Category: Reviews

[Review] Son of Beast – TO1

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It is time for another long overdue review for a release that occurred back at the end of May. As you can tell from the title of this post, this review is for TO1’s Son of Beast, which is the title track off their 3rd overall mini-album, Re:Born. If you haven’t heard of TO1 yet, then don’t fret. They were previously known as TOO for their first two comebacks (Magnolia and Count 1,2) last year. But due to a management dispute, the group ended up rebranding to TO1 earlier this year after signing on under WAKE ONE Entertainment and quickly returned with the appropriately named mini-album, Re:Born.

Son of Beast is an edgy sound for the group, more so than their debut single (Magnolia) and their most recent energetic Summer comeback (Count 1,2). But it isn’t a fresh sound for KPOP in a more general sense, with the song taking a page out of what we hear very commonly coming from male groups in the industry. There isn’t anything wrong with that, as we have seen many groups thrive with this typical edgy sound. But given that TO1 had the opportunity to rebrand, I was surprised to hear that Son of Beast didn’t capitalise on this opportunity to showcase some individuality. That being said, I did like the funky influences that were brought to the verses through the use of the bass guitar. I also really liked the rough texture that is brought to the song via the electronic instrumentation in the chorus. In a way, it also felt retro, as I don’t think it settled on the more modern touches of EDM of today. I was hoping for a bit of an instrumental break when we got to the bridge, which would have allowed the song to experiment within itself, bring more intensity and edge to the song, and also give the members a chance to showcase something along the lines of their Road To Kingdom appearance last year. But altogether, the instrumentation for Son of Beast was definitely good, despite it being more typical that what I had hoped. As for their vocals, I think similar comments could be applied. There was a good showcase of vocals, but no member or moment stood out for me. While the hook is related to their vocals in way, I tend to separate it in my reviews, so that it becomes its own element to chat about. I did enjoy the brief and snappy repetition of ‘I’m a Son of a Beast‘. That line practically was keyed into my memory from the first listen, thanks to the textures given to it by the autotuning. I would have liked to hear it in a bolder manner, so that it really zones into the word ‘Beast’ within that line. The rapping by TO1 members in Son of Beast was definitely more memorable, adding that needed intensity and edge to the song that I hoped a dance break could have concentrated. But overall, Son of Beast is a good track, taking the members in a direction that feels right. I just think more could have been done.

The music video for this release is one of those which you watch once and don’t really need to return to it again. It wasn’t that engaging or mind-blowing for me to click the replay button. Aside from the closeup and choreography formula adopted, the members do a bit of body work for some cars. But to me, that doesn’t seem that cool. The only thing that I did like about the music video was the final dance shot, with how the lighting and length of the set. But besides that, it was a ‘meh’ video to me.

As for the other visual aspect of this comeback, the choreography faired a lot better. It actually looked quite cool, especially when the members paired up in the second pre-chorus to bend backwards and the switching of rappers in the final sequence of the song. But like in the song review part of this review, I did want to see a dance break when we got to the bridge. And I feel if the members looked a bit more angsty, then the performance would have been even better!

Song – 7.5/10
Music Video – 5/10
Performance – 8/10
Overall Rating – 6.9/10

[Review] Bye Bye Bye – WEi

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Time to start reviewing the releases from this week that I have missed. First up this weekend is WEi, who made their comeback on Wednesday with Bye Bye Bye. The new song is the lead single from WEI’s third mini-album, Identity: Action. This is the group’s second comeback of the year, following February’s All or Nothing comeback.

Bye Bye Bye continues the influx of Summery tracks this week, by pushing WEi into the pop realm. It is a departure from WEi’s previous high octane and intensity driven sound that they had returned with at the start of the year. The minimal use of synths in this song allows us to hear the members in a more melodic and clearer fashion. Bye Bye Bye starts off with rhythmic guitar, before bringing in percussion that adds a bit of bounce into the verse. It isn’t the most innovative instrumental mix. But I quite like its simplicity and upbeatness. For the most part, the track doesn’t stray away from this sound profile and stay quite consistent throughout. There are appropriate changes along the way to allow us to differentiate between certain parts of the song (i.e. like in the chorus, we get a bit more percussion to amplify the central part of the song), but it isn’t a significant or wild change that breaks up or redirect the flow of the song into something different. You might think I am going to say it is boring, as a result of the consistency (which is something I do tend to bring up). But instead, I think Bye Bye Bye benefits from this. Throughout the verses and choruses, there was this strong stylish and refreshing vibe to the music thanks to the guitar work that is constantly in the background. To help prevent the song from falling into the bad side of consistency, the rappers really gave the song a much needed kick that felt suitable for the song. It was all done over similar or the same instrumentation as the rest of the song. Bye Bye Bye also has catchy hooks, such as the repetition of the song’s title, which helps make the new song even more memorable. If I were to be critical, I felt that the song could have been more vibrant during the chorus, especially in the final one. I think some vibrancy would have really lifted the song up to a whole new level and allow Bye Bye Bye to end off in a more spectacular note. But overall, Bye Bye Bye was a pleasant listen that really feels just right for the Summer season.

While the song missed that tinge of vibrancy, the music video that accompanies the release of Bye Bye Bye was very vibrant, in the sense it had a lot of colour. I really like how the music video looks really stylish, and isn’t necessarily an explosion or mess of various colours. It all felt well balanced and bright. The song is all about letting go of your worries. And the members do this in a literal sense, by performing a disappearing act to another country. The newspaper and milk carton had pictures of the group and captions/headings that labelled them missing. I wonder what worries they had to make such a decision to say ‘Bye Bye Bye‘ like that.

For the performance aspect of the performance, I thought Bye Bye Bye had a good routine. As expected there was a lot of waving throughout the performance. What I also really like was the footwork when it came to the chorus. It looks cool and felt very suitable for the refreshing guitar work in the song’s central part.

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

[Review] Alcohol-Free – TWICE

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Two days ago, one of Korea’s leading female groups made their comeback! The group in question is TWICE, who has returned for the first time in Korea since the release of I Can’t Stop Me in October of last year. They also released the single Cry For Me at the start of the year (but I haven’t reviewed this track as there is no accompanying music video). The group also recently released the Japanese single Kura Kura (which I have reviewed). The comeback this time is lead by the title track Alcohol-Free, which was released as a pre-release single ahead of their tenth mini-album, Taste of Love, which officially dropped earlier today.

Even before listening to the song, I have my reservations about the new song. Alcohol-Free is an awkward title for a song, and I feel this is because of the common perceptions of the term ‘Alcohol-Free’. To label something as ‘Alcohol-Free’ is a bit of a kill joy. (But those drinks do have their benefits in society). True to the common perception of the term, I find the song to be equally lackluster as those drinks. TWICE usually have these bold pop tracks that are super catchy and are quite memorable. But Alcohol-Free opts for a chilled track that delves into hip-hop and bossa nova genres. I acknowledge their attempt to change style and sound, but I don’t think this TWICE material. Well, their usual material, to be more exact now. Alcohol-Free, as whole, feels like an extension of elevator music, plain and boring. I did like the use of bossa nova to add that Summery feel. I particularly like the bossa nova element that started up the second verse, adding a bit of a fun vibe to the song. But I also found the song feel like it was stuck in a neutral gear from start to end, never building to anything substantial. I think that is the elevator music side of the song speaking, quite profoundly. But when you listen to the song more closely, you do hear some promising elements. The melody was pleasant to listen to. It did lack memorability and catchy hooks, as you usually would associate with TWICE’s music. But it was still likeable. Similar comments can be applied to the vocal work. I do, however, find their vocals fizzle out as they approach the end of each line, which isn’t really the best effect. The rapping in the bridge was a bit more promising, adding some oomph to the song. But it wasn’t enough to be the saviour element to boost the song to anywhere near the top of my personal list of TWICE’s best title track. But like the rapping, it wasn’t substantial enough to make an impact on my perceptions of the song as a whole piece. Overall, Alcohol-Free isn’t my cup of tea.

To fit the Summery vibes of the song, I felt the music video was appropriate for the music. Shot on the waterfront by the beach is pretty fitting (though I assume the waterfront was a set, and the beach imagery was applied post production). But nonetheless, it all made sense. I also really like other set, the one with the platform, massive cocktail glass and lighting that brings a silver tone to the set, which gave off a modern feel. I also guess, fitting for the title of the song, there are a lot of drinks throughout the video, which I presume to be alcohol free. The term alcohol-free in this song is actually used to describe their drunk feeling towards falling in love. They aren’t drunk from drinking, but rather the feeling of love. And I feel that the members show that well using facial expression throughout the video. They don’t look drunk, but rather blissful and happy at that feeling they are describing in the song.

For me, I felt the performance was quite refreshing, once again suiting the Summery vibes of the song. It also suited the mature direction in which the group had opted for in their more recent comebacks. I do think the performance could have been more energetic, but that is more of a song issue than a choreography issue. I do like their side-ways movements in the second verse, with that being the most memorable part of the choreography for me.

Song – 6/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 6.8/10

[Review] Ring Ring – Rocket Punch

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Finally getting around to writing a review for Rocket Punch’s Ring Ring. The female group from Woolim Entertainment made their comeback on May 17 (a while back now) with a new single album which shares the same name as the title track. This is Rocket Punch’s first comeback since the release of Juicy back in August 2020. A week after the release of their new song, Rocket Punch was confirmed to be making their Japanese debut, so there is a chance you will be seeing Rocket Punch back on this blog with a review of their debut single (provided that it isn’t a Japanese version of their Korean title tracks). But until then, here are my thoughts for Ring Ring.

Ring Ring taps into the retro trend. But while we have heard numerous songs of this style in just this the first half of 2021, I have to admit that Ring Ring actually comes off as quite wholesome and likeable. And this alone is a huge improvement from their previous comeback, which I did not enjoy to say the least. Ring Ring features 80s retro metallic synths as the main instrumentation of the song, creating a fun and energetic sound that is synonymous with the retro genre. Ring Ring is particularly good when the song is turned up. While any song would sound better at a higher volume, the higher pitch at which the instrumentation and vocals are at within Ring Ring really need that oomph to stand out and hence benefits at the high volume. The group’s processed and high pitched vocals actually compliment the retro synths in a good way. While I do feel that their vocals were a tinge too cutesy, I do like how they felt bold at the same time, which is a definite plus when it came to the chorus allowing them to be heard on top of the instrumentation. To me, the weakest part of the song is the rap sequence we get in the second verse. It has a trap-centric approach to the instrumentation which felt generic and didn’t really feel retro, given everything surrounding it was retro based. The rap sequence in the bridge was much better and provided a really strong rebuild, launching us into the final chorus. The best part of the song has to be the pre-chorus. Everything in pre-choruses was very ear-catching and well-defined. It was also a really go lead into the chorus, connecting the chorus with the verse in a really cool fashion. Overall, Ring Ring is definitely their best title track yet. Hopefully, Rocket Punch (and their company) can continue the this trajectory.

I really like the sets. They felt very 80s, matching up with the synths and instrumentation of the song. I particularly really liked the massive gas station set. I know, it is just a gas station. But in this music video, it was really cool and tall. In the video, the members wait around for a phone call. Based on the lyrics (Ring Ring is about choosing between two potential love interests, boldly expressing that the subject of the song will go to whoever rings her phone first – taken from Soompi), the members are awaiting a phone call from one of two partners. There is a lot of ringing of all sorts which the members seem to mistaken for the phone. But in the end, the member answered a ringing phone (which came out of a fridge). I am glad that the video didn’t slip into an overly cutesy concept, keeping me onboard for its three and a half minute run.

The choreography did tap into the cutesy side of things. But I won’t hold it against them. It actually worked well with the song and showed off their youthful charms on stage. I particularly like their moves during the song’s main hook. Don’t know why, but it felt very retro and hence suitable for this song.

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

[Review] Sneakers – Ha Sung Woon

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Also making his comeback yesterday is Ha Sung Woon with Sneakers, the title of both the lead single and mini-album. This is Ha Sung Woon’s first comeback in 2021, with his last being Forbidden Island and Mirage from November of last year. This is also his first comeback since the confirmed disbandment of HOTSHOT. It is always disappointing to hear the disbandment of a group, but at least fans could have some closure with the confirmation of the disbandment, especially since it has been almost three years since we last heard from the group (their last comeback was without Ha Sung Woon and titled I Hate You). But sad news aside, we are hear to listen to Sneakers today!

Sneakers had a slow yet pleasant start. I guess the intention of this is to start the song from point zero, as there was a patient buildup in the instrumentation as we progress through the first verse. The pleasantry of this part is the melody, which brings out Ha Sung Woon’s soft vocals really nicely. What came next is pretty unexpected. I don’t think anyone suspected the burst of vibrant energy and super upbeat nature that was Sneakers‘ chorus. Firstly, it is the highlight of the song for me. The chorus is always the central part of a song, and so it should standout. And that is exactly what we get in Sneakers. Secondly, the vibrant energy (thanks to the influx of percussion) is just so catchy and memorable. I also really like the bounce to the song, which is so cool. Same goes for all the melodies we get throughout this section of the song. And thirdly, the chorus brought a smile to my face. And I guess that is thanks to the same vibrant energy (and may also be due to the music video, but I will get to that soon). Once the first chorus, the second verse doesn’t revert back to the slow pace of the first verse entirely. Instead, it keeps the beat going for a bit, which is great, The slowness does return as part of the pre-chorus, though I think this helps make the second chorus feel even more explosive. We get a brief stripping of the instrumentation for the bridge, before a quick buildup to the final chorus. Ha Sungwoon’s vocals in this part sounds so good and I really like how clear it is. Ha Sungwoon shows off more of this vocals in the final chorus, with high notes and ad-libs. Overall, I really enjoyed Sneakers, as it is vibrant and a super fun track that makes me smile.

I feel the music video is very relatable, especially due to the past year. A lot of us were in lockdown for the most part of 2020, staying away from strangers and the world in hopes not to contract the COVID-19 virus. And Ha Sungwoon portrays that in this music video. However, I think Ha Sungwoon is isolating for other reasons other than a pandemic. He is in bunker and he basically locked himself in there. He also has a lot of supplies that looks like it might last him a while. While he was reaching for a new water bottle, he knocked over a box that contains some sneakers. Memories of times where he was hanging outside start flooding back and he even reminisces about those time. In the end, he decides to leave the bunker to re-experience those memories and it appears to be the best decision he has ever made, enjoying the fresh air and sunlight that he sees for the first time. I guess it helps that your bunker is in a prime location like how his one was. Though scenes of him enjoying the sun and air, along with his memories of those times, brought a smile to my face. It all looked very genuine, and his enjoyment is easily transferred to you.

A really energetic performance accompanies the release of Sneakers. While this is expected, I really think Ha Sungwoon and the dancers went above and beyond, incorporating jumps that are high and take up a lot of your energy. I do think there is opportunity for more footwork throughout the performance, to really show off the sneakers. This is on the basis (and I hope) there are some awesome sneakers worn during the promotional period.

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

[Review] Moonshot – N.Flying

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One of the comebacks kicking off this week is N.Flying’s return to the stage with Moonshot. The new song is featured on the group’s first ever studio-length album, which is titled Man on the Moon. N.Flying is one of those groups who have waited forever for a Korean studio album. The band has been around since 2015, so that makes the wait over six years. That is definitely some time to release a lengthy album. The good news is that since their debut, there have been many mini-album and singles released, such as their most recent comeback Oh Really last year. I can’t wait to check out the album. But in the meanwhile, let’s have a closer listen to Moonshot.

What I like about Moonshot is the heft of the chorus. There is so much energy channeled into this alternative rock track that is comes off as bold and well-defined. And similar comments can be extended into the verses. The guitars in the verses were quite bold yet paced with the beat, standing out over the drums (which was kept on board to be the minimal beat of the song). And as the verse progressed along, we get a bit more guitar work, though it all revolving around the beat of the song. Seunghyub’s vocals here were really good, assisting with the minimalistic effect. But apparently that isn’t minimal enough, with the pre-chorus stripping the background to be even barer. But I like that technique, as it really made Moonshot‘s chorus explode out and have that high level of impact. We are also blasted with powerful vocals from both Seunghyub and Hwesung, which compliments that explosion from the instruments that I just mentioned. The chorus also features the line ‘If you want to change, be not afraid‘, which is quite catchy after multiple repeats. The second verse has a similar set up with a minimalist vibe for Hwesung’s solo part, this time the guitar work being a electric guitar riff. Seunghyub returns briefly as a vocalist before coming in as a rapper. His rap sequence was actually cool, and I like his delivery which showcased a tinge of hip-hop. In the bridge of the song, we get a brief stripped back sequence before slowly rising back to the final chorus. There is a bit of a suspenseful delay to the reintroduction to the beat, allowing Hwesung’s vocals to be showcased once again in a raw fashion before the drums come back in to close out the song with the hefty style that featured in the first and second choruses. Moonshot is a powerful yet simple alternative track that speaks volume in music and meaning.

The meaning of the song can be expressed simply by that one hook line, ‘If you want change, be not afraid”. At the start of the video, we see the members cowering in fear. They seem to want change, but it appears they fear the unknown. Their world is constantly watched, which the members work out based on the cameras you see everywhere, the eye we see in the roof and the TVs they find with all the footage of them throughout the video. The world is also “fake”, with boundaries set up to keep them in (I got Truman Show vibes when Hwesung and Seunghyub touched the barrier). I think the moon (wearing the spy gear) is a fake moon and whoever is behind this fake moon is elicting fear on the members. Once the secret has been unveiled, they take their desire for change to the next level, by attacking to the moon which subsequently blows up revealing the real world. Thus changed had occurred, only because the members stopped being afraid. Overall a good video with a really deep and meaningful message.

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

[Review] Don’t Fight The Feeling – EXO

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EXO IS BACK! That is the first time I am saying that since their last ‘full-group’ comeback under the name of EXO with Obsession (both the name of the title track and album) in 2019. The main reason to the almost two year hiatus is because of military enlistment. Even during the Obsession comeback (and even today’s comeback), EXO has a few members currently enlisted in the military. And in 2020, it was announced that EXO would focus more on solo and unit promotions, with the successful debuts of Suho and Kai, and the successful comebacks of Baekhyun (Candy and Bambi), Lay and EXO-SC. But today, we welcome back EXO through the release of a special single, Don’t Fight The Feeling, which features members Xiumin, D.O (both who have returned from the military), Chanyeol, Baekhyun (both who have just enlisted), Lay, Kai and Sehun. This comeback also marks the first time Lay has featured in a comeback since 2018’s Tempo. Suho and Chen are currently on hiatus due to their enlistment (alongside Chanyeol and Baekhyun). Okay, formalities out of the way, let’s have a closer listen to Don’t Fight The Feeling.

Described as a dance song with a ‘cheerful rhythm’, Don’t Fight The Feeling really delivers with its upbeat instrumental and catchy lyrics. If you are looking for the usual serious and mature sound from EXO, this isn’t the song you are looking for. But if you are looking for something upbeat and vibrant as Love Me Right or Power, then Don’t Fight The Feeling is what you be looking for. I really like the no nonsense approach the song has when it came to its instrumentation. From the very start, you could feel what the song’s description was stating. And as the song went on, the synths gave off a funky vibe (which is a very 2020s thing), while the bass gives the song its depth. I do dislike the inclusion of the trap-based background for the rap sequences, with its stripped back nature being a bit too standard for my taste. I felt that these part could have been a bit more enticing with something a little more original. Overall, it is a really cool instrumentation that gives you in the mood for a bit of a groove. The chorus was catchy with the repetition of the song’s title and the overlapping of vocals. This technique really kept the song going and helped key the song’s hook into your mind. Though, I would have liked to hear a more dynamic hook to the song, but what we got in Don’t Fight The Feeling was satisfying nonetheless. When it comes to the vocals and rapping, it is definitely great to hear everyone again. There wasn’t anything as explosive with their delivery however and I didn’t think any member stood out of the pack. That’s fine though, because EXO still gave us a satisfying showing of their vocals. But while that was the case for the overall song, it was definitely nice to hear Xiumin, Lay and D.O, as it has been a while since we have heard from them. As for the rapping, what we got was okay. But it wasn’t really the best showcase of Chanyeol or Sehun’s skills. I think if the producers went with a backdrop that flowed with the rest of the upbeat instrumentation’s momentum, it would have worked more in Chanyeol and Sehun’s favour. Personally, Don’t Fight The Feeling is a really good return for the group and a song I wouldn’t mind casually replaying. It isn’t until I sit down to consider the elements individually, that I find myself slightly disappointed.

Don’t Fight The Feeling‘s music video fits into the new SM cinematic universe, which appears to revolve around KWANGYA (the planet in which aespa’s virtual members live on). As the lyrics, I think that members have to travel through KWANGYA to EXO-Planet, which is EXO’s destination in this video. I think that is a nice tie into the cinematic universe, but also keep EXO’s storyline as its own separate entity. As for the visuals of the music video, I thought it looked quite cool, with the spaceship and air-craft carrier. It was definitely nice to see most of the group on our screens, as well. Lay also made an appearance during his solo part. Though, it is clear he had to film elsewhere (most likely China) and the editor(s) inserted him in later. Everything was all good until we got to the final scene, where the members are all partying up and we see a snippet of the choreography. I am happy they inserted Lay into the choreography shot, bringing EXO together once again. But the green screen usage at the end was pretty poor in my opinion, and I felt like this impacted the quality of the music video in the end. The video just didn’t feel great anymore, thanks to the ending.

The choreography definitely looks cool, and I am glad the green screen didn’t ruin this aspect. It is definitely more lighthearted and not intense as EXO’s usual style, but I attribute the change to the music which calls for a lighter set of moves. I liked the chorus, when they do pivot with their arms stretched out in a diagonal fashion.

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

[Review] Up All Night – GHOST9

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Last week, GHOST9 made their second comeback of the year with Up All Night and their fourth mini-album, Now: When We Are In Love. This continues the string of comebacks by the group in a span of less than a year, which (as I had stated in my last review for GHOST9) I am glad for, to help get their name out there. I just hope that the members do get an opportunity to rest and their management doesn’t overwork them (like we have seen happen with other groups in the past). This comeback in particular comes after their February comeback with SEOUL.

Up All Night opts for a lighter and brighter tone, fitting for the Summer season that Korea is currently entering into. All their title tracks thus far have been of of a intense EDM sound, which is very typical for male groups currently. So it is nice to hear GHOST9 switch up their sound for something more pop driven. And as one of the first groups to release song of this fun and bright style, Up All Night has great energy and drive. If the song was released closer to Autumn, I don’t think I would have been as excited for the song as I am now. The song starts off as your standard pop number, pumping in this upbeat energy that is synonymous with having a great time on Summer break. It then leads into a chorus, reminding me of One Direction’s style of pop music back when they were still around. The second half loses that touch slightly to incorporate a bit of rap into the chorus, but it is still as dynamic as the first half. The second verse continue the momentum that has been set for it, continuing the appeal of the song. The bridge of Up All Night slows down a bit, but I feel this just helps the final chorus be just that bit extra impactful (even though I am quite sure it is the same chorus on repeat from earlier). I really enjoyed the rap sequence that formed part of the bridge. It just came in the right time and had all the right vibes for this part of the song. I also really liked the extension to the final chorus, and how they call came together for the final to wrap it up. As for the vocals and rapping, I felt like Up All Night put a really nice display of those elements. Their delivery of both vocals and rapping were fitting for the overall style of the new song, and they were quite clear and crisp to listen to. Up All Night may be a straight forward song in some sense, but I think it was a great showcase of what GHOST9 has to offer outside of EDM.

The chorus blasts you with colour. Most of it wasn’t artificial, however, as the entire video is shot outside. The colours are just vibrant and feel fitting for the Summer season. The invisibility cloak scene and the massive red balls added a cute tone to the video. I do question the flying whale. Not sure what it means exactly, but I have seen it often in KPOP. As for the members, we see them have a bit of fun in the sun and in the shade, bringing forth the energy of the song. Overall, the music video is fitting for the song, so there isn’t much else to ask for.

I really like fun the choreography looked for this comeback. It has this slight bounce to it and I felt some of the moves were just a bit fun infused into the routine (like how they move about in the second half of the chorus). I think there is opportunity in the final chorus for the group to change the routine a bit between performances. It think this would make the performance more enticing to continually check in on.

Song – 9/10
Music Video – 9/10
Performance – 8.5/10
Overall Rating – 8.9/10

[Review] Hurt – Baekhyun (EXO) & Seomoon Tak

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One week ago, I said I was going to prioritise one particular song for review as it rose to the top of my personal Weekly KPOP Charts for the 4th Week of May 2021. Unfortunately, I didn’t around to writing that review during the week. But it is still a priority, especially since I am publishing this review before so many other releases that I have promised myself to write reviews for (some of them released weeks before this particular song was released). But just in case for those who missed it (or don’t pay attention to my Weekly KPOP Charts), the song I am talking about is titled Hurt and it is a collaboration between Baekhyun (from EXO) and Seomoon Tak, who is a South Korean rock singer. This collaboration was released on the 10th of May, and has gone since without a review. However, that will change today with the release of the review! Just a few days prior to the release of Hurt, Baekhyun enlisted as a public service worker to fulfil this military enlistment duty.

I didn’t immediately check out the song upon its release. And that turned out to be a regret, because Hurt is soooo (yes, the extra o’s were necessary) good. Hurt is a rock track, showcasing both Baekhyun’s and Seomoon Tak’s vocal powers. The instrumentation has a nostalgic factor (i.e. synthesizer keyboard) for me, bringing me back to music I used to take a liking towards when I was younger. On top of that, the instrumentation is fiery and powerful, acting as the perfect backdrop to help lift those power vocals I just mentioned to be even more so. The song starts off with Seomoon Tak, who I am unfamiliar with. She is a rock singer (as stated earlier) who made her debut back in 1999. She takes the first verse and presents us with her raspy and husky vocals. Based on what you hear, you can tell she has experience in the genre. She sounds amazing throughout her solo parts, teasing us with her vocals with what you know is coming. Baekhyun doesn’t make an appearance in the song until the first chorus, in which he leads. We all know Baekhyun is a capable singer through a lot of his solo work and through EXO’s songs. But I don’t think we have ever heard him like this, showcasing powerful vocals that leave in me in awe. I really like the echoing they do with the song’s title in the chorus, which added so much depth to the song, The pair play switcheroo for the second part of the song, with Baekhyun singing the verse and Seomoon Tak taking helm of the second chorus. That being said, there is some crossover. Baekhyun has some stunning high notes in the second chorus. But I think the ultimate singer has to be Seomoon Tak who blew me away with the heft and intensity she throws behind her vocals in her chorus. But remember, Hurt is no competition between the two singers. They come together in a spectacular fashion for the final chorus, harmonising their power vocals together to create a really satisfying end to the song that just touches your inner soul in all the right places. Overall, the passion and intensity of Hurt, along with the pairing of Baekhyun and Seomoon Tak just makes Hurt unforgettable and highly recommended.

The music video for Hurt is quite simple. The pair perform their songs into microphones in front of a band, who plays the instrumentation of the song. The lighting makes the video’s ambience quite moody. But the song itself prevents the video from entering a gloomy feel. I liked the hand held camera work in this video, which I think made the video more impactful with its shakiness. It gave off a live impression. While we are on the topic of ‘live’, I did wish this was a live video, where they were singing and recorded live. That would have made it more stunning and impressive, whilst also showcasing the song in a very gripping way.

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

[Review] Where Are We Now – Mamamoo

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Mamamoo is the next big name group to make their return this week. So far this year, we haven’t heard too much from Mamamoo. This might be due to the fact the members were renewing contracts with RBW. Currently, all members aside from Wheein have confirmed to have resigned with their company, with Wheein’s contract still being negotiated. That being said, we have seen some of the members since their promotions of AYA and Dingga at the end of last year. Solar has released an OST track for the Korean drama Vincenzo, Wheein made her comeback with her first solo mini-album and the track water color and Moonbyul collaborated with Bumkey for the single The Lady. On Wednesday, the group made their comeback with their 11th mini-album, WAW and the single Where Are We Now.

For a group who is known for their amazing and power vocals, it is pretty interesting that this is Mamamoo’s first full-fledged title track that is also a ballad. They did release Paint Me in 2018 as single, but it didn’t get the same promotional treatment as Where Are We Now. The new song was initially breathtaking as Paint Me, showcasing the group’s vocals abilities in an undeniable sense. The song starts off with Hwasa’s husky vocals and piano/guitar backdrop, before we are introduced to the lightness with Wheein’s vocals. And this is all followed by Solar’s soaring vocals. I really like how they keep the song grounded, despite all the lightness and high notes we do get. It brings the song back to a stable point and allows for the thrill of the same lightness effect and high notes to return as we listen to the song some more. But let’s skip back a few sentences. I stated that ‘The new song was initially breathtaking…’. Key word in this statement is ‘initially’. It came off as breathtaking the first time I listened to it for sure, but I think the effect has worn off with multiple listens. Sure, the song is still captivating. But with multiple listens, I am pretty familiar with the song and yet I find myself preparing for the disappointment that comes in the song’s second verse. And that disappointment has to be Moonbyul’s rapping. It isn’t her style or delivery that I find disappointed. I just find the rapping to be an ill-fit for Where Are We Now. I wished Moonbyul had stuck to singing like the rest of the members, and showed off some vocals like in 10 Nights. I am not looking for Moonbyul to replicate her high note that from example song, but I think Where Are We Now would have sounded better full of vocals rather than with a rap sequence. I also think Moonbyul could have been given more parts and not be confined to just the second verse. Overall Where Are We Now had potential to be grander, if it hadn’t conform to the need for a rap sequence as per most KPOP songs.

There was a mix of elegance and casual visuals throughout the video for each the members. But regardless of which scenes fell along the spectrum of elegant and casual, they all came together to make this a really beautiful video to watch, complimenting the same captivating feeling that the song had. While I tend to not like the moody colours filter that was applied throughout the video, I felt that the moody colour tone was expected to fit the ballad genre. The most stunning scene has to be the one where they are in their white dresses, surrounded by the revolving lights. The birds-eye view shot we got with the lights started twinkling was amazing to watch, and appropriately matched the peak of the song.

Song – 8.5/10
Music Video – 9/10
Overall Rating – 8.7/10

[Review] GAMBLER – MONSTA X

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Next up on the reviewing block is yesterday’s release of GAMBLER by MONSTA X. The new single comes from their ninth mini-album, One Of A Kind. It follows the November release of LOVE KILLA and their third studio album, Fatal Love (which I have previously reviewed). Since then, the group released Japanese versions of their previous Korean title track, a new original Japanese single (titled Wanted) and their third studio album in the Japanese pop music market titled Flavour of Love. The lead single off that album hasn’t been reviewed yet and I will doing that in an upcoming International Song Review post. In the meantime, sit back and prepare for a secretive listening session with MONSTA X’s GAMBLER.

MONSTA X takes a few steps away from their usual EDM based tracks for a sleeker sound. The usual intensity that we have gotten through many title tracks from MONSTA X is still present, just delivered in a different manner this time around. GAMBLER features this groovier foundation, which is a refreshing sound for the group. Sure, it might not be the most innovative technique out there in the wider KPOP music scene, but it is definitely so for the group. The bass in this song brings forth that funkier sound and is highlighted by the electric guitars and drumming. There are synths in the song, that bring a rougher texture and bombastic sound, but they are not as intense and don’t contribute to the ‘noise’ as much as in their previous songs. The best part of the instrumentation, for me at least, is all the deep instrumentation we get. So much depth and texture to GAMBLER. Also adding so much texture to the song are the vocals and rapping. To me, I feel like the members are making up for that lack of EDM through their deliveries. Kihyun blasts us with his power vocals throughout the song, and we see more coverage of Hyungwon and Minhyuk in this song. I like Joohoney’s and I.M’s more rhythmic rapping sequence in the second verse. Usually, they come at us with this really aggressive sequence, featuring a lot of growling and raspiness. However in GAMBLER, they tone it back but still have that really impressive tone to it. Joohoney, in particular, also surprisingly brings us a high note towards the end of the song, showcasing his vocals which we have previously heard during their Versace on the Floor cover a few years back. His skillset is reiterated further down the track during a really intense ad-lib which compliments the electric guitars that come into play to close out the song. I have been waiting for Joohoney to bring that to a track and it is finally here. My most favourite part, in terms of vocals/rapping in GAMBLER, has to be the harmonies we get following the thumping dance break. There was a lot of unpack from the song and I don’t think I even covered all bases with regards to what I liked about GAMBLER. Though, I think it is safe to say that this is one of the best in a very long while.

Throughout the video, MONSTA X successfully hatch a very lucrative plan to steal a gem that has been dubbed MX0514 (MX standing for MONSTA X and 0514 representing the date in which they made their debut over seven years ago – which I guess means they have renewed their contract with Starship Entertainment given that initial contracts last 7 years). They each infiltrate a private auction and try to scare the potential buyer by putting him under some bidding stress by following his bids very closely. All the members become bidders by killing other bidders or stealing their invitation. Meanwhile, Joohoney kidnaps the person who is supposed to be overseeing the auction and takes on the role of the auctioneer. Assuming that they didn’t have money to begin with to win at the auction, Kihyun and Minhyuk start a fight at the auction, timing it to when Kihyun had set the timer to go off to cause an extensive blackout, which resulted in the members defeating everyone who is not part of their team and hence allowing them to steal the gem without any problems. I am not exactly sure of the ending though, as they drive away from the scene in police cars (i.e. are they police?). My guess that this is just a cover to help they get away from the scene. It is a really cool video that shows off their fierce and bad-boy looks, showing us who not to mess with.

Unfortunately, Shownu is sitting out of promotions for GAMBLER due to a medical issue. Despite this, the rest of the group make up for their leader’s absence by filling up the stage with their stage presence. I have said this before, but facial expressions make up a really massive part of the stage performance. And watching their performance, each member really hit the nail perfectly in regards to facial expressions, filling up any gaps with their stage presence. The energy that comes from the performance as a result is thrilling and really captivating.

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

[Review] Hello – Joy (Red Velvet)

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Hello. Welcome back to the usual transmission of song reviews. We start off today with where we left off on Monday. Joy, one fifth of Red Velvet, made her solo debut at the start of the week with Hello and the mini-album of the same name. She is the second member to officially go solo, with the first being Wendy, who made her solo debut earlier this year with Like Water. While we are all excited to hear from Joy (and the other members through solo and unit promotions), I am still waiting for a full group Red Velvet comeback, which hasn’t occurred since December 2019 with the release of Psycho. But I guess we just have to wait a little longer. In the meantime, let’s have a listen to Joy’s Hello.

If Monday’s review was for an emotionally charged rock track is at one end of the spectrum, then Hello is another rock-influenced track at the other end of the spectrum. Joy’s Hello is cover of a 1999 single titled Good Bye by Park Hye Kyung. I personally do not have much to say about the song aside from the fact that I really liked it. I didn’t know what to expect from Joy when it was announced that she would be making her solo debut. So I was geninuely surprised to hear such an enjoyable song that really boasts addictive and colourful energy. Joy’s cover carries over the same energy and cheerful vibe from the original song. If anything, Joy’s version amplifies the energy, released in a day and age where technology gives that opportunity to take it to the next level. But the rock influences within Hello is only one side of the song’s instrumental. There is a lot of brass during the chorus to really heighten the energy and happy feeling of this version. And this really appeals to me (because you know I like my brass). I also find the song really suitable for the upcoming season of Summer, as it is chirpy, extremely upbeat and refreshing to listen to. It ticks all the boxes of what you would want in a song positioned for release in Summer. As for her vocals, I find Joy’s vocals make this version super sweet and youthful, which fits her image and personality. Like the original song, the choruses was probably its most defined moments, with the verses falling into the forgettable category unfortuately. The chorus had the really catchy and colourful melodies that the song relies on. Overall, Hello was a great step for Joy for her solo career. Hopefully she returns soon with an original track as the title track that shows off more of her skillset!

The music video for Hello was super cute. While I am sure there is a deeper meaning to the video, just looking at what you can see on the screen in a literal sense already brings a smile to your face. Based on the start of the video, it appears that Joy is in some sort of stagnant part of her life. She clearly looks tired and is pretty much over whatever she is experience. So after some responsible cleaning up, she starts afresh and goes on a road trip. On this road trip, she comes across a young girl and decides to take her home. The only probably is, she is relying on a map that is handdrawn (by the young girl I persume). So she seeks the assistance of local bikers. seafood divers, farmers and surfers, who point her in the direction of the young’s girls home. After a long road trip, we see Joy reunite the young girl with her family. It is such a happy and feel-good type of video, complimenting the energy coming from the song. Even the waves and smiles on the faces of the locals bring one to your face.

Not entirely sure if there will be any choreography for this solo debut. Based on the original performance of the original version, there was no choreography. Instead a live band played in the background while Park Hye Kyung sang live. There is a possibility that Joy might do the same. But I think this is a great opprtunity to separate the cover from the original. We will find out more come Friday when she makes her first appearance on stage with Hello.

Song – 9/10
Music Video – 10/10
Performance – To Be Updated
Overall Rating – 9.4/10 (To Be Updated)

[Review] 0X1=LOVESONG (I Know I Love You) – TXT ft. Seori

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Kicking off the week is TXT with their first comeback in over eight months! Last time we saw the group was through their single Blue Hour and their third mini-album, Minisode1: Blue Hour. Since then, we have seen the group make a comeback in Japan with the track Force, and their first studo length album in Japan titled Still Dreaming. On a brief side note, I have not been able to review it this new Japanese release as there is no music video as far as I am concerned. But we are here today to talk about their newest Korean release. Today, the group returns with 0X1=LOVESONG (I Know I Love You) and their second studio length Korean album, The Chaos Chapter: Freeze.

TXT takes on a different sound with their new song, opting for rock influence in 0X1=LOVESONG . Since the unveiling of the highlight medley last week, I was excited for this comeback based on the various upbeat tracks on their new album. But it is the rock influences on the album that really caught my attention. For me, there is no feeling like finding just the right rock song that has the right amount of intensity and energy to put on. There is just something about being able to head bang to a song and tap my foot away that gets me all giddy and excited. 0X1=LOVESONG really ticks those boxes for me. What I also really liked about 0X1=LOVESONG was how pure it was. Not in the sense of it being innocent or cutesy. But rather, in the sense that it was untouched by any synths. With a lot of the pop music relying on electronic and synths to some degree, it is nice to hear something a bit traditional in terms of instrumentation. And in this song, it somehow gives the rock sound a chance to be easy on the ears, which is a rather interesting thought I had about the song. When it came to the chorus, the energy exuded by the rock sound made for a thrilling dynamic that made the song even more appealing to me. Another aspect that I really liked about 0X1=LOVESONG is that it shows off the members’ husky and raspy tones. It made the song more impactful and allowed emotions to be poured into their vocals. 0X1=LOVESONG is also quite catchy. While the instrumentation and energy of the song is already quite memorable, they really hone it in during the post-chorus hook. Seori features in this segment, and she adds a very crisp and refreshing vibe to the song that I find to be ideal. It cuts through the intensity of the rest of the song (so it just doesn’t become a relentless track) and boldens the hook to be even more memorable. If I were to be critical about the song, I do feel that 0X1=LOVESONG there might be a potential overly consistent issue in the song’s sound if it gets replayed too many times in a short period of time. A substanital rap sequence would have been nice to relieve this issue. I think it would have been a nice addition to the song, adding further momentum to the song to drive it forward. But as it is early days, I think 0X1=LOVESONG is a fine song that showcases TXT in a new light.

The music video seem to tell a story of being alone. Yeonjun, who plays the main character in this video, is alone in this world. His parents are fighting, which causes him to find escape. He steals his car keys and go on a drive. The reason why I think he is alone is that this didn’t seemed plan. But yet, his ‘friends’ are awaiting him at the car, welcoming him to his adventure. Throughout the video as well, we see Yeonjun physically separated from the rest of the group highlighting the loneliness that he has. But as I said before, it is his escape from reality. At the end of the video, we see Yeonjun wake up alone. Aside from the story, I really like the grey filter that is on the video and the choreography shot with all the speakers behind them.

I like how they added to the song’s initial energy with their angsty approach to the choreography and vocals. It made the performance look really good and even more powerful that what you would expect. However, there wasn’t really a memorable move for me in this performance, which is a pity. But the routine is still worth watching! I also want to give a shoutout to their stylists who hit the brief perfectly with their grungy outfits that feel so fitting for the song.

Song – 9/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.8/10

[Review] FIRST – EVERGLOW

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Earlier this week, EVERGLOW made their long-awaited comeback with FIRST, which headlines their third single album, Last Melody. This is the group’s first comeback in just over eight months, with their previous comeback being LA DI DA at the end of September 2020. LA DI DA was such a big comeback for the group, which earned them Best Music Video, Best Female Group Choreography, Best Album (for -77.82X–78.29) of 2020 in the 2020 KPOPREVIEWED Awards, as chosen by you. LA DI DA was also the third Best Song of 2020! Let’s see if FIRST has what it takes to repeat or exceed the standard set by LA DI DA for EVERGLOW’s discography.

Thrilling is how I would describe FIRST. From the dramatic violins that open up the song to the bombastic nature of the instrumentation during the chorus, everything instrumentally comes together to give off a thrilling atmosphere and evokes what felt like an adrenaline rush for me. That is a really strong effect and I am impressed that EVERGLOW managed to pull it off, This is especially considering that so many songs attempt to do the same, but disappointedly fall short. But this clearly is not the case for EVERGLOW’s FIRST. I particularly really like that final sequence, which felt like an additional treat. The energy that comes suddenly out of nowhere really caps off the song splendidly. To aid the instrumentation and show off EVERGLOW, the members’ vocal work and rapping reaches the same effect. What easily could have happened, that we have heard time and time again in other songs, are the members are hidden by the instrumental. Despite FIRST falling into what some might call the ‘noisy’ category, the members still come out on top of everything, which is what you want. So far, everything comes together really well to be such a dynamic track. But following the likes of LA DI DA was, from the start, going to be a hard feat. And I feel that while FIRST is dynamic, it lacks one element that prevents it from overtaking LA DI DA. At least, this is what I think. To me, FIRST lacks that robust hook that really catches on. I enjoyed the energy and feeling of the song, but I didn’t really remember much when it came to the lyrics. If only FIRST had memorable hook, I would have bumped this song to the start of my personal favourite EVERGLOW song, but LA DI DA manages to still hold onto that title.

The music video for FIRST was extremely dynamic in a visual sense. Everything in the music video really works extremely well to create a stunning visual piece to accompany the likes of FIRST. This includes everything from the styling of the members’ outfits, to the choice of background and sets for all the shots, to the visual effects add to the video. There was a sense of boldness to the video which was fitting for EVERGLOW. Their outfits just make the members pop right out at you. The stylists definitely deserve a shoutout for this! The various sets and locations they used for shooting came with an epic feel to it, which added a thrilling tinge to the video. The visual effects gave the video a bit of an interactive fanfare and made the transitions look so cool, which made the video even more dynamic. The camera work fitted the energy of the song. It is one of the best videos of the years, thus far.

To match the powerfulness and boldness of the song, the performance aligns well. However (since it looks like the routine is so intense) by the time they get to that final sequence where the music comes out at you, the choreography just didn’t seem as satsifying. I feel like the members put in so much of their energy throughout the earlier sequences, that there isn’t much left over to push themselves for that ending sequence.

Song – 8.5/10
Music Video – 10/10
Performance – 7/10
Overall Rating – 8.7/10

[Review] Advice – Taemin (SHINee)

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While I was on break last week, a number of comebacks occurred that I could not review. Now that I am back, I will try my best to get on top of the last week and this week’s comeback. First up is SHINee’s Taemin, who made his last comeback with Advice (the title of both the mini-album and its lead single) before his impending miltary enlistment at the end of the month. While his fellow group members have completed their miltary enlistment, Taemin pushed forward with his solo career, releasing massive hits like Want, Criminal and Idea. Luckily for all the Shawols out there, SHINee was fortuate enough to make a group comeback earlier this year just before Taemin enlisted with Don’t Call Me and Atlantis (Album Review Here!) in addition Taemin’s solo release.

What makes Advice sound stunning was the piano present in the instrumentation. It was definitely captivating for me to listen to, especially since it was incorporated really well into the electronic trap-centric instrumentation and made the otherwise standard electronic influence a bit more gripping than if it was packaged as a standalone. Furthermore, I really like the vocals throughout the song. Taemin slips into falesetto mode for some of the song, especially when it came to the chorus, giving the song a bit of dynamism to make it a little bit more exciting. I really like it how his vocals are backed up when it came to the chorus, adding some depth to the song. And I feel that the additional dynamism and depth were much needed. Without the much needed dynanism and depth that we got, Advice would have been a bit shallow and too ‘safe’ for my liking. As a whole picture, Advice is good. But I will admit that Advice isn’t as show-stopping as some of his previous hits. There is a couple of reasons for this, but I feel like this boils down to one of two reasons (or maybe a combination of both). Advice felt overly consistent and stuck in neutral gear for the three and a half minutes or so. Also, Taemin’s solo releases tend to explore unexplored territory for KPOP, or repurposes rare styles to be his own. I felt that Advice didn’t have that individualistic spark which always perks my interest. But nonetheless, Advice is still a listen and might be a good song if you want to ease into Taemin’s discography. But as someone who has reviewed all of his solo tracks, Advice lacks what it takes to be at the top end of Taemin’s discography.

While those are my thoughts about the song above, it doesn’t mean the same thoughts necessarily apply to the rest of the comeback. The music video for Advice, to me, is haunting. And this is all done without slipping into a dark or twisted theme. The initial scene with Taemin’s body marked with grease and covered only by a black mask with white stitching and web-like overlay (whilst playing the piano) was very impactful and made the video feel sinister and creepy. We are then shown Taemin in a choreography shot with long hair with grey-blue ends, which make him look chraismatic as a vampire. Very impactful imagery. The rest of the shots (I don’t have time to go through them one by one) follow a similar pattern. This is also complimentary to the atmopshere which the lyrics create. Based on what I understood of the lyrics and visuals aspects of the video, his lover is driving him insane and makes him a crazed person (“The more you trap me, the more I go off the rails“). Based on his lyrics, he warns this lover to stay away from him, but they don’t. This results in Taemin going insane completely, driving recklessly on the road and dying at the end of the video. A very interesting set of events.

Once again, Taemin pulls off an impressive routine for this comeback. There was a lot of footwork and I really like how he carried that haunting atmosphere from the music video over to the stage performance. I really like the dancers contributed to the start, setting the scene of the performance. I also really like how they were slowly brought in using small body rolls at the end of the bridge.

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

[Double Review] Inside + Whatever – KEEMBO

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It is time tap back into that ‘Coming Soon’ list and pick another artist to review. For today’s review, I have selected an artist that I never have reviewed before, a female duo named KEEMBO. Well, technically that is not true. I have reviewed the duo KEEMBO before. However, back then KEEMBO were members of the female group SPICA, who released some of my favourite KPOP songs such as Tonight and You Don’t Love Me. SPICA disbanded in 2017 and the members went their separate ways. In 2020, Kim Bo Young and Kim Boa formed the duo KEEMBO and debuted with the single Thank You Anyway and since continued to promote with one another. This year, KEEMBO released the singles Inside and (more recently) Whatever, which I will be reviewing both today.

Inside was released as the title track from the duo’s first studio album Scandal back in February of this year. I missed it when it first released and it didn’t really catch on until I paid actual attention to the song weeks after its release. Now, it is a song that I look forward to when I see it coming up on my playlist. What makes Inside so good is the pairing of KEEMBO’s vocals and groovy electronic instrumental that we get. If you know them from their SPICA days, then you will know how capable they are. While Inside doesn’t really showcase the extent of their capabilities, Inside really shows how substantial they can be. Their vocals were solid through and through and I enjoyed that little spike and push they gave in the final chorus. I do wish there was more to give that song that oomph it needed, but they did well. For the instrumentation, Inside was extremely satisifying. It was straightforward but in a no mess type of way. I also quite like the instrumentation for its contrast to the lyrics. The song is very upbeat, yet the lyrics are very emotionally driven.

Whatever was released nine days ago as a digital single. To me, it delivers what felt was missing from Inside, though very briefly. It is a very peppy retro instrumented track that is very upbeat and exudes this very cheerful energy that I find enjoyable. The trumpets were a really nice touch and give this song colour that the drums didn’t have when it was the only instrumental centre piece in the verses. The chorus was definitely the more memorable parts of the song, with the brass and the powerful vocals. Whatever definitely shows off more of that ‘extent of their capabilities’ which I noted that I wanted in Inside. Those powerhouse vocals come through via the word ‘Whatever‘, which is an extremely small dose. But a step towards what I wanted. Those ad-libs at the end seem to be tease us a bit. But while I do love a good belting, I also enjoyed the softer moments of the song that KEEMBO gave us in this song. The softer approach was a nice contrast with the chorus, especially when it came to the ‘dadada‘ hook. It gave the song that additional addictive tinge.

Further to the contrast between music and lyrics of Inside, the contrast between lyrics and music video is also quite remarkable. In a way, it makes sense to me as love can make you twisted things (and so does a heartbroken person). Essentially, the music video shows KEEMBO recovering from a relationship in their own way. The person they were once in love with had told them to move on, but KEEMBO do not want to singing lines, by singing lines such as ‘Forget it if you want to‘ and ‘My tears are mine to shed‘. This angers them and they result to killing the ex-lover (Bohyung dragging the bag, Boa holding the knife or glass shard by the sharp end in her hand while staring at something) to just stop their ex-lover from continually saying the same thing. You just don’t expect that darkness behind such an upbeat song. I also really liked how creepy they looked in some of their indivdual shots, further fueling that darkness. Miles away is the music video for Whatever, which is protrays the cheerfulness and peppy profile of Whatever in a straightforward way. I really like how they were singing to really nice paintings, who also sang back to them. I just wished they looked like they were belting those high notes in the chorus, rather than acting cutesy or cheerrful. I just don’t think it is a good fit for those moments in the song.

Despite the two upbeat songs, only Inside got a dance performance for its promotions. It was a decent performance, with the focus being on vocals rather than the dancing for the pair. But they did participate in some of the moves. I really like the light sensual tinge the choreography had, which felt appropriate for the song.

Inside
Song – 8.5/10
Music Video – 9/10
Performance – 7/10
Overall Rating – 8.4/10

Whatever
Song – 8.5/10
Music Video – 7/10
Overall Rating – 7.9/10