Category: Reviews

[Double Review] Wings + Let Me Know – PIXY

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PIXY is next up on the reviewing schedule. And to date, I have missed both their debut and first comeback, so I will be reviewing them both here today! For those who don’t know PIXY, they are a six member female group formed through a collaboration between ALLART Entertainment (home to Park Jung Min, one of the members of the now inactive SS501) and Happy Tribe Entertainment (home of the currently inactive Boys Republic). The group consist of Ella (former member of Cherry Bullet), Lola, Satbyul (former member of GsA), Dia, Sua and Dajung (former member of SUPA). The members made their debut back in February with Wings and ‘recently’ returned mid-May with their first mini-album (Fairy Forest: Bravery) and the title track, Let Me Know.

First up is their debut single, Wings. Wings start out with very creepy whispering that really sets the scene. It is a very bold and intriguing start that brings forward horror and cult-like vibes. The rushed manner of this whisper felt like the member was inciting some sort of spell. As we move from the whispering introductions, the dance track becomes plain. Wings is essentially any other release out there that taps into the world of dark and angsty pop music. The instrumental feels familiar as a result and doesn’t really bring anything new to the game. And it is this that I didn’t pay much attention to it at first. I did like how the music continued the horror theme, however, giving the song that uniqueness to very well needed to stand out. As per most songs, casual listens have managed to snowball me into liking the song. What really grew on me was the shouty chanty style of the chorus. It might be overwhelming for some, but I felt it was what really sold me with Wings. It was addictive and felt very aligned with their horror concept for their debut. The final chorus was definitely set up to leave an impression, with the members sing-screaming their name over consistent percussion. It did, for me, at least. Elsewhere, their vocals and rapping were definitely shown off. Wings may not have started out as the promising debut. But it got there in the end.

Let Me Know faired a lot better initially, compared to Wings. While Let Me Know does fall more on the mainstream side overall, I think Let Me Know really nailed some aspects that I thought really helped me enjoy the song more. From the start, the song opens up with guitar riffs and complimenting synths. It isn’t as apparent here, but it actually become a refreshing piece in this song, especially following the chorus. I felt the vocals and rapping in the first verse alone already leaves a strong impression on you. If you feel the same way, then just wait for the rest of the song. The rapping in the second verse is a personal favourite of mine, along with the sweetness that the vocals in the bridge bring to the song). The pre-chorus brings in more percussive instrumentation that creates a great incline towards the chorus. I am a bit torn with the chorus, but I am leaning towards liking it at this stage. It takes on this brassy EDM style, which feels pretty standard and does also feel heavy-handed. I would have liked for something a little more vibrant and not so much heavy, like what we got here. I feel something more vibrant would have been a better fit for the song and the rest of the instrumentation in the verses. But it does have a level of explosiveness and definitely continues the momentum from the pre-chorus. Overall, Let Me Know does have an air of typicaliness to it. But it still shows off PIXY’s abilities, which increases my excitement for their future releases.

The music video for Wings earns big praises from me. The horror vibes we get from the song are translated extremely well into visuals for the music video. The start with the members in a corridor and the lights from the room flashing was very bold. Their black dresses, huge shoulder detailing and headpiece looked really fashionable and stylish as well! I also really liked the erratic nature of some of the scenes to match the erratic synths in the song, which helps give off that impression of going crazy. The crashing chandelier was also quite something. The members’ acting and facial expressions also needs to be acknowledged. The music video for Let Me Know is connected with the former music video, with flashes of Wings appearing throughout the video (although you blink, you will miss those flashes) and elements of Wings appearing in Let Me Know (i.e. flaming tree and butterflies). I would love to sit down and see what other connections there are. In a visual sense, Let Me Know has a bit more colour and mixes said colour with the black to create another stylish atmosphere. The closeups also highlight the visuals of the members and really helps create an aesthetic vibe.

Let Me Know impressively opens with five of the members holding up the last member with their legs. While it isn’t anything too crazy to execute, it is definitely a bold image to start your performance off with and it definitely got me intrigued to watch the rest. In addition to that opening, the animalistic side of the group comes out with this powerful choreography. For Wings‘ performance, I really liked how they didn’t hold back and their synchronisation made this a really strong choreography as well.

Wings
Song – 7.5/10
Music Video -10/10
Performance – 8/10
Overall Rating – 8.4/10

Let Me Know
Song – 8.5/10
Music Video – 8.5/10
Performance – 8.5/10
Overall Rating – 8.5/10

[Review] GRATATA – HOT ISSUE

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Next up on reviewing block for this weekend’s focus on rookie groups is HOT ISSUE. For those who may have missed the debut of this group on 28 April 2021, HOT ISSUE is a seven member female group (consisting of Mayna, Nahyun, Hyeongshin, Dana, Yewon, Yebin, and Dain) under S2 Entertainment. They kicked off their careers off as a group with the single GRATATA, and the mini-album, Issue Maker. Previously, like many of the new groups I will be covering today and tomorrow, some of the members participated in trainee survival shows such as Produce 101 China and Cap-Teen. Other members were part of pre-debut groups.

I liked the aggressive nature of GRATATA. It is bold and intense, which is what I do enjoy when it comes to some songs. And I liked how it was aggressive throughout. And this aggression really helped to show off the rappers, who really showed off their skill set with their robust delivery. To offset the intensity and angry energy of the song, GRATATA opts to include vocal-centric pre-chorus. It gives the song a moment of piece, before GRATATA comes swinging again for the chorus. The vocals here are quite good. Just within the first verse, the members of HOT ISSUE have already established their skills and talents. And while the chorus has this bombastic feel (thanks to the pre-chorus), the lyrics are what I would consider to be the song’s misstep. The English that was used was extremely reliant on onomatopoeia and didn’t make much sense. While the chanty style and vibe that comes of the English is great, I cringed at its use. It is hard to take the song seriously following such a chorus. Following the second and final chorus was this heavy electronic instrumental sequence that I thought was a great distraction away from the chorus. It continued the same momentum of the chorus just that bit further and gave the song an even more dynamic touch. The bridge opts for the same vocal-centric pre-chorus sequence, which I thought was a little disappointing. I wished they changed up the sequence further to keep the song dynamic in that way. But that is only a minor issue compared to what came about the chorus. Overall, GRATATA was heading in the right direction in terms of energy and atmosphere. It was also a strong song to debut with, as it showed off the members’ ability. If only the chorus didn’t make me cringe.

The visual game within this music video was very strong. I did like the sets that were used for the closeups and choreography. I particularly thought the set which had the flowy silk over their heads to be quite cool. I also like their black, white and silver approach to the colour palette of this music video. It felt very industrial which also bumped up the cool factor of the video. The lighting was used to infuse a bit of colour, which I thought was clever. But overall, not much else to this strong visual music video.

With references to snipers and shooting in this video, there was a lot of sniper forms throughout the choreography. I also liked how they transferred the bombastic nature the chorus to the choreography, as well. Other than that, the moves were bold and intense, reflective of the song. I also appreciate the synchronised nature of the performance. It made everything look so much more polished.

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

[Review] Vanilla – LIGHTSUM

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As previously mentioned, I will be focusing on newly debuted groups this weekend. I tend to pass over these groups for more well-known and established groups who I am personally more familair with. But I do still keep my ear open for new groups And I have selected 4 new female groups to focus on today (ambitious much, we will see). First up is LIGHTSUM, which is a newly formed group under Cube Entertainment, the home of BTOB, CLC, Pentagon and (G)I-DLE. LIGHTSUM is an eight member female group consisting of Sangah, Chowon, Nayoung, Hina, Juhyeon, Yujeong, Huiyeon and Jian. They made their debut exactly a month ago with the single Vanilla.

When I think of Vanilla (not the song, but rather the flavour), you think of something rather plain but flavourful when it is done right. When I listen to Vanilla (not the flavour, the song), you feel that there is an explosion of colourful sprinkles. But not a pretty or happy explosion. Think rough and unsettling. And while that does sound like a criticism, I actually mean it in a positive manner. It has taken me a few listens over the month to really form an opinion on the song. Initially, my first few impressions of the song is that it is one of those messy songs that combines styles together that don’t really go hand-in-hand. But through casual listens here and there, I have developed a liking towards Vanilla. Certain parts of the song are subtly sweet, such as the chorus and the verses. It is bouncy and energetic. All great selling points of Vanilla, but the sweet appeal comes from the members’ vocals. The chorus features a marching band instrumentation. I personally enjoyed this aspect of the instrumentation, given that it added more energy and flair to this certain part of the song. And the song’s main hook (i.e. the “Vanilla-illa-illa“) is pretty catchy. Certain parts are a lot smoother and showcase more of their vocals, such as the pre-chorus. While this is the case, I would say LIGHTSUM’s vocals, overall, were so-so. And finally, other parts are harsh, but interestingly, quite refreshing. This is obviously in reference to the post-chorus breakdown. It is what I thought didn’t fit at first. But it grows on you (well, for me at least), and now I find it to be Vanilla’s highlight sequence. It also gives off a unique flair. I also actually look forward to this breakdown every time I listen to the song now. I also enjoyed how they ‘transformed’ the final breakdown. It is exactly the same breakdown, just layered with vocals and ad-libs on top, which helped create a different feel to the previous breakdowns in the song. Overall, Vanilla catches your attention. Now, I would like to see LIGHTSUM show off more of their skills in subsequent releases.

The music video is neither cutesy or girl-crush, concept wise. Rather, the music video for Vanilla takes elements of both and combines them into a hybrid. Pretty much like the song. The really bright colours of the sets reminds me of some of CLC’s music videos, while the bright smiles we get throughout the video joins up to create the cutesy vibes. The parts that align with up the girl-crush concept are slightly more darker and evokes a party-like vibe. I likes what they did with the first breakdown. It was out-there and had unique transitions. The second and third breakdowns in the music video were relatively plain and lost the cool effect visually. If I would change the music video, it would be incorporating other cool effects in those other breakdowns.

The performance was fitting for the song and it was pleasant to watch. But there really isn’t much to really talk about. Not sure if that is a good thing or not. But for now, I would say it is.

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

[Review] Weekend – Taeyeon (SNSD)

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Taeyeon is officially back with a new single! Earlier this week, Taeyeon made her solo comeback with Weekend. This is her first release since What Do I Call You?, the lead single from her December comeback and fourth mini-album (of the same name). It has been relative quiet for Taeyeon since then. However, this quietness from the soloist may be a good thing, with rumours of a SNSD comeback happening later this year. It was rumoured earlier in the year that the eight members of SNSD were lining up their schedules for a mid-year comeback. Well, we just passed the mid-year point of 2021 but no confirmation yet. But no confirmation doesn’t mean anything, particularly since none of the members are actively promoting (aside from Taeyeon for this comeback) and could pretty much well be preparing for an under-wraps comeback. Fingers-crossed!

But first, a closer listen to Taeyeon’s Weekend. For me, Weekend is one of those ‘pleasant but nothing more’ types of song. It is enjoyable and has a nice polished energy to it. I wouldn’t mind listening to it when it is on my playlist. But it isn’t a song that I would really go out of my way to listen to. Weekend taps into the current growing retro trend, combining the likes of city pop and disco elements together to create a song that appeals to the listeners and fans of both trends in KPOP. While the music is upbeat and chilled in a way, it isn’t as memorable as per some of previous works. And that is also compared to other works from other artists who have dabbled in similar sounds and music. What I did like was the lightness of the instrumentation, which in turns compliments the soloist’s vocals. Taeyeon sings Weekend with at a higher note than what she usually does and with falsetto. And this in combination with the retro instrumentation gives off the lightness illusion, which helps create an appealing pleasant tone for the song. I also enjoyed the ascending melody we get in the pre-chorus (and lesser so in the bridge of the song). The most interesting part of Weekend has to be the rapping in the second verse. I personally liked it and the way it was handed to us felt like it was a no-commitment style to something that could have disrupted the light tone. It also helped keep the song falling into that consistent trance that would have otherwise neutralised any appeal of the song. Overall, Weekend is enjoyable and pleasant. I felt more can be done to make the song more appealing, but it is still a nice listen to chill to.

And chill is part of the message of Weekend‘s lyrics. To be more exact, Taeyeon tells us to enjoy our weekends with no hesitations to do what we like. And the music video appropriately shows Taeyeon relaxing in the clouds, after a lot of work. For the music video, it conveniently features a time-stop concept, allowing Taeyeon’s relaxation to be extended indefinitely. We unfortunately do not have that luxury, though we should always try to do something we enjoy other than work (whatever that may be). I like the pastel colours of the music video, which compliment the light tone of the song. Nothing is harsh and the music video has a feel-good type of feel to it, which is appropriate for the message. A decent music video, overall.

A strong centre of balance is required for the chorus for the music video. It might not look too difficult, but combined with everything else you need to do on stage (remembering choreography, lines, live singing etc.), I am sure it is remarkably difficult. Altogether, the performance is equally as pleasant as the song was.

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

[Review] Right Through Me – Even of Day (DAY6)

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I am really bad with reviewing nowadays. As a result, I have decided to refocus on reviews tomorrow instead of my original plans to focus on rookies tomorrow (as well as on the weekend). Hopefully, with this extra day on hand, I can catch up on some of the releases this week. The next release of this week’s reviewing agenda is Right Through Me, the title track from Even of Day’s (DAY6’s subunit consisting of Young.K, Wonpil and Dowoon) second mini-album, which dropped on Monday this week. This release follows the subunit’s debut with Where The Sea Sleeps, which formed part of DAY6’s The Book of Us series. The five member band also recently wrapped up the series with The Book of Us: Negentropy and the title track You Make Me, which was not promoted.

Right Through Me is a pretty decent song. It took me a few listens to actually get into it, but it got to me in the end. At first, I passed over the song because it felt dull and lacked much momentum. Boy, do I feel so bad for thanking that way. After those extra listens, I felt that Right Through Me had that necessary colour and drive. It might not be as prolific as DAY6’s releases, especially compared to their most recent title track. But there was enough there to convince me otherwise (in the end). I will admit that the first verse is a bit lacking and felt very consistent (from the beat to the vocals, to even the whole vibe of the first verse), and it wasn’t until the chorus did the song feel like it was going somewhere (bless those cymbals). In combination with those cymbals, Young.K and Wonpil’s vocals gave the chorus and song a breath of freshness and life that didn’t feel as present in the first verse. This instantly made the second verse, which was largely the same as the first verse, sound and feel more lively. I also liked when the piano came into play in the post-chorus sequence to the first and last choruses, which gave Right Through Me a jazzy vibe. It was an interesting colour and helped create a more lively appeal. And it was this inclusion that caught my attention and changed my perspective of the song. As touched on before, the vocalists did a good job with their lines and the melodies in Right Through Me were quite pleasant. In summary, I wished the song had more of an appeal during the first verse to hook me right on. But Right Through Me still managed to develop into a neat song, provided that you give it a chance and listen to more than the first verse.

Right Through Me is a song about heartbreak, after you lose the love of your life. Young.K’s loss in this video represents this type of loss. We see his partner turn up, leave her ring behind and leaves him. All he can do is stare and when the ring is later lost, he fails to find it. The scratch represents the pain felt from this type of loss – the literal heartbreak. But it doesn’t have to be applied to just relationship. And we see this in the other two members’ scenes. Wonpil represents the loss of family. At the start of the video, we see a family picture with the faces ripped out. We see Wonpil struggle being alone and he rips up his home as a result of this. When he picks up the cage at the end, I think he is reminded of happy memories and hence sheds a tear. I am not exactly sure what the ceiling collapsing mean, but it might be the further destruction of his home. For Dowoon’s scene, he experiences the loss of self. This one was not apparent to me, but upon searching in the comments of the music video, ‘Vincent Van Gogh’ says that because Dowoon’s animal is a dog from previous promotions, Dowoon losing the dog represents the loss of self. Dowoon desperately searches for his pet, but fails. And this results in him looking dejected and soulless. To tie everything together, I think all of this loss has something to do with their music career. We see them perform in that shop window, with pedestrians stopping by to watch and film the performance. But there is something wrong with the Even of Day members as they looked lifeless and monotone. So I think their experiences in becoming musicians were brought into the plotline of the story. The loss of relationships while you are struggling financially is my guess how YoungK’s scene’s link to the video. The lack of family support for a career in the arts is represented by Wonpil’s scene. And the loss of individuality and sense of freedom is represented by Dowoon. Each of which they want to break out of, as you can see at the end when YoungK jumps out of the window.

Song – 7/10
Music Video – 9/10
Overall Rating – 7.8/10

[Review] Tear Drop – SF9

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It is a new week in KPOP and this means new releases! I will definitely get around to reviewing those releases I missed over the last few weeks when I have time (which I plan on making sure I have – all-nighters, here I come). First up on the reviewing block this week is SF9’s Tear Drop, which is the title track off their group’s 9th mini-album, Turn Over. This album release follows SF9’s participation on Kingdom: Legendary War, making them the first group from the show to make their official comeback. Tear Drop also follows the release of Summer Breeze, the group’s last official comeback a year ago, though they did release Shine Together in October (but this was a special release and not promoted).

First and foremost, Tear Drop is an emotional song. You can tell from the title of the song in the first instance. But the emotional side of the song is emphasised by both the vocals and minimalistic vibes of the song. The airy and husky nature of SF9’s vocals brings out a sultry sound, which is fitting for a SF9 release. But at the same time, you can hear a tinge of sadness behind their voices. They don’t really put that emotional side out there, as per when we think of ’emotional songs’. Rather, it felt like they were holding back their sadness. This held-back approach compliments the lyrics, where they sing about pretending that everything is okay despite them breaking up with their lovers. But yet, the breakup is less hurtful for them (though it appears it is to no avail as their lover’s tears ends up wounding them). As for the minimalistic vibes, there isn’t much to the instrumental. Tear Drop is described to be ‘an emotional dance track UK garage style beats and unique bass sounds’. And that is only what we get. But while I did like the cleanness and overall aesthetic of the instrumental, I found it to be lackluster when it came to the rapping. I wished the instrumental changed it up a bit to better fit Zuho and Hwiyoung’s sections. I liked the contrast and texture that their sequences bring, and find they are valuable elements to keep the song appealing. They also helps break up the song from being overly consistent, which I felt was an issue the first few times I listened to the song, but soon realized that wasn’t the case. But I think more could have done instrumentally to get the rappers’ sequences to fit. Youngbin’s rapping sequence is an exception, however, thanks to the whispering delivery he had (which just clicked easily into the minimalist song). As for the memorability of the song, Tear Drop had a repetitive chorus, which worked in the group’s favour and helped give off an aesthetic that I feel SF9 can only do. Overall, Tear Drop hit expectations and the brief.

Talking about aesthetic, there is something about SF9 music videos lately that just gives off that vibe. We saw it in Good Guy. We saw it in Summer Breeze. Now, we see the same aesthetic vibes in Tear Drop. This time in particular, I applaud the transitions, which helped smoothed out the shots and made it so alluring to watch. In addition to that, I noticed some details that further heightened my interest in the video and made it so artistic. I will just list some of them. Firstly, the lack of colour during the ‘coloured’ sections of the music video and the black and white really hones into the emotional aspect of the song. Secondly, in one of the choreography shots, the rocks on the ground were moving in a reverse direction, as in they were flying up. And thirdly, the various solo shots were either confined or constricted by the sets or the props, which made everything feel tighter and hence the focus was primarily on the members. Or the camera angles were abstract, adding flair to that artistic touch.

The sensual nature of the choreography just makes the comeback even better. The chorus was a very elegant and smooth feel to it, which once again, felt like a move that only SF9 could do. The rest of the choreography seems to continue that minimalistic vibe from the song, as there wasn’t much else going on, in terms of complexity. But there was still a substantial routine for the group to perform.

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

[Review] Hello Future – NCT DREAM

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Also making their comeback on Monday is NCT Dream (apologies for the long delays in getting this review out). The NCT subunit unveiled their latest title track, Hello Future, and the group’s first ever repackaged album which shares the same name as title track. Hello Future follows the release of Hot Sauce (both title track and name of the group’s first ever mini-album). The full-length album featuring both Hello Future and Hot Sauce will be reviewed tomorrow as part of the Album Review focus this weekend. In preparation for that, I will need to write my full review for Hello Future, so here are my thoughts on their new song.

Hello Future finds that middle ground between their very youthful tracks that they began their careers with and their more mature sound that they have opted for in their more recent releases. How so? Well, the pop instrumentation that sits in the background gives off a refreshing and pleasant vibe that feels like a throwback to those early days. And it feels like a great Summer track, overall. Hello Future may not start off in this manner (thanks to that deep gurgling-like effect), but it does give off such impressions when we get to the chorus. It actually took me a few repeats to warm up to the opening verse because of that gurgling-like effect in the background, but getting through it to reach the chorus was definitely worthwhile (more on this in second). In addition to the youthful reminder via the instrumentals, the groups vocals in both rapping and singing brings forward that matureness. Compared to their early releases, NCT Dream’s voices (particular the rappers) have gotten pretty deep, which I assume is the reason why NCT Dream ended up going down the mature route of KPOP releases. For Hello Future, I liked how they capitalised on this unavoidable change. The singing vocals brought this insane level of smoothness to the song and kept the song grounded in a positive manner. The melodies we hear in the chorus are so captivating and stunning, and this is all thanks to the vocalists in NCT Dream. For the rappers of the group, their sequences provided some interesting contrast that made the song memorable and well-balanced. In particular, the sequences we get after the second chorus have the song some nice brief punches of intensity, which acted as a superb offset to the song’s pleasantness. But while Hello Future is an awesome song already, I do feel that the song had opportunities to be more dynamic, especially when it came to the ad-libs at the end of the song. It felt pretty safe and ‘in the box’. What they needed was to venture out of the confines of said box to ensure this song hit a home run. But as of now, it was still a very enjoyable song from the group.

To me, the group are portrayed as hippies in this music video. From their outfits, to the ‘natural’ accessories, to the peace signs we see on their posters and signs, everything felt very influenced by the hippies we associate from the 60s. Note that everything has been modernise to fit this era. I doubt hoodies and sweatpants were the 60s hippies go to attire. But I think this was a smart concept for the group to follow through with. The song’s message was ‘overcoming struggles to grow together with love and trust’ (taken from Soompi) which is a very hippie type of messaging. And they did so by crashing a very competitive Soccer game, bringing the two teams together to join them in their pursuit for love and trust.

I really enjoyed the choreography for this comeback. It might not be their best work out there, but I feel like it was a good fit for the song. I liked the incorporation of – what I like to call – the royal hello (cupped hand and a slight turn of the wrist). I also liked their ending sequence, which brought a rush of intensity to end of the song with. This is a nice example of contrast, as I note their choreography beforehand was quite slow and mellow looking. But this intense rush at the end reminded us that the performance was a NCT performance nonetheless.

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

[Review] PTT (Paint The Town) – LOONA

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And I am back to finally review the rest of the week’s releases before I move onto focusing on album reviews this coming weekend. First up is LOONA’s latest comeback, PTT (Paint The Town), which officially dropped on Monday. This is the group’s first comeback since their quite addictive Why Not? comeback back in October 2020. PTT is featured on the group’s fourth mini-album [&] and also marks the return of Haseul, who has been absent from LOONA’s lineup since the release of So What due to mental health issues. Welcome back to Haseul and LOONA! In other related news, LOONA will be gearing up for their Japanese debut, with a Japanese version of PTT released alongside this comeback on Monday as well.

PTT is a bold release, incorporating Indian instrumentation with ‘aggressive dubstep and 808 bass sounds’. While we have heard of foreign influences in KPOP songs in the past, I don’t think any were really featured as prominently as PTT had. It definitely helped create a dynamic atmosphere that was quite alluring and catchy. The song opened with this (what I presume is an) Indian chant before we are introduced a full suite of traditional instrumentation. Some of this traditional instrumentation retained as we move along into the verse (i.e. the tabalas), which is also accented with pounding percussion that strengthened the energy and appeal of the song. As we move closer to the chorus, the hip-hop side profile of the song emerges through the melody, along with the electronic touches mentioned above and the occasional appearance of some traditional instrumentation detailing. This buildup to the chorus felt very clean and felt logical to bridge the verse and chorus. For the chorus, the aggressiveness of the dubstep dominates the first half of the chorus with the Indian touches taking more of a backseat allowing that aggressive nature to appear. It playing field switches in the second half of the chorus, with the Indian instrumental elements emerging from the darkness and the aggressive nature takes a more subtle approach. For the second verse, I liked the boldness of their rapping. The instrumental for this part works well with the rest of the song and doesn’t break the flow of the song, like in some other songs. For the bridge of the song, the slowdown was nice and allowed for Chuu’s high note to pull the song back up to the final chorus, which really hit the song home. Haseul’s vocals in the bridge was also a highlight. Elsewhere, the vocals in PTT were really good and continued to show that clear and crisp vocals that the group has been showing us in their releases. To me, the reason to why PTT is not a perfect song is the chorus. While I did like the instrumentation as I had mentioned above, I felt it was rather weak. The ‘Latatata‘ they went with was pretty dry, bland and didn’t add momentum to the song, as I would have expected a powerful chorus to. It did have some catchiness to it, but I don’t think it was nearly as much as it could have been. I also feel like it didn’t match the aggressive nature of the chorus, which resulted in the chorus feeling rather disappointing. Overall, I think PTT was a strong song from the group. But what should have been the song’s centrepiece was lacking.

While the aesthetic of the music video is reflective of what we have seen from LOONA since So What, it also brings visual elements of their predebut unit releases and their animal representations that formed part of their pre-debut package back into play. And this is all alongside what I am guessing is a new story. But while it is always great to get back in touch with your roots, the music video for PTT is quite overwhelming to watch. There was just so much going on. Maybe when I have some more time, I will try to figure out what this new story is and how it relates to their predebut works. Until then, I will only make comments on the visual display we saw. PTT has some really bold imagery and this imagery works extremely well with the music. The choreography shots, especially when it came to the more aggressive side of the choruses, really honed in that aggressive imagery with the dark and stormy atmosphere and angry colour choices. On the flipside, the verses feature more calming and innocent colours (i.e. white and yellow) to match with the song’s vibes during such parts. And the solo shots of each member we see shows off their beauty really well.

To reflect well with the music, the choreography is quite powerful and artistic at the same time. I don’t think this is their best work but it was still quite great to watch! I really liked the domino effect they had in the second half of the chorus (i.e. one line of members performed first, then the second performed the first set of moves when the first line of members were on their second move etc.), which made that section look really nice.

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

[Review] Make It – 2PM

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Kick starting this week’s comeback rush is 2PM, with their long awaited return with Make It. For those who don’t 2PM, they are a second generation male group signed to JYP Entertainment who were known back in the day as beast-dols (as they brought really masculine and powerful choreography to the stage during their heyday). We last saw the group in full in September 2016 with Promise (I’ll Be). Since then, the members (aside from Nickhun) enlisted into the military, and progressed their solo music and acting careers. In late 2020, the group resurfaced with their 2015 single My House. And today, the group returns with their 7th studio length album, Must, since their debut in 2008, and the title track Make It.

Right off the bat, 2PM’s new song encapsulates what I feel are the charms of the groups in their more recent releases. While they were known for their beast-like looks, concepts and physiques back in the day, the group have matured into a more sexy type of sound. And I feel Make It really concentrates that vibe. But it is not a sexy sensual sound. Make It feels more flirty and playful in that manner. And this set up reminds me of My House. All very suitable for 2PM. Music wise, Make It is simple. It isn’t as complicated like some of their previous tracks. The song opens with up some clangy guitar sounds, which reminded me of when you strum more tighter parts of the guitar. This effect progresses into acoustic guitar soon after, and then later some piano work. What spokes volumes in this part (the first verse) are the members’ vocals. They felt extremely clear and crisp, not muddled by vocal processing and other effects that we commonly get in today’s music. I appreciate that, quite a bit. And it is definitely nice to hear 2PM in their full glory once again. The chorus takes the song up a level, by giving us more bass and more of a beat to cling onto. It adds a bit of a bounce, which is a great contrast and differentiation point the verses. There is also a bit of saxophone (the ultimate instrument that completes any ‘sexy’ song) in the chorus. The melodies are quite enjoyable and adds a smoothness to the chorus that I find quite appealing. Following the first verse is Taecyeon’s raps. There are two things I like about this rap sequence. Firstly, it is layered over the top of the same instrumentation from the start. For once the rap sequence fitted right in perfectly without changing the flow of the song in any way. I also like the classy feel that Taecyeon’s deliver gives. When you think of rapping, you think if speed and intensity. But Taecyeon’s rap sequence does not give into either, hence why I feel it felt classy and mature. While I am talking about the rapper, he is also my pick for standout member in the song. His husky vocals during the first half of the final chorus was definitely fitting for the song’s concept that I had outlined above, and it really drew me into the song as it was practically a breathtaking moment. But the other member’s must also be commended for their amazing vocals as well. Overall, Make It definitely ensures that it is a simple song. It might be boring for some (I do acknowledge this, as it may not have the really catchy hook or addictive energy that other songs out at the moment have), but Make It is like a blank canvas that shows off the members’ charms for this highly anticipated return.

Make It is all about this pull that cannot be avoided. And in the music video, they just cannot avoid the pull that the lead actress has. Even in an apocalyptic event involving meteors crashing down just metres away from you and the rest of the world running away from the danger. I thought it was funny, but it does work well with the lyrics of the song. I like how they brought that flirty vibe I mentioned from the song into the music video. Taecyeon’s solo with the actress with his arm on the wall, cornering her was probably the most smoothest in the video. Junho’s solo with the actress was the weirdest, with his un-bottoned top buttons and water spraying on him.

It is great to see 2PM perform on stage once again. For this routine, similar comments about it being sexy and flirty at the same time can be applied. I might also throw in a classy descriptor for the choreography, as it felt that way as well. But what makes this performance even better is the charisma and stage presence that they managed to showcase. They have been on stage for 12 years now and they still got it, even after a five year break!

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

[Review] WE GO – fromis_9

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It is time for another review for a release way back in May that I should have written much closer to the song’s release date. I am talking about fromis_9’s long-awaited comeback, WE GO, which dropped on 17 May. Definitely a long overdue review! This is the group’s first song in a while, with their last comeback being Feel Good (Secret Code) in September 2020. And over the last couple of years, fromis_9’s comebacks have become scarcer and less frequent. Since Love Bomb (my pick for the group’s most catchiest single yet), their comebacks have been an annual occurrence and this really disappoints me. They had a really optimal opportunity back in 2019 to continue the Love Bomb popularity, but that ultimately fizzed out after long hiatus. Hopefully, WE GO isn’t the group’s only single in 2021 and we get to hear more from the group soon!

It seems Summer returned earlier this year than what I have previously mentioned on this blog. Released in mid-May, WE GO seems to now be the first Summery song of year. But who knows, I might be reviewing another song down the track released even earlier that also fits Summery description. But let’s deal with that when we get there. WE GO takes on a simple pop sound that isn’t overcomplicated in both its structure and tone. For me, I think the best way to describe WE GO is pleasant. Pleasant is a good descriptor, but it could also be a bad one from my point of view. And I feel that this song tethers on that fine line that separates the good and the bad. WE GO isn’t a boring song. It has a nice melody and is easy on the ears. The vocals add a nice sweetness to the song. It also decent hooks that have potential to be catchy. I will also say that the song feels fun and refreshing, which is where the Summery description I mentioned at the start comes from. But on the flip side, pleasantry doesn’t necessary equate to being memorable. And this was the issue with WE GO. It just wasn’t memorable enough. Since the song’s release, I don’t think I have gone out of my way to actually search up the song. I also feel if the song was more memorable, then I would have ensured that this review was published much earlier, rather than a month and half later on. I think one way the song could have overcome this issue is with bolder instrumentation. I feel that would have peaked my interest a bit more and given the song a bit more heft in the memorability department. Overall, WE GO is a decent track, but also forgettable for the most part.

I really like the creativity behind the music video. The editing for this music video must have been insane. Essentially, we see a video being edited of fromis_9 imagining themselves on a holiday. It felt very relevant to current times, where we don’t have that freedom to travel. I really like when they changed various shots by changing the sky through the ‘editing’ we see. I also really like how relevant they made the video. Aside from just the concept, I liked how they used different frames (i.e. the editing tool, Zoom interface and Instagram) to transition the shots into each other. Pretty dynamic. The Facetime ringing caught me off guard (literally made me jump) each time I play the video, though it is a great tactic to get me refocused onto the video to watch the final chorus. I also see an emerging trend with the greenery and white platform that music videos use. It worked well here, given the boldness of the shot.

The choreography for this comeback was also nice. Not exactly the most spectacular, but definitely helped made the song feel a little more memorable (in a visual sense) when I watched the stage performances.

Song – 6.5/10
Music Video – 9/10
Performance – 7/10
Overall Rating – 7.4/10

[Review] Higher – A.C.E

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Making their latest comeback today is A.C.E with their new title track, Higher. Higher is featured on their fifth mini-album SIREN:DAWN, which will officially drop tomorrow at 6PM KST. This is the group’s first comeback since the release of HJZM: The Butterfly Phantasy and Goblin (Favorite Boys) in September 2020. Fun fact (before we proceed to the review): This is A.C.E.’s second song with the word ‘Higher’ in the title. The first was Take Me Higher, a single released back in 2018.

When I first played Higher, I found myself torn between two sides. Conceptually, I think it is a good song. But on the other hand, I felt like the song was a bit much. But the more I listen to the song, the more I find myself enjoying the song. I think Higher was produced to be an aesthetic song. There was a lot of contrasting occurring in the song, playing with future bass and progressive house in an alternating fashion. The verses were a lot simpler and softer, whereas the chorus was explosive. Initially, I felt the contrasting was like a like a double-edge sword for Higher. I felt that the chorus was overbearing, especially when you are listening to the song the first couple of times. And these initial listens are very important, as it would be decide whether someone would return to a song or not. Furthermore, especially with the ad-libs at the end of the song, there was a lot coming at you in the chorus. Now, I find the intensity to be a very A.C.E thing to do, as I find myself reminded of the EDM tracks they put out when they first debuted. The common thread between these two distinct extremes of music in Higher are the vocals, which neatly ties together the two halves. So while the song does a lot of contrasting, there is still that bit of cohesion. And the vocals do a good job standing out over the abrasiveness and potentially overpowering energy of the future bass chorus. Though, I do feel that A.C.E treads a very fine line with this aspect. Elsewhere (i.e. during the progressive house sections – verses), their vocals sound quite nice and bring a pleasant stability to the song. I do feel like the song is lacking a rap sequence, which would have given a different dynamic to the song, and could have eased us off the contrasting technique they employed from start to end. One aspect I definitely dislike in Higher is the abrupt ending. Never have and never will. I wished they eased us out, rather than leaving the song hanging. Overall, I acknowledge my initial split thoughts on Higher. But, as suggested above however, I am growing to like the song more, especially thanks to the multiple replays of Higher in order to write this review.

I think it can be agreed on that A.C.E’s music video have become aesthetically pleasing and Higher‘s music video is no exception. A theory for the video has already popped up on YouTube (from Donghun’s beautiful eyes) that I think explains the video very well and matches up with the teaser photos:

Aside from story and aesthetics, I liked the sets (especially the use of the trending platform surrounded by greenery that A.C.E performs on at the end). And some of their outfits look really cool (like what I am presuming to be a sea urchin outfit, worn by Donghun).

With a song that goes between extremes of music, there was also contras between some of their dance moves. Some of which were intense and others looked graceful, fitting for the part of the song they were corresponding to. The mini jumps they do work really well with the lyrics, and their outfits gave the performance a lot of a sensual energy that I am sure fans are enjoying.

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

[Review] Ready To Love – SEVENTEEN

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Making their comeback yesterday was SEVENTEEN with their latest title track, Ready To Love. The new song is the title track off the group’s 8th mini-album since debut, Your Choice. This is the group’s first comeback since the release of HOME;RUN last year in October. More recently, we saw SEVENTEEN make their Japanese comeback, Not Alone, while member Hoshi also made his solo debut with the single Spider back in March of this year. On a separate note, Ready To Love and Your Choice is the second part of SEVENTEEN’s Power of ‘Love’ project. Very little is known about project from what I can find on the internet. However the group did drop a concept trailer for it, hinting it as the recurring theme of SEVENTEEN’s forthcoming 2021 work. The first part of the project was the release of Bittersweet, a single featuring members Wonwoo, Mingyu and soloist Lee Hi I have yet to review this single, and will do so when I have a bit more time. But in the meanwhile, here is my review for Ready To Love.

Ready To Love opens up with a sentimental introduction, before the song starts incorporating a thumping beat to get the momentum going. From there, Ready To Love remains quite constant, with the occasion burst of energy. We get a small-ish dose of energy part way into each of the verses, and then one substantial one to amplify the chorus. For the chorus, that substantial dose of energy turns the instrumental into a pop rock-style, which I thought was extremely satisfying. I like how this energy doesn’t stop or pause between the two halves that make up the chorus, keeping it all thoroughly connected. While on the topic of connection, I feel that Ready To Love is the a good example of how constant and consistent a song can be, but remain engaging and doesn’t result in a bore. That being said, I do think Ready To Love isn’t as powerful or memorable as like many of SEVENTEEN’s past comebacks, but it is a different side of the group. And this different side of the group comes from the matureness they display in the vocals and raps. Sure, the group have had their fair share of serious and dark styled comebacks. But Ready To Love feels like they have aged liked fine wine. From the vocals and rapping, nothing felt like their usual fun or upbeat ways. Instead, each of their members sound like they are tapping into an emotional side that we know SEVENTEEN has but never really gotten to showcase until now. Similarly, the song’s melodies also give off a similar vibe. I particularly liked the second half of the chorus, which felt almost chant-like. It works well with the instrumentation and gives the song a catchy melodic hook. Overall, I like the song. But Ready To Love isn’t my favourite release from the group. But who knows? Maybe a few more replays of the song might change that.

To fit with the more mature vibe of the song, I think the music video opted for that same dynamic. For the first part of the music video, we see the members walkthrough their relationship with the female character. One of these moments is when the members make the decision of being friends or lovers with her. I think the video shows the members choosing to be friends, which how this whole song came about and this is back up by the face Mingyu makes while he is in the lover phone box and the presence of the friend phone box in THE8’s scene with the female character. Throughout the video, we see the members wanting to make that change from friendship to relationship, which is backed by the English phrases present on the walls and on the bus (which are some lines in the song). It isn’t the most SEVENTEEN video out there, but it is still a good video to watch. My only complaint is regarding the heavy raining at the end. I didn’t see the point of it, given that we could barely see the members amongst the rain. I wished the rain was toned done, so that we can see the members more clearly.

For the choreography, I feel that the performance (and I forgot to mention it above in the music video part of this review) takes a page out of their Japanese works. It looks quite aesthetic and pretty, which is something that recurs in their work in Japan. I really like the formations they are in, especially the formation which allowed them to form three units in the second half of the second chorus (and how the members who are not the centre of the choreography are still moving in the background). I also really liked how they ran to switch places in such an organised manner for the final sequence. That looked pretty cool.

Song – 8/10
Music Video – 7/10
Performance – 8.5/10
Overall Rating – 7.8/10

[Review] Chi Mat Ba Ram – Brave Girls

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Brave Girl’s comeback this week has to be the most anticipated comeback of 2021. Earlier this year, Brave Girls experienced a resurgence on the Korean music charts with their 2017 now-hit Rollin’ after a performance went viral. Similarly, their 2020 release of We Ride also experienced a similar resurgence on the charts. What makes this resurgence remarkable is that Brave Girls went from no schedules to many full weeks of schedules, and the group revealed that they were considering disbandment in the weeks ahead of this unexpected event. Now all eyes are on their latest comeback, which officially dropped on Thursday this week. Chi Mat Ba Ram, which translates to Swishing of My Skirt, is the title track off the group’s fifth mini-album, Summer Queens.

There is a lot of unload with Chi Mat Ba Ram. And while that potentially sounds like a bad thing, don’t worry! I am totally digging the new track from Brave Girls. The first aspect that I noticed about the song is its summery energy. It is pretty much undeniable with all the saxophone and tropical house that the producers of the song employ to drive the song forward. Like a lot of songs nowadays, this mix isn’t the most innovative combination in music at the moment. But it doesn’t mean the song doesn’t come off as refreshing and upbeat. And I really like how the energy feels even more than that. In a way, it is in your face (but in a more positive manner). The second aspect of Chi Mat Ba Ram that gets me excited is its catchiness and addictiveness. Even though I have been off the blog for the last few days, once the song dropped, I was (madly) repeating the song because I just couldn’t get enough to it. The hooks are fantastic, and I noticed even the smallest of details within the hook and melodies were what I was looking forward to. I do agree with a lot of people who say that this doesn’t have the same level of catchiness as Rollin’ did. I felt the hooks were probably a step below Brave Girl’s biggest hit. But that doesn’t mean that Chi Mat Ba Ram is a weaker song. The third aspect has to be the vocals. This bleeds into the performance aspect of my review slightly. But I feel that Chi Mat Ba Ram showcases more of what the group has to offer when it comes to the vocals department. I don’t think any of the members were shortchanged into this song and each had their chance to perform, which is what you would want in any song. Overall Chi Mat Ba Ram is a solid effort from both Brave Girls and Brave Brothers (the team behind the group). It may have its differences from Rollin’. But as mentioned before, I am really into their song and look forward to replaying it even more in the future.

It is also undeniable that this is a Summer themed comeback with a music video like this. While it shot at a beach, there were some post-production applied to the video to show us various skies in the background and some additional props throughout the video such as the mini-plane with the Brave Girls banner and the massive airplane at the start of the video. Elsewhere, it looked liked the video was shot in a studio. I wished they kept to the outdoors for the video, as I think that would have been a better image for their comeback, given it is a Summer concept. Though, I guess anything is better than the dark stormy skies that got as part of the Rollin’ comeback. Visually, I think the group looks fantastic and their smiles bring a fresh colour to the video.

I really liked how this performance had a lot more going on, than compared to Rollin’. It might seem much, but it was always refreshing to see something different than the same key moves repeated over and over. It might have worked for Rollin’, but it would not for every song out there. I really like the skirt pinch move they do. It is sexy and looks really refreshing, but not over the top where it would cause a lot of criticism. I think the only thing I would have liked to be different in the performance was their ending pose. It looks a bit meh to me.

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

[Review] Rain To Be – ONEWE

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The next group to be making their comeback this week is ONEWE. Today, the band dropped their latest single, Rain To Be, which headlines their ever mini-album (Planet Nine: Alter Ego) under the name ONEWE. For those who are unaware, ONEWE was formerly MAS before their re-debuted under RBW with new branding (hence the name ONEWE) in early 2019. Since then, the group have made a number of comebacks which lead to their first studio album, Studio We: Recording, in 2020 which was headlined by Parting. They also made a comeback later in 2020 with the single A Book In Memory.

Within the already niche sub-category of KPOP, Korean bands each bring a different individuality to the industry. While the bands do experiment with their sound between releases, going between moody rock tracks to warm ballads to upbeat rock tracks, there is always a distinct sound for each Korean Band that you would recognise. While ONEWE is a relatively new band, they have too already established a sound for themselves. It is a bit hard to describe, but for ONEWE there tends to be a moody aesthetic and delivery that I associate with their name. And I feel Rain To Be is an excellent reflection of that. And what better to show just that than a ballad (at least that is what I thought at first). The introductory verse of the song featured an instrumental background that slowly built up, starting from soft mellow guitar work and it gears up to something a bit more substantial. In combination with the solid vocal work from mostly Yonghoon in the first verse, I was convinced that Rain To Be had tapped into only the ballad genre. But when the chorus came around, Rain To Be changed up is aesthetic, amping up more of the rock influences. Rain To Be is no intense rock song, but it seems to direct the song more into the rock-ballad genre. I liked the tempo change here and the subtle intensity and dynamic they brought to the song. Despite it going into the rock sound From the second verse onwards, we pretty much get a repeat of the first verse and chorus setup. The second verse slips the song back into a ballad mode, though we get to hear more of the other vocalists in the group (Dongmyeong and Cya). Following the second chorus, Cya further amps up the intensity of the song with a pretty good rap sequence. For the bridge, I am glad they brought in something electrifying. It changes up the song, so that it just doesn’t become a repeat of the repeat we got for the second portion of the song. I am glad they did this, or else the song would have been too boring for my liking. The second portion of the song was already on the way of feeling like this, so a third repeat would have gone overboard. But overall, Rain To Be is another good song from the group that reiterates their ‘associated’ sound, differing ONEWE from other Korean bands.

To also reflect the moody aesthetic of the song, I liked the direction in which the music video headed in. For the entirety of the video, we saw the members perform the song (with their instruments) in a rising pool of water. The pool starts off empty and by the end of the video we see the water levels rise to just below their heads. It is definitely a unique take on the whole idea of rain and water that we see commonly in music video. Usually, rain would be represented in less intense manner, like rain drops running down the side of the window or the occasion scene where we see the characters of the video stand soaking wet in the rain. This video is definitely on a whole different level.

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

[Review] riBBon – BamBam (GOT7)

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Since GOT7’s departure from JYP Entertainment earlier this year, the members have gone their separate ways, vowing to return on a yearly basis to great fans as a seven-member group. But while we awaiting new of a GOT7 comeback, the members have been doing a lot of solo work. Some of them have gone into acting, while others have gone onto release solo music that shows their individual colours. Today, we witness the solo debut of BamBam, who has signed on with ABYSS Company, the current home of fellow JYP Entertainment alum Sunmi. The title of BamBam’s solo debut single is riBBon (I like the play on his initials within the song’s title), which is also featured on his solo debut mini-album of the same name.

When it came to the GOT7 members, it was clear to me which style of music certain members would go towards for their solo work. But the biggest question mark for me was placed over BamBam, who didn’t really have a chance to showcase a musical style as much as the other members during his GOT7 days. So, to hear riBBon, which is quite upbeat pop sound that has a tinge of hip-hop to the song was a surprise for me. But I guess that really fits in with his cheerful and vibrant personality. To me, riBBon is a pleasant pop song. Nothing more, nothing less. To facilitate the review process, I have had a couple of listens to the song. And each time, I found myself taking a mental step back and appreciating the song for its enjoyable and sweet nature. I have tried to sit down to really tear the song apart. But I just can’t help but take it all in as a whole piece rather than break it up. I think this is a good effect, showing me how wholesome and good the song is. In addition to that, I also liked how ‘riBBon‘ sounded like ‘reborn’. I think that is quite intentional, especially given the lyrics of the song which talks about being a better version of himself. That being said, riBBon is no perfect song. There are some wrinkles throughout the song that need some attention. Firstly, the song could have reduced the autotune it used to process BamBam’s voice. While I believe this is his thing (based on some of the work we have heard during promotions with GOT7 and the fact that it gave the song a good sense of texture), I think this would have cleared up some English pronunciation issues. Personally, I was a bit confused on what he was singing in the opening lines of the chorus without the aid of the lyrics side-by-side on the screen. I know BamBam is a strong English speaker, so I think the issue comes down to the vocal processing. I am also not a fan of the rap inserts in the pre-chorus. I feel that muddled the pre-chorus a bit. Overall, riBBon is pleasant solo debut for the GOT7 member.

Like the song, the music video can also be described as pleasant. it was an extremely well styled music video and all worked in harmony with one another. From the black background at the start, the black suit worn by BamBam and the use of multi-coloured flowers on the ground and on the suit complimented one another. In the more colourful scenes, everything was pastel and nothing was overwhelming or harsh to look at. The video definitely showed a good side of BamBam.

The choreography is pretty good. It is upbeat and bouncy, which fits in with the song. While I am not a big fan of those rap inserts in the pre-chorus, the move that it enables to be in the performance looks quite cool. I also found the moment in which the two dancer used their legs as like gates to which BamBam opens up to be quite memorable.

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

[Review] SPIN OFF – UP10TION

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Kick starting this week is UP10TION with their first comeback of the year! The group returned today as a seven-member lineup (yup, still no Kim Woo Seok and Lee Jin Hyuk, while Jinhoo has extended his hiatus by enlisting into the miltary in November of last year) with the new single SPIN OFF and their second studio album, Connection. This is the group’s first comeback since the release of Light last year in September and re-release of Destiny in November, which I have yet to review (I believe I had flagged the song to be reviewed as part of an album review and the music video as part of a music video catch-up segment, but had since dropped the album review for Light Up due to falling behind on them).

What drew me to the song before it was released (via the teasers) was the energy of SPIN OFF. It has been a long time since I was so excited for an UP10TION release, so the expectations have been raised. And within seconds of start of the song, UP10TION unleashes the energy and hits the expectation bar that I had set for it. This start was more of an introduction, rather than starting with the chorus. But we were still teased for what’s to come and I am already digging the funky vibes that come from the guitar in the instrumentation – very 2021. The funky guitars are removed for the verses, and hence these sequences felt pretty plain. It would disappointing that you couldn’t really feel the funk anymore in the verses. It would have been great for they continued the momentum and energy from the intro, as that would have made the song mind-blowing. But I guess the funky elements in the chorus would not have been as mind-blowing and exciting as they were, if they were left in the verses somehow. What I did like was the pre-chorus, which brought some sleekness to the song by stripping the song more of its instrumentation. It opted for the clear showcase of vocals, and a simple and uncomplicated backdrop. And by stripping back the instrumentation in this crucial part of the song, it made the chorus feel more blastful and impactful. For the chorus, it feels more weighted and substantial in comparison to the introduction of the song. The energy was definitely fulfilling and quite explosive. Same could be said about the vocal work, particular Sunyoul’s vocals. I would have liked the chorus more if it had a more memorable hook within the lyrics. But the instrumentation itself was quite unforgettable already. Right after the chorus, we get the second verse rap sequence. While I was going to say it was a good rap sequence, I was distracted by a really brief, repetitive and high-pitched screech that I found somewhat annoying. But I liked how the overall rap sequence changed up the dynamic of the song, especially with the deep voices of the rappers. Fast-forwarding to the bridge, it is interesting that despite such a high energy track, SPIN OFF was able to be stripped back without really ruining the song in any way. I thought the bridge of the song was really well executed, showcasing Hwanhee’s vocals this time around. I also really like the relaunch into the final chorus, delaying it with an electronic percussion sequence without it feeling like a delay. Pretty clever. It is unfortunate they had to close with another rap sequence that has that same annoying repetitive screechy effect, though this time it was briefer. Overall, SPIN OFF is definitely their best title track in a very long time, showcasing top energy and their skills. Hopefully, the rest of their album reflect the same (hint hint, nudge nudge).

Though the music video does really have much substance other than choreography and closeups, I really thought the mixture of coolness and classiness really made the members look so good. It was a great visual concept! I also really like the kaleidoscope shots throughout the video. They gave off a very unique and mysterious feel to the video. I also really like the set locations for the choreography shots in this music video, particularly the room full of mirrors. That looked really cool. I am not sure if that is a permanent building somewhere in South Korea (please let me know where if this is the case, I would really love to visit it one day once it is safe to travel again) or if it was a specifically designed set. But the aesthetic and architecture look amazing!

For the choreography, I would have liked to have seen some impressive moves. That would have really made the performance memorable. But SPIN OFF‘s choreography (as it is currently) is quite dynamic and matches the energy of the song. I did like the introduction to the performance, along with the twisty moves in the second verse.

Song – 9/10
Music Video – 8/10
Performance – 7.5/10
Overall Rating – 8.4/10