uniqueness and individuality. Such elements include a unique repetitive hook, the ‘Look at my eyes, Deep inside...’ line over no instrumentation that opens up the second verse and, interesting vocal textures and deliveries (which includes that soaring high note). Whether they are enough, I can’t be 100% sure. Talking about vocals (which also leads onto their rapping), I did enjoy how powerful the members were throughout memeM. This helps creates a powerful tone and adds onto the already powerful nature of the metallic and clangy instrumentation. One thing I thought was a massive letdown to the song was the ending, in particular that weakening/winding down ‘memeM‘. After such power and energy in memeM, the ending just weakens the integrity of the song for me. Overall, a fair comeback. Though I wish to see more individuality from the group.

I was amazed with this music video. The spinning mirrors during the first dance shot, the floating black orbs and the other dance shot with the arms in the background (which zoomed out was inside a statue’s head) was super cool. I would love to see more of this imagery in future music videos. The closeups help give off an edgy vibe, which suits the powerful nature of the video. Other post-production edits applied to the video made it look cooler. Overall, I am impressed with this music video.

The choreography looks good, as well (based on what I can see in the music video). I like the intensity, edginess and darkness they infused into the choreography. It matches the powerful nature of the song and shows off their performance skills.

Song – 7/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] JAWS – BAE173

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Coming back earlier in week was BAE173, who returns after almost a year with their new single JAWS and mini-album, INTERSECTION : BLAZE. Very little has happened since their last comeback, Loved You, as far as I can remember. Let’s hope their next comeback is a quicker turnaround. But until then, here is my review for JAWS.

Loved You earned high praises from me thanks to the nostalgia it had. I ended the song section of Loved You‘s review with the statement ‘… putting them on the radar for new artists to look out for…‘. Well, I hate to say it, but I have since scrapped that thought. Not only didn’t they make a second comeback in 2021, they chose JAWS as their next main track. JAWS doesn’t really offer anything new to the music scene in KPOP. Their last comeback also didn’t offer anything new technically, but at least it had nostalgia. JAWS didn’t even have that. Instead, it is a very boring ‘noisy’ track. Emphasis is placed on the ‘boring’ part of that description, because it has such a profound effect on the song. For example, the intention of a song like JAWS is showcase the group in an edgy light. But the boring nature of the song just doesn’t let it get through. The synths are pretty lackluster. I noticed that the producers used the same main synth (the mechanical-like whirling) throughout the verses and chorus to different degrees, and then employed very typical trap and percussion to fill out the rest of JAWS. Not really groundbreaking or exciting stuff. The shouty nature of the chorus (and the chant half of the bridge) also don’t add much value to the song in terms of excitement or hype. As JAWS was a hip-hop song, it was quite heavily focused on the rapping. For the most part, the rappers sounded fine in the verses. A more dynamic instrumental would have helped enhance their parts. The vocal moments were the most promising aspect of JAWS, with those moments at least giving me something interesting to sink my teeth into. Overall, a disappointing comeback track.

Another video you can tell from afar was shot with a small budget. But I liked the simplicity of the video. The locations were good, and they played with the white background with coloured lighting and filters to make it feel different. I also like the application of the green colour to the background of the helipad. To make the video appear edgier, there were glitchy effects added post-production. I personally didn’t mind them. However, I felt the comic-like images they added to the video detracted from the goal and made the video seemed childish.

I liked the edgy vibe the performance gave off. along with the synchronisation of the choreography between the members. The intensity during the chanty half of the bridge was top notch!

Song – 6/10
Music Video – 7/10
Performance – 7.5/10
Overall Rating – 6.6/10

[Review] Real Love – Oh My Girl

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Also making their comeback on Monday was Oh My Girl, who returns with their second full length album as well, titled Real Love. The title track for their promotions this time around also shares the same name. This is the group’s first comeback since the release of Dun Dun Dance last year.

Real Love comes off as a mixture of their more recent releases (i.e. Nonstop and Dun Dun Dance) and the sound in which that got them into the spotlight (i.e. The Fifth Season and Secret Garden). To me, the chorus reflects that upbeat side of the group. Chirpy and feel-good is how I would describe the centrepiece of Real Love. Everything within it (i.e. the brass and the vocals) were extremely pleasant and has a nice delicate feel to it. I did wish the choruses were a bit more fleshed out, with a longer sequence to give the melody a bit more room to grow. As for the verses, they align with that sophisticated side that I associate with the sound in which got them into the spotlight. But instead of a fairytale-like approach, Real Love adopts more of a mature level of sophistication, which makes the verses so much more interesting. The vocal work in the second verse in particular was quite striking, while the instrumentation was sleek and bouncy. The weakest aspect of Real Love, for me, was the bridge. It literally felt disjointed from the rest of the song. And while the slow down was pretty, it felt a bit too drawn out for my personal taste. In some good news, Mimi’s rapping here was quite good. Also not a fan of the abrupt ending. Overall, Real Love is not a song that I have fallen in love with, but it still a nice addition to Oh My Girl’s portfolio of great songs.

The music video is extremely pretty. From the outside shots to those shot inside the studio in front of our good friend the green screen, everything looked spectacular. Their visual game was on point, and their dresses and outfits worn throughout the video looked amazing. They also added a nice splash of colour to the video. Yubin’s (formely Binnie) blue dress and headpiece was probably the best look in this video. But aside from visuals, there really isn’t much else to this video.

The performance was quite good. I liked every second of it. The moves were either graceful, pretty, fun or mature, depending on what the music was beckoning at that particular second. My favourite move was the sharp movements when Hyojung sung in the opening chorus. Talking about the chorus, I like how each chorus was different in the performance, giving the stage variety.

Song – 8/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.2/10

[Review] Glitch Mode – NCT DREAM

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After a mini-break from tiredness and feeling unwell, I am back to finally review the new releases that started off this week. First up is Glitch Mode, the title of both the lead single and second studio album from NCT DREAM. Without a doubt. 2021 was an extremely big year for the NCT subunit, who returned with their Hot Sauce and Hello Future hits (along with participating in NCT 2021 promotions). It is definitely going to take a lot of work to replicate or even exceed the success of their 2021 promotions. But it appears that NCT DREAM is already outshining their last comeback, with reports that Glitch Mode has already outperformed their personal records for best first day sales and pre-ordered album sales.

I found Glitch Mode to be an alright song. Not too bad, but not that great either. I found the instrumental of Glitch Mode to be lacking substance and oomph. Described as a hip hop dance song, there were some good moments within the instrumental, such as the retro arcade accompaniment they had in the pre-chorus section and the awesome/powerful sounding rock-based dynamic dance break (which was the highlight of Glitch Mode for me). However, the rest of the instrumental felt mediocre and boring. Had there been that substance and oomph as mentioned, Glitch Mode‘s instrumental could have been more fulfilling. But sadly, the version we got was not the case. This issue then flows onto other elements of the song, such as the rapping, which needed that oomph to be more powerful sounding. The vocals, on the other hand, faired a bit better. But they too could also have been enhanced by what I mentioned already. As for the chorus, I don’t mind it as much. Sure, the shouty nature is becoming a cliché for them. But in the first half of the chorus, I thought it was fine. I just wished they changed it up in the second half of the chorus to be a bit more melodic and vocally driven. That would have made Glitch Mode more interesting. Overall, Glitch Mode wasn’t as exciting as I hoped it would been, but it was a fair comeback nonetheless.

Compared to the song component of the comeback, the music video receives a better review from me. I liked that despite the group went with a video game store concept for this comeback, they managed to incorporate the ‘glitch mode’ that they sing/rap about in the song when you are in front of the person you like. It adds an extra level of depth to a pretty random setting that I didn’t think was possible for this video. The icy end to this video was also bit random, but I guess we can say it is a ‘glitch’. I also liked how their outfits complimented the colours of the scene, which helped make the video look visually appeal.

I quite liked the glitchy party of the choreography, which really shows off their dance skills. They made it look so clean. It is quite clever and probably needed a lot of hard work to get it right, but it pays off. On a side note, Chenle is unfortunately unable to fully participating in the comeback due to an injury. A performance of Glitch Mode released today saw him edited/incorporated into the choreography poorly. I wish that if he is part of the stage performances, that they better incorporated him into the routine (like Felix in MANIAC).

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

[Review] Too Bad – WEi

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Last week’s reviews aren’t over just yet. Today, I will be reviewing WEi’s comeback track, Too Bad, which was released last Wednesday. It was dropped alongside the group’s fourth mini-album since debut, Love Pt.1: First Love, which appears to also be the start of a new series. This is the group’s first comeback since last year’s BYE BYE BYE and Kim Yo Han’s solo debut with DESSERT earlier this year.

Too Bad delves deeper into the upbeat pop side of the group that was previously explored in their last comeback by taking on more of a bright bubblegum-like profile. The repeat listens (well, it has been over a week since its release) I have given the song should be thanked for helping make me enjoy Too Bad more. Now, Too Bad comes off as pleasant and fun number to enjoy. There are a few drivers of this. Firstly, the melodies and vocals have this Goldilock’s ratio to it – not too slow, not too fast, not too heavy and not too light. Just right. The ad-libs at the end were just what the song needed at that exact moment and its presence was very much appreciated. Secondly, the lightness of the overall track. All of which contributes to the pleasantness of Too Bad. But to ensure the song isn’t too light, Too Bad also features some hefty rap sequences that do not depart from the pop sound as much. I liked this balance and allowed doesn’t distract from the true essence of the song. The instrumental was a nice mix of guitar and percussion, creating an enjoyable atmosphere that gives of Summery vibes, especially towards the end of the song. I guess Korea is heading for Summer very soon (as I am heading full speed ahead for Winter) and WEi is preparing us for that. The lacking aspect of Too Bad was the hooks. Nothing substantial came from it, and the song relied more on the other aspects that I have praised earlier in this section. Had the hooks been more pronounced, profound and memorable, Too Bad would have been a smashing track with ultimate balance.

As the music moved towards the bubblegum side of pop music, the members showed a sweeter and cuter side of them in their vocal work. And that, without a doubt, was also reflected in this music video. Usually, I would not have enjoyed the video as much for its direction. But the music video for Too Bad was actually decent to watch. The acting wasn’t terrible or overly exaggerated (though I kind of wished they were fanboying over the girl in a more discreet fashion/location and not like two steps away from her). It was also quite colourful, but I liked how they also incorporated a ‘dark’ atmosphere in this video as well.

I think the choreography was the element of this comeback where their image change became a reality for me. The cutesy vibes and youthful charms are turned on completely for the stage performances, with the members having great camera chemistry. The fun atmosphere was in full effect as well. The dance moves, on the other hand, weren’t anything amazing.

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

[Review] O – VERIVERY

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Today’s comeback is courtesy of VERIVERY, who returns after seven months with a brand new single album, SERIES ‘O’ [ROUND 0 : WHO]. Leading this single album is the title track, O. This comeback comes after the group’s August 2021 release TRIGGER and Series ‘O’ Round 2: Hole. Since then, the group been fairly busy embarking on their U.S. tour at the end of last year. Like other comebacks, VERIVERY’s comeback has also been affected by COVID, with members testing positive in the lead up to today.

O delves into the R&B side of music, subsequently adding a bit of diversity to VERIVERY’s portfolio of title tracks, which have been more electronic/synth base. It is a bit of a shakeup from what I know of VERIVERY (which is mainly their title tracks), but I quite enjoyed O. The main reason is that O is simply a solid track from start to end. The instrumental was straightforward, with no distracting synths or anything overwhelming coming from the background. It is just R&B, with subtle sensual vibes when it came to the chorus. The melodies gives off this swaying effect that just suits the genre and I think the members did a grand job at delivering this effect. Elsewhere, the vocal work was solid, as well. I did wish the vocals were more emotive, given the misery and sadness that is depicted in the lyrics. This would have made the O more captivating and effective. The rapping was form fitting for the R&B genre and I quite liked it. I kind of wished there was a bit more rapping in the song, just to give O a bit more variety. The hook was probably the most subtle element in this song. I kind of get why O did this (i.e. the genre), but it lacks memorability and hence I don’t really remember O for its hooks, but rather the execution of the R&B genre.

Based on the official description of the music video and comeback, O is the prequel of the events of SERIES ‘O’ series. But aside from that, I am not entirely sure how this video is necessary connected to the events of the other music videos (Get Away and TRIGGER). I guess that will require a proper sit-down and a close re-watch of the music videos. Standalone, however, this music video was pretty good. I really liked the cinematography in this one. It made the video extremely captivating to watch. The lighting to the focus on the action (rather than the members) in some shots, everything just looked top-notch. The members’ acting throughout was also another positive aspect. They did a really good job and showcased the emotions that are depicted in the lyrics really well. You could feel their struggles and hurt just by watching the video. Overall, a music video that was worthwhile to watch.

The choreography looks fitting for the R&B song. Unfortunately the shots were extremely brief in the music video, but I did see a few body waves (which is a no brainer when it comes to R&B genre). So I might return to make some more observations/thoughts once we get a comeback stage.

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

[Review] Adrenaline – CRAVITY

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Returning today is CRAVITY, who drops their latest single Adrenaline and their second half of their first studio length album, Liberty: In Our Cosmos. Originally, promotions for this album was meant to occur in February, however the group had tested positive to COVID-19 days before their scheduled return. This lead to the postponement of comeback by a month to today. It is their first release since last year’s The Awakening: Written in the Stars (the first half of their first studio album) and the tracks Gas Pedal and VENI VIDI VICI.

Adrenaline steps away from the sound profile that the group has worked with their last few comebacks – the ‘noisy’ electronic hip-hop, which was either a hit or miss for me. Instead, Adrenaline steps into the very familiar territory of funkier area of electronic music. While there is some nice energy to the song and the funky touch is always a fun element to have in a song, Adrenaline is a bit tame and doesn’t really offer anything new. If the group found some sort of balance between their old sound and this sound, I think Adrenaline could have a lot of potential. The hooks to Adrenaline could have also been more memorable and catchy. That way, the song would have been more appealing and potential more exciting. But for now, I find Adrenaline to be brewing from the same pot as every other pop song. That being said, however, Adrenaline is a lot smoother with its melodies and textures, which elicit a pleasant vibe. The vocals work was neat and pleasant, but nothing really great stood out for me. The rapping faired better, as their sequences had this underlying edginess and suspenseful nature that worked extremely well with the funky instrumentation and gave good drive to Adrenaline. And so the rappers really popped out in this song. I did like the additional electronic synths they added to the end of the song. It wasn’t much, but it refreshened up Adrenaline enough to not be repetitive. Overall, Adrenaline comes as a relief from their more recent harder hitting singles, but ultimately lacks much personality from the group.

The pop sound seems to be re-emphasised with this music video, which takes on a school boy concept. The bright colours and atmosphere is pretty typical for similar songs of the pop genre, and the school boy concept is a bit cliché. I don’t have much else to say about the video, unfortunately.

The choreography looks fine. Nothing really stands out for me, but that didn’t mean it was a bad one. There was a good energy, fitted in well with the upbeat vibes and I liked the flow of the choreography that we saw in the music video.

Song – 7/10
Music Video – 6/10
Performance – 7.5/10
Overall Rating – 6.8/10

[Review] Feel My Rhythm – Red Velvet

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Also making their comeback at the start of this week is Red Velvet, who returns with their latest mini-album The ReVe Festival 2022 – Feel My Rhythm, a sequel to their The ReVe Festival series (featuring Zimzalabim, Umpah Umpah and Psycho) from 2019. Headlining the new release is the title track Feel My Rhythm. It follows their promotions for Queendom from last year.

There is a bit to unpack with Feel My Rhythm. The song comes off as a mash up of both their ‘Red’ and ‘Velvet’ side. That is, their more energetic and colourful side vs. their softer and mature side (respectively). The ‘Velvet’ side of the song makes its presence known first with it being samples of Bach’s Air on the G String orchestral piece. The ‘Red’ side makes a presence shortly after, coming in the form of the metallic twing and twangs, percussion and the modern aspects of Feel My Rhythm. For the most part, the two profiles compliment well with one another. There were moments in which the ‘Red’ side overly dominated. And while I did not mind one side dominating over the other, these moments (say the instrumental to the rap verse and the bridge) were slightly overwhelming. The group’s vocals were very delicate and soothing in the song, despite what the instrumental had going on. Their higher tones sounded heavenly, and I liked how the members were able to harmonise alongside the melodies of the samples from Bach’s infamous piece. The rapping was a bit of a sore point in the song, particularly in that second verse and that glitchy part of the bridge. It is the case where it felt either too long or just awkwardly inserted in between two great parts (respectively). On the other hand, the first rapping part in the bridge provided a nice touch to help propel Feel My Rhythm towards the peak. Overall, I liked how Red Velvet stayed true to themselves with Feel My Rhythm, utilising both side of their artistry. However, that doesn’t stop me from having a mixed bag of feelings towards the song.

The music video is quite interesting. I am not entirely sure what it showing, but there is definitely a story of some kind that ties together all the spectacular visuals we get of the members. Some of the shots of the members gave me creepy vibes and those birds (no matter what colour) were very terrifying to watch. But I am all for this because it made the video captivating. I also like the sketch filter they had going on with the start and start of the final chorus. It looked cool and felt like the story came from some picture book (probably did, for all I know).

The choreography shots we saw in the video shows a refreshing vibe and delicate set of moves that compliments the song. This plays towards the Velvet side of the song I mentioned, which I personally think was the suitable choice for this song. It also follows nicely from their Queendom comeback last year.

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

[Review] DAYDREAM – HIGHLIGHT

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It is a new week, with all new releases and comebacks making their way to us. First up this week is HIGHLIGHT’s return with DAYDREAM, the lead title track and the title of their 1st (or their 4th, depending on how you look at it) Korean studio album. For those who are wondering why ‘4th’, HIGHLIGHT released three studio length albums under their previous group name BEAST, with their most recent one dropping in 2016 (Highlight, featuring the title track Ribbon). This is their first comeback since their 2021 release of The Blowing and Not The End.

As it stands, DAYDREAM sounds like your typical dance track. Nothing more, nothing less. It is not a bad track, but it just doesn’t really offer anything new to the string of new releases we have been getting or the music scene nowadays. The verses were rather plain, so much so that it ironically makes me daydream/lose focus from the song (I blame this more on the instrumentation though). There are a few good aspects of DAYDREAM that manages to push the track into likeable territory for me, and so I don’t find the song to be as boring. For example, I quite liked the heavy punches that the chorus instrumental gives the song. It definitely wakes you up and gives DAYDREAM into a dynamic profile. The stripped back and suspenseful start to the final chorus, even though is a technique found commonly throughout songs released over the years, was actually my favourite part of the song. As for the vocal work, HIGHLIGHT did a great job. They were quite emotive, which worked well with the lyrics of the song where they express their desire to not wake up from a daydream to face reality of life without the one they love (taken from SOOMPI). The melodies were pleasant and enjoyable. I just wish DAYDREAM was a lot more appealing else going on in the other sections that I didn’t find as engaging or have not mentioned. Maybe a bit of rapping could have spiced up DAYDREAM.

Seeing HIGHLIGHT in whatever form, whether new or old, is quite nostalgic. And this music video is no exception. I liked their visuals and the various closeup shots they had in the video. The sets and scenery looked cool and visually appealing. However, the music video is simply just that and choreography shots. I did notice some visual effects in the video, which I presume is to give off a daydreamy effect. But I don’t think they hit the mark, at least in my opinion.

The choreography looks good. I liked the looks of the chorus routine and how it matches with more upbeat and charged sections of the song. I am interested in the snippets of footwork. I doubt they would be as iconic as their 2011 Fiction release, but I had a bit of a throwback vibe thanks to what I saw in the music video. Not exactly sure what the slower moments of the track would look like, but I presume there will be some contrast to hopefully make the chorus pop out on stage.

Song – 7/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] MANIAC – Stray Kids

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The comeback that finished off the busy week (but not the list of reviews of songs I intend to cover from the past week) belonged to Stray Kids, who returned with MANIAC, and their sixth mini-album, ODDINARY. This comeback follows Thunderous/NOEASY and their Japanese comeback single Scars, (which the group re-released in Korea as part of their SKZ 2021 compilation album). Unfortunately, their album promotions this time around has hit a speedbump, with some members testing positive to COVID-19, joining a string of comebacks and debuts that have been affected by the pandemic. At this stage, the members are all isolating and I presume (provided no one else test positive), Stray Kids will be back on stage shortly to continue promotions.

Right off the bat, I will say that MANIAC is not my favourite Stray Kids track. To me, it lacks the same flair and intensity that their other comebacks thrived on and is not as adventurous. But while Stray Kids does take a bit of a different approach with MANIAC and the fact that I am not heads over heels for it, MANIAC is still a great song. It still has some of the tropes that I would say are associated with Stray Kids, including noisy instrumentals, some boldness and a killer hook when it comes to the chorus (more on this in a bit). It also conforms to the current trends, with a funky tone hidden in the midst of the noisy instrumentation. The instrumental features various sound effects like birds tweeting and drills, which I thought were cool additions to the song. Very different in terms of connectivity, but definitely attention grabbing over the rest of the instrumental. As mentioned earlier, MANIAC doesn’t have the same intensity (that being said, there are still enough intensity coming from the song’s rap segments). But this allowed the group to showcase more vocals, balancing out the rap vs. vocals competition that I think is sometimes occurring in Stray Kids’ title tracks. I liked how the vocal moments felt clean, particularly the bridge of the song. As for the chorus, it was an impressive one. Felix and Hyunjin really stole the show with their MANIAC opening lines, while Hyunjin (for the first chorus) and Lee Know aggressively follows up in the second half. Overall, MANIAC still has that powerfulness to it that is Stray Kids known for, despite holding back on some aspects.

What a music video. For the most part, it felt like the members were quite aggressive throughout the video (which fits the ‘MANIAC‘ concept). But the plot twist the end with Lee Know simply installing the picture frame (instead of threatening the screen with the drill, which is what Felix did for the first chorus) caught me off guard. I am sure there is a reason to why the video ended this way and a story underneath all of this. Aside from that, I was blown away by the post-production and editing. Piecing this video together would have been a crazy task, especially with the transitions and such. But it definitely made the video look cool. I really like the camera tilting effect when it came to the choruses, and how the world flipped upside down for the second chorus (alongside the drill sound at that moment).

Before the promotions were put on hold, Stray Kids did film a few performances for MANIAC. And they are proof of another show-stopping and captivating performance from Stray Kids. It is so good that I cannot wait for them to return to the stage once again! Felix seems to be injured, which prevented his full participation in the performance. But I liked how they still weaved him into the performance. The sharp spin alongside the drill sound and the head screwing move was super amazing as well (‘blew my mind type’ of amazing).

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

[Review] HONEY – Solar (MAMAMOO)

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Solar also made her comeback this past week with the title track HONEY and first mini-album, 容: Face. HONEY follows MAMAMOO’s main vocalist’s solo debut from two years ago, Spit It Out.

Like the other solo acts who returned last week, Solar’s return is also of the upbeat variety. This didn’t come as much surprise to me however, given the likes of Spit It Out. HONEY jumps out at me thanks to its dynamic house instrumental. In addition to this, HONEY also thrived on different textures. One segment was minimal, another was smooth, and then really heavy on the thumps. This, to me, made it appealing and striking to listen to. The brass following the chorus was a nice addition, adding a fun vibe to the song. Of course, Solar also plays a big part in making HONEY appealing. Aside from co-penning and co-producing song (obviously a big player in the existence of this song), Solar’s vocals were pretty neat throughout HONEY. I personally thought she did a good job of reflecting that dynamic nature and energy of HONEY through her mixed deliveries and vocal colours. Sure, it might not yet be the showcase of powerhouse vocals that I am sure many of us are waiting from Solar, but it worked well with the instrumental. The hooks and melodies we get helps make HONEY one of the catchiest and memorable songs from the past week, and they work extremely well in tandem with the instrumental. However, I am of the opinion that HONEY did not need rapping, however. The rap sequence in the second verse was probably the dullest segment of the song for me. But apart from that, HONEY was fun, likeable and one of my personal favourite releases of the week.

Another really great aspect of this comeback is the music video. The use of one colour for each shot made the video extremely visually appealing, striking and loud, just like the song. Solar’s visuals throughout the video was top notch, and her stylists put her in some really great outfits that really emphasis the colours that was the theme of the shot. Unfortunately, it isn’t an innovative idea. But Solar and the production team pulled it off, nonetheless.

For the performance, nothing really stood out on its own. But the entire routine was vibrant, which helped make the choreography worth watching. Listening to Solar sing live is always amazing, as well, given how stable she sounds on stage.

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

[Review] WHO – Moonbin & Sanha (ASTRO)

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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