Coming up later today is the album review for Golden Child’s second studio album (and its repackaged version). But as mentioned yesterday, there is still a few more unit and solo tracks to review off the album before I can post the full album review. First up today is the unit track That Feeling, which features Seungmin, Donhyun and Jaehyun.
I too do not have much to say about That Feeling. It isn’t a mind blowing track, but That Feeling comes off as a nostalgic listen to me. It is as if I have heard the song before. This does not mean that it is a direct copy off another song. Instead, thanks to the song’s warming and mild atmosphere, That Feeling comes off as familiar and inviting. And I quite like that aspect of this unit track. I also find the song to be quite sweet-sounding, which can be attributed to the the likes of Seungmin, Donghyun and Jaehyun. Similarly, the melodies, especially during the pre-chorus and choruses, were so nice and soothing to listen to. I also appreciate the lightness of the song and how it is easy of the ears. From the vocals to the trumpets we get in background, nothing overwhelmed and contributed to that overall inviting and warm feeling. Overall, That Feeling was quite a likeable track.
There isn’t anything too crazy in the music video. Like the song, it also quite sweet and fits the tone of the song overall. Seungmin, Donghyun and Jaehyun are on a road trip in Korea, with a lot of the footage of them are at a beach and on the road. I did like the combined usage of the Instagram look and the ripped photo/scrapbooking look. Both came together to give the video both a modern and rustic look. but I also thought that both contributed to a playful and fun vibe as well.
Song – 7.5/10 Music Video – 8/10 Overall Rating – 7.7/10
The next step to a completed album review for Golden Child’s second studio album (and its repackaged version) is for the album’s first unit track. This unit, if you cannot tell from the title of the post, is made up of Joochan and Bomin, two vocalists of the group. Their single is titled Singing In The Rain.
I personally do not have much to say about Singing In The Rain, so this review will be fairly short. This doesn’t mean I dislike the song, though. As a matter of fact, I quite enjoyed the song as whole, even though its style just isn’t my cup of tea. Singing In The Rain is a fairly simple song. It is a very typical jazzy style of music, suitable for a coffee shop. There is a bit of rain in the background, so imagine sitting in a n ambient coffee shop on a rainy day whilst listening to this song. There actually isn’t anything that special about the style of song, but something else really captivates and pulls me into the song. Singing In The Rain superbly present Joochan and Bomin’s vocals. The pair sounds quite dreamy and sweet throughout the song and this really fans out to the rest of the song. I particularly like the pairing of Joochan’s higher and Bomin’s lower tone in this song. The contrast between the two was nice and gives the song that extra something to talk/think about. The melodies that the voices are carry are so light and drifty, reiterating that dreamy and sweet feeling you get from the song. Overall, a soothing track to listen to. In the grand scheme of things, it may not be the most memorable side track on the album, but Singing In The Rain is still a worthwhile listen.
There seems to be two theories floating about regarding this video. One of them proposes that Bomin’s character is in love with the female character, while the other proposes that Bomin is in love with Joochan’s character. The video is pretty ambiguous, so either theories feel very valid. Apart from that, everything else within the video fits in neatly with the song. I also like the rainy scenes, with Joochan and Bomin dressed up in suits and holding their umbrellas. It gave the video a bit of variety in terms of range of scenes and infused a bit of something different into the video.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
Earlier this week, I flag I would post reviews for the unit and solo tracks from Golden Child’s second studio album, GAME CHANGER, ahead of the actual album review which I will be posting this weekend. To date, I have only posted one (the review of POPPIN’ by Y and Jangjun). But the rest are coming and the album review will definitely be posted this weekend! So, I better get cracking. Next up is the unit release of GAME, which features members TAG and Jibeom.
To me, GAME feels slightly inferior to POPPIN’, simply because it comes off as your more typical dance pop track. It is still a decent side track off the GAME CHANGER album, and its elements (which I will go through in a second) helps the song stand out. But it just doesn’t live up the same standard as POPPIN’ had set. I just don’t find GAME as striking as the previously reviewed song, with the typical nature of the song coming out more throughout the track, and I feel that this atmosphere was the only aspect that hold backs the song for me. To me, the standardness comes from two elements within GAME – forgettable verses that just didn’t stick in my mind, and similarly unmemorable vocals/rapping. Sure, the rapping was powerful and the vocals were nice in GAME, but neither really struck me. Unlike POPPIN’, I am not amazed as I had hoped to be. We did get some memorable hooks (i.e. the ‘LALALA‘ hooks following the choruses), but these felt unoriginal, and I couldn’t really bring myself to say that the vocals/raps were the cause of the memorable factor. However, as mentioned above, I was impressed with the brassy centrepiece of GAME. The heaviness from the piano in the chorus and the bass also gave the song some depth and oomph, which I definitely appreciated. But overall, GAME just didn’t live up to standard set by Y and Jangjun.
TAG and Jibeom play rivals in this music video, and they choose to settle their differences with a bit of gambling. After putting everything they have in, both members were more interested in showing each other who is better (big egos here). So interested that they didn’t see or hear the third person in the room, who knocks them both out (with a very soft tap from the looks of it). Once tied up, they realize that they were played and shouldn’t have worked against each other. Now, both of them have lost everything on the table and someone else (unknown to us all) has run off with both TAG and Jibeom’s money. Aside from the plot, I quite liked the visuals from this music video, particularly the various photo shots we get throughout the video and how they were intertwined with the video’s scenes.
Song – 7/10 Music Video – 8/10 Overall Rating – 7.4/10
Since their debut in 2020, it has been a traditional for CRAVITY to follow up promotions of their main title track with a side track off their latest album release. Following their debut, the group released promotional materials for Cloud 9, another song (other than Break All The Rules) off their debut mini-album. For their second mini-album, the group followed up with Ooh Ahh, while their third mini-album was followed up with Bad Habits. Today, CRAVITY returns with the release of a music video for VENI VIDI VICI, which follows up the release of Gas Pedal from their first ever studio album, The Awakening: Written in the Stars. An album review is being prepared as we speak. But ahead of that, here are my thoughts on VENI VIDI VICI.
Compared to their EDM-aligned title tracks, VENI VIDI VICI sounds much more sophisticated. It is quite an interesting dynamic to be honest. I do miss that striking nature and boldness that their title tracks have thanks to the EDM. But VENI VIDI VICI sounds a lot more mature (without really trying to sound mature at all), showing us a different side of CRAVITY we just haven’t really delved in yet. VENI VIDI VICI opens up with soft brass and guitar work, before soft vocals comes into play. As we progress through the verses, the song steps more into generic territory. But that changes once we approach the pre-chorus, which brings a heavier presence of those guitars (revealed to be electric guitars). I find the pre-chorus leads us appropriately into the chorus, which is more dance territory, but nothing like their EDM. Once again, it is definitely showcases a mature vibe, with the focus being on rather than the raps which is the usual centerpiece of their title tracks. The second verse is probably their least memorable sequence, with the raps going into trap territory and the pre-chorus is then repeated. The bridge focuses on instrumentation. Just when you thought the song would really amp up and return CRAVITY to EDM territory, the song throws a bit of a curveball. VENI VIDI VICI‘s bridge is a dance break and it does amp up, but it keeps itself in line with what we have heard so far. The instrumentals here carry more of a rock influence that I am totally digging. The electric guitars is just so electrifying and the drums just give the sequence that oomph it needs. The brass also returns, reminding us and adding that sophistication I touched on above into this sequence. Overall, VENI VIDI VICI explores a different side of CRAVITY, and I am satisfied with the choice of song as a follow-up to Gas Pedal‘s promotions.
The music video for VENI VIDI VICI is more so a performance video. There were a few close ups, and I like how the producers made sure that Julius Caesar’s words were reflected in the music video (for those who don’t know, VENI VIDI VICI is Latin for I Came, I Saw, I Conquered – famous words from Julius Caesar). At the start, we saw a door, the sword in stone, a painting and one of the members holding and placing a crown on their head. These correspond to each of the three parts of the famous line. I Came (arrival at the door), I Saw (looking at the painting and the sword in stone – i.e. attractions), I Conquered (the crown). Regarding visuals, I didn’t like the video’s hazy look, as that dulled the video for me. However, I did like the lighting and I think the choreography was shown off well.
It is a good routine overall. I did like how the moves were drawn out to compliment the vocal deliveries. The most memorable aspect of the performance has to be the dance break. I did wish they went harder with the dance moves there, as I think it would have been more suitable for such a sequence given the music.
Song – 8/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 7.5/10
Also making his comeback yesterday is WOODZ, with his new single WAITING. The new single is featured on his third mini-album, Only Lovers Left, which was also released yesterday. This comeback follows his comeback, Feel Like, from March of this year.
WAITING is rock-influenced pop track that really pulls you in. Since it has been a few days since the song was released, I have had many opportunities to listen to WAITING. And each time, it has been a likeable experience. The instrumentation was good, but not as epic as it could have been. While the rock influences were really good, I feel that the song’s arrangement could have taken more of a rock sound (you know, full on band instrumentation, electrifying electric guitars etc.), rather than just a rock influence. This would have taken WAITING to the next level for me. But the background aside, everything else was great! The vocals are a constantly solid element throughout. Time and time again, I have enjoyed WOODZ’s vocals, as the soloist just knows how to captivate. In WAITING, WOODZ puts a lot of his own style into the delivery of the lyrics, which instantly gives the song a lot of character and individuality. This definitely helps takes the song to the next level as it avoids any doubt of the song being generic or plain, especially if the instrumentation might come off that way. I also find this vocals to be sleek throughout this track, which really helps balance out the song. I think WAITING needs a bit more rapping in it. I feel the energy of a profound rap sequence would slide in very nicely into this song and fit the overall dynamic. We do get a brief few seconds of rapping in the second verse, but more (and something energising) would make it even better. Overall, WAITING is solid release from WOODZ.
I really like the dark and eerie atmosphere of this music video. Like the song, this makes the music video quite captivating for me. For the storyline in this music video, I think it is clear that there are two versions of WOODZ, both of whom are addicted to his lover (the girl we see at the door). There are a few theories floating about, though I want to suggest a different one that I don’t think I have seen yet. The first version of WOODZ (dressed in white) is the version that is driven insane by his lover. He is haunted by her presence, but cannot stop thinking about her. It drives him to the point where he would even contemplate taking his own life. The second version of WOODZ (dressed in black) is addicted to her, follows her and is obsessed to the point where he would take creepy pictures of her. Either versions end up dead. The first version is killed at the end of the video (the gun shot scared me!) by the girl, whom is waiting off screen. We see the second version lying down in the hallway mid-way in the video, with the female character walking away. I assume that she also approached the door in a similar fashion to the ending, but with this version of WOODZ, he was willing to open the door straight away due to his obsession, while the first version was more hesitant about it. A sad ending either way. What I really need to commend WOODZ on throughout this video is his acting. Nothing felt exaggerated or over the top, especially all those ‘going insane’ scenes, which actors tend to overdo. Again, it was all captivating and amazing to watch.
The performance is the least captivating part of this comeback. But that doesn’t mean it isn’t good. WOODZ doesn’t really participate in the choreography, so he can focus on the live aspect of his performance. He kind does his own during the first chorus, follows the dancers moves in a manner that enables him to continue to sing live and have the dancers mould around him for the rest of the performance.
Song – 8.5/10 Music Video – 10/10 Performance – 7/10 Overall Rating – 8.7/10
Another comeback yesterday was made by aespa, who returns with their mini-album since debut (titled Savage). The title track of the mini-album also shares the same name. This comeback follows the successful release of Next Level from earlier in the year. If you were to flick to that review, you may find that at the time of writing that review, I wasn’t much of a fan of Next Level. Fast forward a few months, and Next Level has grown considerably on me. I still don’t think highly of it as the rest of the world seems to do, but I have warmed up to the song through a lot of replaying. Let’s see how Savage fairs (keeping in mind that it may change down the track).
Honestly, I don’t think the song will grow on me whatsoever. I don’t think I have listened to a song with such a straight face before and where I had to dig my way through the song to figure out any positive aspects. So, it isn’t good at first glance. I did find some, but I think Savage is case of the bad outweighing the good. It is another song that seems to jam a lot into the four minutes of air time. There is so much change throughout the song, with each sequence feeling very different to every other sequence in the song. It is quite overwhelming. Savage begins with the most eye-rolling toned introduction in KPOP that I have heard. I hope this was intention, as it fits in with the title. Otherwise, I would be concerned. Metallic twangs and heavy bass form the basis of the first verse, with Karina and Giselle rapping. The verses were largely forgettable. Then, the pre-chorus comes in, bring vocals and (admittedly) a suspenseful energy that I liked. I like the rock influences (though I think they are more synths) we get here. While the climb to the chorus was good, I was utterly left down by the chorus. The anti-drop and the lackluster (and excitement killing) hook just didn’t work for me. We get more of a hip-hop influence in the second verse thanks to the added instrumentation and rapping, though there is that similar backing as the first verse. The second pre-chorus remains the same, while the second chorus adds extra percussion to ‘change it up’, though I am left with the same disappointment. We then get a vocally driven bridge, before we are lead into a very abrasive EDM dance break, an unfitting (but well executed) high note, and finally a messy and over complicated layered sequence to end the song. A prime example of how doing too much at once doesn’t look good. I have to say that the vocals and rapping throughout Savage definitely showed talent. That’s one of the positive aspects that I concluded with. And I feel the bridge and the rapping in the verses definitely showed this (despite the latter being unmemorable). Pity the music just didn’t come together cohesively (especially that ending).
While I don’t like the song, I did enjoy the music video. SM Entertainment has managed to outdo themselves with the production and quality of this particular music video. My favourite bit has to be any scene with the Black Mamba (the snake, not the song in this case) in them. The detail of the scales and the wrap around the members was so good. The rest of the music video was also riveting thanks to the post-production, CGI and camerawork. Aside from visuals, there is also the plot side to the video. Personally, I am not too sure of what the story line is, though my best guess is that the aespa members are still on a mission to reunite with their virtual counterparts. It is obvious that we are still in that SM cinematic universe, given that aespa are the main drivers of that universe. But it is quite confusing where the story is at now.
I liked the performance for this comeback as well. Firstly, it has attitude, which made complete sense to me given the title of the song. Secondly, it had intensity, which matches up with the song’s own intensity. But the best part has to be the dance break. The intensity and hand/arm work looks really cool and is definitely the peak of the performance.
Song – 5/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 7/10
Part of today’s comeback lineup is Golden Child, who has returned with their repackaged version of their second studio length album. The new album has been re-released with the title DDARA. The title track for this release also shares the same name as the newly titled album. DDARA follows the release of Ra Pam Pam from early August. In Golden Child related updates, I will be posting reviews to Golden Child’s unit and solo tracks from their Game Changer album over the coming nights, ahead of their album review later this week. The new songs on DDARA will also be included as part of this album review! But until then, here are my thoughts on DDARA.
DDARA falls into what I would consider to be a niche within the new jack swing genre of music. The new jack swing style tends to be quite in your face, but DDARA seems to hold back on that upfront nature. Because of this, and the sleekness of the song’s main hook and the overall approach of the Golden Child members in this song, DDARA comes off very mature and elegant-sounding. It is very different from what Golden Child has put out more recently, which fell more into the EDM space. What stands out to me in DDARA is the various delivery of vocals and raps throughout the song. We hear a lot of different styles, including acapella at the start of the song, the raspy nature of the song’s main hook (which is quite catchy), the strong vocals that brings vibrancy to the chorus and soft vocals elsewhere, and (finally) refined yet dynamic hip-hop style rapping in the second verse and rap-speaking elsewhere. And there is probably a bit more to add to the list if I had space. As touched on above, the hooks (not just the main hook as already mentioned) were quite catchy. They seemed to bring a dynamic energy to the song, particularly the ‘Yeah this is how we do it‘ chants, which adds contrast. Contrast was also the main theme at the end of the song as the producers throw a bit of a curveball, changing it up by adding altered voices into the background. It was definitely a change up that I thought was needed as the song would easily attracted a (negative) repetitive complaint had that change up not been there. Contrast seemed to be present up to the very last second, as well. In the final line, we got a duo combination of vocal styles. All the members start off chanting one of the song’s hooks, before one member ends the line by himself (not sure who). I thought that was a dynamic and impactful line. Overall, DDARA is a different style, but a good sense of style.
The music video also taps into that sophisticated side. The room (painted pale green room with gold detailings on the wall that I am sure other KPOP idols have filmed in before) was classy and vintage-looking. The props in the room were also gave off that same vibe, though I am not too sure of the food items they had on the table when everyone was in the room (cheeseballs, sauce bottles and decorating donuts – someone didn’t get the classy and elegant memo for that aspect of this video). The choreography scenes were quite simple. A black and white filter, with the member dancing over a white background. The sophistication here comes from the members who are dressed in suits and looked very dapper and proper. Not the most amazing music video, but it works.
The choreography for this comeback shows off both style and flair, which stands out for me. I quite liked the leg flicks. They were soft moves, but quite sharp in execution. It looks quite good. I also like how the rest of the choreography amps up right after the leg flicks to match the energy and beats from the new jack swing elements in the instrumentation. It is a strong routine that matches their concept for this comeback, overall.
Song – 9/10 Music Video – 7.5/10 Performance – 10/10 Overall Rating – 8.8/10
After seven years, the members of GOT7 are finally getting their well deserved solo careers. Some members were able to make their own solo start prior to leaving JYP Entertainment, but other members had to wait until after they were released left to begin their solo journeys. Youngjae was one of the final members of the seven to go solo, kicking it all off with his acting debut in the Netflix sitcom So Not Worth It. Today sees the release of Youngjae’s solo debut mini-album, Colors, and the title track Vibin.
Due to his status as GOT7’s main vocalist, I was expecting to hear the title track to go down the typical direction of R&B or a ballad. So it caught me by surprise when I heard something upbeat in the teasers for this song last week. Vibin is a very neat pop track that is extremely pleasant. For this review, I use the term ‘pleasant’ in a positive manner, as I quite enjoyed Vibin. I liked the subtleness of the funky elements in the song, which definitely made the song more energetic and fun-sounding. A lot of songs nowadays are very upfront with their retro or funky profile. There is nothing wrong with being upfront, as this is how the retro and funkiness can be its most impactful. But in Vibin, holding back on those elements, almost felt refreshing. I also like the wholesome feel of the song, and that is all thanks to Youngjae’s vocals in Vibin. He just imparts that feeling onto you with his clear vocals. I also liked the energy he brings via the vocals to the song, which compliments the dance pop nature of the song. The repetitive hooks for Vibin are also quite catchy. If I had to be critical, I do think the hooks could have been taken a step further. I also think that Vibin could have been improved with some sort of textural element. The song had this constant smoothness to it (which was very appreciable), but it could have been balanced out. Overall, I think Youngjae’s solo debut single sounds well done and is a decent showing of his skills.
I think the music video did a good job of encapsulating the vibes and tones of the song. The outdoor scenery, even though was very desolate, felt refreshing and breezy. I guess this was the movement of the camera, especially when Youngjae is driving, that allows that feeling to come through. I think the sun and the denim outfit also adds to that vibe. In the more darker scenes, there is this golden aura that felt appropriate and kept the video from being overtaken from the darkness. The glow from the lighting also helped here. Content wise, I do think the video falls on the dry side. But overall, a decent music video.
Based on the challenges on TikTok and the snippets of the choreography in the music video, the choreography isn’t that overly complicated, which matches with the straightforward nature of the song. I also like the energy he brings to his performance (based on what I saw in the music video), as he is literally all smiles throughout the performance, which comes off very positively on the viewer. I am also excited for his pairing with the female dancer. Looks like an interesting dynamic.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Golden Child’s latest album, Game Changer, featured a bunch of unit and solo tracks. And as part of the promotions for Game Changer, Woolim Entertainment has released a music video for each of those tracks. Over the next few days, I will be reviewing each of the unit and solo tracks from the album that have a music video, ahead of the album review that I will releasing over the weekend. First up (chosen at random) is POPPIN’, which is a unit track featuring Y and JangJun.
My first impression of POPPIN’ is that it screams fun. The pop song is a party track that brings together Y and JangJun. It is extremely upbeat, maintains a fun party vibe throughout and is definitely memorable for a number of reasons. From the very first second with the electric guitars at the start, POPPIN’ teases the energy that was about to come. Right after that, we constantly served with low yet smooth vocals from Y, and powerful and dynamic rapping from JangJun throughout the entirety of the song. Both came through with their parts and kept me captivated. I am floored by JangJun’s delivery in this song, especially since his delivery The blast of energy that we get in the chorus was very impactful and stays in your head even after the song finishes. The most memorable part is when the two comes together for the second half of the chorus, concentrating everything we have heard around it into a sequence of its own. The anthem style delivery and the simplicity of this sequence was super catchy and addictive. Overall, I think the pair really excelled in POPPIN’. I personally am not familiar with both members, but POPPIN’ definitely gives me reason to delve more into the pair. And the song? Well it is definitely POPPIN’. It leaves me with the feeling of when you want more of something, which results you in dragging your cursor to the replay button to satisfy that craving.
Fitting in with the fun vibes of the song, the music video for POPPIN’ features an employee and boss dynamic. Y plays the role of the employee, who is constantly scolded or shouted at by the boss, who is played by JangJun. Their acting was funny and lighthearted throughout the video. At the first chorus, we see Y imagine confronting JangJun and yelling back at him. In the second chorus sequence, we see that imagination become reality, which causes JangJun to remembers his time as an employee. Both forgive each other, as the pair proceed to party it up in the office at the end. Though I guess some actual office workers won’t be impressed by the mess which the pair makes during these party scenes. I liked their CCTV perspective and the use of technology to film this music video (though the constantly moving made it a bit overwhelming for me).
Song – 10/10 Music Video – 9/10 Overall Rating – 9.6/10
Kicking off this new week in the KPOP industry is ATEEZ’s music video release for Eternal Sunshine. As this single now has a music video, it is eligible for a full review on my blog, which is the purpose of this post. Eternal Sunshine was one of the contenders for the main promotional track for Zero: Fever Part 3, which was released in mid-September. But it was outvoted by Deja Vu, which was admittedly expected given Deja Vu aligned with ATEEZ’s image and profile more. But as I predicted in that review, the music video for Eternal Sunshine would still be released. On a quick side note before I jump into reviewing the song, if you are still after an ATEEZ fix, keep your eyes open for my album review, which I will be posting later today.
For ATEEZ’s range of title tracks, Eternal Sunshine is very much unexplored territory for the group. The song opts for the synth-pop subgenre that comes off as energetic and refreshing. Usually, we get very intense and edgy sounds from the group, so this is definitely a new and refreshing take on the ATEEZ we know. For the most part, I think it is a solid track. It is well suited for summer and is much more colourful than anything we have heard from the group before. The vocals were very nice and allowed the vocalists to explore pop with their melodies. The rapping was also decent, bringing more of a 90s influence via their delivery. The same can also be said about the chanty anthem that formed the bridge, which also felt like a substantial throwback to that same era and had good energy. The electronic humming was a great centrepiece of Eternal Sunshine and was quite memorable. However I think there were ways that ATEEZ and their producers could have made Eternal Sunshine more bold. The song lacked a climax. We got a high note from Jongho, which usually signifies a climax. But it just wasn’t exciting enough for me. I also wished they changed up the instrumentation a bit in the final chorus to spice up the song a bit and somehow close the song in a much profound manner. Eternal Sunshine, even though is new ground for the group, could have been better, with what we got being fulfilling but not gratifying.
To match the refreshing and summery tone of the song, the music video was extremely bright, vibrant and colourful. It definitely made the video very appealing to watch. The sun is constantly shining, which makes complete sense since the song is titled Eternal Sunshine. Out of all the scenes, I really liked Hongjoong’s solo scene, where he is being dragged across the train’s floor. It made me chuckle, but also added a lighthearted tone. This was reiterated towards the end of the video with all the members sitting on the floor and via their group scenes at the end of the video as well. The only confusing point in this video is the snow – not too sure what that represents. There is a line about Christmas in August, but I can’t really decipher that as well.
I feel that lighthearted tone of the music video also carried over into the performance aspect of this release. It also looked fun, energetic and the members looked like they were enjoying their time on stage, especially during the bridge of the performance. The moves didn’t feel intense, but the performance still carried that ATEEZ flair.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
Next up on the reviewing block is MIRAE’s first comeback, Splash, which occurred at the end of August of this year. This comeback follows their debut with KILLA (the title of both their debut single and debut mini-album, the latter has not been reviewed).
When I sit down to compare Splash with KILLA, I am left disappointed. You would hope that the first comeback following debut would be better than the debut track (regardless of how good the debut track was). But with Splash, it seems like the opposite is happening. While Splash does line up well with KILLA in the sense that it is an intense and edgy EDM track, Splash feels very plain and boring in comparison. The instrumentation isn’t exciting where it needs to be (i.e. the chorus) and leaves you wanting a whole heap more. It isn’t as bombastic or epic as KILLA was. I am not too sure whether we can blame the hip-hop influence being the main cause of the generic nature of the song, but I feel like past experience says that is the case. The vocals and rapping fair a bit better, as they members really tried to drive up the dynamic nature of the song. The rapping, particularly in the first verse and the bridge, was quite impressive. The vocals did suffer from the generic nature of the song, with the melodies being quite plain and unoriginal. But that being said, the members were pretty clear and were definitely at the forefront of the song. Other than that, I don’t much else to about Splash. It is a step backwards and I hope that their future comeback is able to make up for this.
I think the music video was the strongest aspect of this comeback. The budget and post-production (i.e. that big wave, which makes sense with a song titled Splash, though I feel a capitalised stylisation would have been more suitable as that wave would only lead to a big SPLASH) really gave the video that wow factor that I am usually after, while the sets and the outfits worn by the members really emphasised the edgy factor from the song.
I like how powerful their routine is. It isn’t the most memorable choreography this year, but I liked their intense energy and stage presence. I thought the dance break was pretty cool. It doesn’t seem like much, but it was the highlight of the performance for me.
Song – 6/10 Music Video – 8.5/10 Performance – 7.5/10 Overall Rating – 7.1/10
I disappeared once again this week. I didn’t take a break, but spent majority of the week writing out those ‘Looking Back’ posts (who knew making a YouTube playlist would be so time consuming?). But now I am briefly back to review some albums and other tracks from this week and earlier. First up is Ciipher’s first comeback since their debut with I Like You back in March of this year. Earlier this week, the group dropped their second mini-album, Blind, which featured the title track of the same name.
I Like You had potential, but failed to fully encapsulate that potential in the three minute song. If I had a chance, I would have reserved that song to be a side track and bumped up Blind as the debut title track. It would have been a much better launching pad for the group and surely attracted more attention towards their debut (which is definitely something one would need in this current competitive climate). What really stood out for me in Blind was the instrumental. Blind has this edgy kick to it (via the synth selection), which makes Blind so much more appealing to listen to. This, combined with the other elements I usually focus on, results in an booster version of the group. The guitar riff we hear throughout the chorus makes the song’s centrepiece electrifying, and I thought the plain and simple hook line at the start of the chorus was quite catchy and punchy. I did wish the guitar riffs were a little more pronounced, as this would have heightened the energy and bring forth a much stronger electrifying feeling. I also like the buildup and hype towards the choruses in the song. The drums and concentration that occurs here definitely teases the energy that we got in the chorus. The rapping in Blind is definitely satisfying and adds to the energy of the song. The sequence we get at the end was probably one of my personal favourite moments of the song, as it continued the momentum from the final chorus and helped end the song on a strong note. The vocals were also quite good. While there was some vocal processing, Blind featured clear vocals. I did find it a bit odd that autotune wasn’t used in Blind as much as their debut track. In their debut track, the use of autotune didn’t feel right and its use here instead would have aligned better. Overall, a strong and much better song that I wished was their debut track.
I think with the sound in which Blind had gone for, the music video could have gotten away with a slightly darker concept. I am not thinking horror or dark lighting to the point where you can’t make out the member’s faces. Rather, the producers of the music video could have gone with something edgy, but also keeping it casual as well. Maybe outfits that brings out rock influences, given the guitar riffs we get in the chorus. Or a stage, instead of an office. I understand the more youthful approach of the video, given the energy that comes from the song. but I feel the video as it stands felt more fitting for a pop sound. Some elements within the music video already head in that direction, such as the blue the outfits they wore in the office set for one of their choreography sequences. But like in that example, they looked out of place.
I like the energy they bring to the performance. It definitely works well with the energetic and upbeat side of the song. Other than that, it was a good performance. Not exactly memorable, but it was fun to watch.
Song – 8.5/10 Music Video – 6/10 Performance – 7/10 Overall Rating – 7.5/10
Also making his comeback yesterday was Key (from SHINee), who returns with his first comeback as a solo artist. In 2018, Key made his solo debut with One of Those Nights (ft. Crush) and the studio length album, Face. In 2019, Key did make a comeback, but it was marketed as his first repackaged album, which was retitled I Wanna Be and featured the title track of the same name (ft. Kim Soyeon from (G)I-DLE). Yesterday, Key returned with his first mini-album, BAD LOVE, which is lead by the title track of the same name and the pre-release single Hate That (ft. Taeyeon from SNSD – which I haven’t reviewed yet).
I may have already teased my thoughts on BAD LOVE yesterday with a subtle reference to Key’s new song in AB6IX’s CHERRY review. I mentioned that I was glad that there wasn’t two overwhelming songs yesterday, which means I was hinting towards BAD LOVE being the other overwhelming song. I am kind of glad I did give myself an extra day to recalibrate my senses, as I don’t find BAD LOVE as overwhelming anymore. Multiple listens has really warmed me up to this song. But is the chorus still a bit too thick for my liking? Yes, I felt there was a lot going on and to digest as the song’s synths really ramps up in the chorus and you can tell that Key was really pushing his vocals to be in the forefront of all the synths. But, I do see how memorable the chorus is, how Key really shows and impresses with his vocal chops when his vocals soar in the song and the constant delivery of those high notes, and why some people might consider it a ‘out of the park’ song. Unfortunately, those initial thoughts still seem to float around in my head when I listen to BAD LOVE, so I can’t really share the exact same perception. Elsewhere in the song, BAD LOVE really flourishes with its retro and electronic mix. While this sound isn’t original, I feel that BAD LOVE really (and literally) takes the sound profile to the next level. I am not keen with the synths at the very start of the song, but everything else in BAD LOVE was definitely rocking and shows the creativeness of the producer. The bridge was very interesting with the really deep and raspy ‘I’m not thinking of you‘. That was wow moment for me that stood out for me initially.
The only thing I am a bit wary of in this music video is that red outfit in the choreography scenes. I think that was the only negative aspect of the music video. Aside from that, the music video was equally as aggressive as the song (but obviously in a visual sense). From what I can tell, Key seems to be portraying a celebrity who is starring in his own BAD LOVE sci-fi story (that ultimately ends with his demise). It drives Key insane and he wants out of the story, as he doesn’t want to relive the events that he himself had already gone through. I really enjoyed his acting and Key definitely makes the video a worthwhile watch. While a lot of the sets seemed to bring forth that modernish vibe, I feel the stage platform with the disco balls above it was a nice tie in of the retro influences to the video.
Also like the song and music video, the choreography for this comeback also took an aggressive approach that felt very fitting for the song. From the scenes in the music video, you can feel a lot of artistic flair within the choreography. I would also like to see Key replicate that ending (with the dancers lying down on stage) on stage, as that was a very memorable image to finish on.
Song – 9.5/10 Music Video – 9/10 Performance –10/10 Overall Rating – 9.5/10
One of the comebacks kick starting the final week of September 2021 is AB6IX’s CHERRY. This new single is the latest from the group and is featured on their second studio length album, MO’ COMPLETE. This comeback follows the release of their fourth mini-album from April of this year – MO’ COMPLETE: Have a Dream and its lead single CLOSE. It is also their third comeback of the year, which makes this another busy year for the group.
Right off the bat, AB6IX blasts us with CHERRY‘s colourful energy. This sets the tone overall and continues on throughout the song. It isn’t an overwhelming blast of energy though, which was great. Personally, I probably would have taken the night off and avoided dealing with two overwhelming songs in one day (more on that in my next review – to be posted tomorrow). CHERRY‘s bright energy follows on from The Answer, one of AB6IX’s comeback tracks in 2020, as that too was quite an upbeat and funky comeback for the group (in comparison to their previous releases). However, CHERRY is much more concentrated when it comes to the funky direction they had chosen to go with. I quite like the chorus, but probably not for the reason you would think of. It was definitely dynamic, especially when it comes to the member’s delivery, matching the energy we got from the instrumentation. However, the scene-stealing element was the ‘YUM‘ in the chorus. It was so straightforward and serious, which made me laugh. Not exactly sure if that was the intended effect, but it made the song memorable for me. What I also enjoyed was how the members also brought out that dynamic tone to the verses and bridge, making CHERRY a very satisfying listen. I felt that the verses could have been very plain, but the dynamic delivery definitely liven up the sections in question. The post-chorus following the first and final choruses was probably the weakest element of the song in my opinion. I felt that they toned down the energy by the slightest amount, which felt noticeable to me. I wished they just continued the momentum and had a stronger hook in this part, which I am sure would have CHERRY even more memorable. Overall, CHERRY was a great song that I thoroughly enjoyed.
The music video was quite fun and colourful, just like the song. I wished there was more to the video however, as it is just a bunch of closeups and choreography. They seemed to hint at something more with the members staring off screen at some parts, as if their crush had just walked past behind camera. It was a nice detail to add to the video, but I think it would have been better with an actual person on-screen, kind of like GOT7’s A. I did like the extra graphics they had in the background for one of the choreography shots, and the various effects we saw throughout the video.
The choreography for this comeback is definitely energetic and intense (in the sense that it is continuous and doesn’t offer many moments to catch your breath). I particularly those air punches they do just before the choruses and their expressions on stage make this performance even more interesting to watch.
Song – 8/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 7.7/10
More time jumping, but this time is back to the past with a catch up review. This particular post focuses on Lee Eun Sang’s solo comeback Lemonade, which was released at the start of September. Lemonade is featured on his second single album, titled Beautiful Sunshine. It is also the first comeback by the soloist since his solo debut with Beautiful Scar last year, which also featured fellow labelmate Park Woojin (from AB6IX).
To me, Lemonade is another song that I would describe as pleasant at best. I think if I had sat down and reviewed the song when it first came out, I would have raved about its pleasantness and calming nature in a positive light. But now that the song has aged a few weeks, I feel like whatever effect that Lemonade was intended to have on the listener has fizzled out. Think of a flat lemonade soda, this is what Lemonade now feels like. This doesn’t make Lemonade a terrible song in my point of view, rather it just didn’t hold its ground. Vocally, I thought there was a degree of sweetness in this element. And while I am convinced that sweetness is still present, I do think Lee Eun Sang’s vocals would have been more appealing had there be some insertion of personality (I felt the same way about Beautiful Scar). They felt typical and lacked much energy. Similarly, the same could be said with the instrumentation. Initially, I would describe Lemonade‘s backing as bubbly. But now that I think about it. more vibrancy in the consistent strumming we hear in the chorus would have emphasised this. I did like the synth drums, as they did add some flair, but it was not enough to really consolidate and concentrate the vibrancy. Hook-wise and melody-wise, I think Lemonade still had these elements come through as I do remember them more somewhat compared to the rest of the song, but had the vocals and instrumental been more so what I mentioned above, I am sure the hook/melodies of Lemonade would have been enhanced. So overall, more could have been done to really help Lemonade become and stay appealing.
Concept wise, this is 180 degree flip in terms of concept when we compare Lee Eun Sang’s two solo works. Here, Lee Eun Sang looks much more youthful and the concept is a lot more casual and brighter. It fits the Summer season quite nicely and works well with the song. Unfortuately, I didn’t see anything special within this music video. And honestly, I haven’t gone back to watch it since it was first released. I personally prefer the more mature side of Lee Eun Sang and thought his last solo music video was a lot more interesting to watch.
The performance is more so the same as the music video in terms of concept. It fits well with the song. But like the music video, I didn’t see anything special within the performance (though I did like the squeezing move they had in the chorus). That being said, I did think there was added layer of vibrancy in the choreography, which pulled me towards the performances, rather than the music video.
Song – 6/10 Music Video – 5/10 Performance – 6/10 Overall Rating – 5.7/10
From a review focusing on the major release from the start of the week, I am now time jumping to the end of the week to review the major release of today, ITZY’s LOCO. It is the title track off their 1st studio album since debut (titled Crazy In Love), which also dropped today. This is the group’s second comeback of the year, following April’s M.A.F.I.A (In The Morning).
I felt that LOCO was a return to form for the group, following the not-so-good M.A.F.I.A from earlier this year. If you want to know about my thoughts on M.A.F.I.A, feel free to read that review. LOCO still retains that edgy side of their previous song, but the new song also re-enters that vibrant arena in which ITZY’s earlier releases lie in that I have mentioned. What really stands out to me in LOCO is the song’s energy, which to me, is thanks to the bass and the electric guitars we hear in the background. The bass was like a common thread tying the different and distinct sections of the song together. It also added that definition and helps the song pack a punch, which complimented the rock influence. The electric guitars in the background delivers this rock influence, taking the song to a whole new level of me. I do think LOCO has potential to be more electrifying and hardcore. I think if the producers did this, LOCO would have been boosted to new heights. The bombastic nature of the start was a great entrance into the song and I liked how that was also continued throughout the song as well. LOCO also had a Latin influence, which was an intriguing influence to have in this mix. When it comes to the vocals and rapping, I thought both elements were rather strong and bold, which was definitely necessary to stand out over the instrumentation. The members definitely had a good handle on this. The melodies in the chorus and elsewhere were appreciable and felt like it did a good job of balancing the high energy that came from the raps. Overall, I thought LOCO was a strong song and definitely it took me back to their earlier days. However, I am definitely of the opinion that the song would have flourished if all their influences were more concentrated and intense (i.e. more of that rock!).
The music video for this comeback is fantastic. While the song doesn’t have that colourful tinge to it as per their earlier works, I felt this colour was definitely made up in the video. I also liked how that the video managed to convey edgy side of the song as well, which helped made the video feel so much more dynamic. I also felt a bit of epicness from the video when it came to the ‘Crazy In Love‘ billboard and the stage performance we were treated to, following the interlude within the video. I just wished the producers of the video CGI in a crowd for that part, as that would have really heightened the energy and ended the video on such a high note. Elsewhere, the post-production in this video really highlights the high quality of the video.
The performance was another highlight of this comeback. I really liked the powerful energy that came through, especially for the chorus, along with the attitude that sends a ‘you don’t want to mess with us’ message. This just really highlights their stage presence. The main move seems to be the holding of and shaking of the head, which makes sense, given that ‘LOCO‘ is Spanish for ‘crazy’. It is definitely a worthwhile watch.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
