Category: Reviews

[Album Review] ONF: My Name (1st Studio Album) – ONF

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Finally, I am crossing off another album off my ‘Coming Soon’ page. The main attraction of this album review post is ONF, who recently released their very first studio album since their debut back in 2015. The album is titled, ONF: My Name and it features Beautiful Beautiful as the title track, My Name Is as a pre-release track, the English version of Beautiful Beautiful (which I have chosen not to review), a 2021 version of Lights Up (which I have also chosen not to review as it is on part of the physical version of the album) and seven other new songs. This won’t be the last time we will be seeing ONF in the immediate future, however, as WM Entertainment has confirmed ONF will be returning with their first repackaged album last this month. In the meanwhile, here are my thoughts on ONF: My Name.

ONF: My Name Album Cover

1. Beautiful Beautiful (Title Track) – Click here to read the full review for Beautiful Beautiful. (10/10)

2. My Name Is (Pre-Release Track) – Click here to read the full review of My Name Is. (9/10)

3. Thermometer (온도차) (ON Team Version) – Thermometer is brought to us by the ON team, which includes Hyojin, MK and E-Tion. Thermometer is a very pleasant-sounding ballad that ticks the swaying criteria that you may know I have for this particular genre. It brings out the vocals of the three members. It isn’t the album’s standout song, but it is still one worth listening to if you enjoy your ballads. (7.5/10)

4. Secret Triangle (비밀) (OFF Team Version) – The OFF team features J-Us, Wyatt and U, and they bring us Secret Triangle. Secret Triangle is the better of the two unit songs on the album. You might think it is because it is more upbeat than the ballad that preceded Secret Triangle, but you are only partly right. There were some really good moments such as the dynamic descending drop, Wyatt’s deep tone rap-speaking entrance (which led into the equally as awesome rap sequence from Wyatt), the whisper-like vocals that started off the bridge courtesy of Wyatt and U, J-US high note, and the rock-influenced closing sequence. (9/10)

5. The Realist – The Realist has that synth pop vibe that you would associate with The Weeknd. And that is an amazing feeling, as The Weeknd has really amazing songs (see Blinding Lights as an example). I also feel that The Realist would have been a really great alternative for ONF as their final song on Road To Kingdom. What I really like about The Realist is that ONF are the vocals. The really sleek and sly whisper-like vocals in this song really amplify the synth pop instrumentation. I really like the vocals at the ending as well, which have this sensual yet punchy feeling to complete the song. The electric guitars really helps concentrate everything towards the end, adding a layer of oomph to the already strong song. (10/10)

6. On-You (Interlude) – On-You returns the album to the bright and cheerful tone that the album started off with in Beautiful Beautiful and My Name Is. To me, the energy at the start of the song felt contained and plain. It was only until the second verse when Wyatt and MK were rapping did I become interested in this interlude. And then everything else following (despite it being a replication to the first verse and chorus) felt more playful and enjoyable. Aside from the song’s ‘turning point’ for me, I also enjoyed the ending when all the members sung together. (8/10)

7. Trip Advisor (누워서 세계 속으로) – Trip Advisor is another upbeat and bright song to fit in with the group’s brighter profile. Trip Advisor, to me, is very enjoyable and features a lot of really good elements. The instrumental has brass (many ticks as a result of this inclusion) and a retro feel-good vibe which I find very appealing. The vocal work from the members show off a lot of technique and skills. Trip Advisor also has some really addictive and fun hooks, which helps tick off the memorable box on my criteria list for a really great song. (9/10)

8. Feedback – Feedback also fits into their brighter profile. It is a sweet sounding R&B track that brings out their vocals. I didn’t find anything interesting in this song, apart from a clear and strong melody. But that, compared to the rest of the album, doesn’t make Feedback a strong song. But Feedback was still enjoyable. (7/10)

9. I.T.I.L.U – I.T.I.L.U (I Think I Love U) is another ballad on this album. This one is more straightforward and typical of the ballad genre. But that doesn’t necessarily mean it is a bad song. I.T.I.L.U’s backdrop is this stunning orchestral piece. It had everything you would want in an orchestral ballad instrumentation. On top of this background are powerful vocals from the members. Each member, to me, shined really brightly in this song. I also really liked how they, one-by-one, kept on repeating the Korean word for ‘Forever’ at the end of the song. (10/10)

Overall Album Rating – 8.8/10

ONF: My Name Teaser Image

[Review] My Name Is – ONF

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Due to some last minute changes, I will posted the promised ONF album review a day late.

As promised for this long weekend, I will be tapping into some of the releases that I have yet to review yet but have flagged on my Coming Soon page that I will be reviewing. For this particular post, I have selected My Name Is by ONF, in preparation for their upcoming album review for their first studio album, titled ONF: My Name, which I will be posting soon. The music video for My Name Is was an unexpected drop two days prior to the release of the album and Beautiful Beautiful (the album’s title track) as far as I could remember, as we didn’t get any news of a pre-release for this album.

But My Name Is was a welcome surprise, especially with how fun the song ended up being. You might need to have watch the music video for My Name Is to really grasp what the lyrics of the song are about. Essentially, the members took turns in their own sections to introduce themselves. It was quirky, but definitely enjoyable. And it is also interesting to hear such a carefree and light tone to the group, since their past title tracks have predominately been intense EDM based songs. I enjoyed the lighthearted nature of the instrumental mix. Nothing from the strumming and plucking of acoustic guitars to the horns that gave the chorus a substantial backing to the pop instrumental underlay felt like a huge commitment (this is a compliment!!). Everything worked together to give us that lighthearted tone. What I also enjoyed about the song are the vocals. For the most part, each members vocalised their part. Even Wyatt, the resident deep voice rapper, did his share. It brought a nice playful colour to the song, as I expected for more rap or sing-spoken delivery in the song. Overall, My Name Is was enjoyable, fun and a unique personalised song that reintroduces you to the group. There is something for everyone in this song, regardless if you are a long time fan or just hearing of them for the first time.

The music video was very inviting and casual. Fitting for the song, the video was shot in the same sets as the Beautiful Beautiful music video. Just everything in this video feels fun and lighthearted like the tone of the song. Their smiles and interaction (i.e. Wyatt and MK’s awkward hug) throughout the video really emphasised this. I also really enjoyed the handdrawn visual effects that were added to the song. They added a bit more to the casual side of the video, which made the video even more enjoyable.

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

[Review] IYAH – Kang Seung Yoon (WINNER)

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Also making this comeback this Monday is Kang Seung Yoon, the leader of male group WINNER. It has been eight years since we last heard solo work from Kang Seung Yoon, with his last title track being released in 2013, a year prior to his debut with his group WINNER. Back then, he released Wild and Young as a single. If I remember correctly and as per YG Entertainment tradition, his solo release has been in the works for a number of years. But after a very long wait, Kang Seung Yoon has returned with the single IYAH and his first studio album, Page.

If we cast our mind back to Wild and Young, Kang Seung Yoon’s major solo release was a rock release. When news of his solo comeback was announced this year, I had expected something along the same lines as Wild and Young. But interestingly, IYAH is a ballad. Some of that rock sound is still present in the song through the use of the band instrumentation that forms IYAH‘s backbone. What was unsuspecting was the incorporation of orchestral instrumentation towards the end of the song. It just crept into the song without me knowing and delivered a really an amazing and powerful instrumental peak in this song. Complimenting the musical choices in the instrumental is Kang Seung Yoon’s vocals, which blew me away. He sings about growing up and maturing as he gets older, and you can hear that in his voice. To be honest, the start of the song felt very plain. But as it progressed and he built upon his vocals to compliment the building momentum in the instrumentation, he really sounds top notch. The best sequence has to be the bridge, as that classical instrumental comes through. Like the instrumentation, his vocals soar at the end of this sequence into that stunning high note. The use of the choir backing in the start of the final chorus and as the backing of his vocals right after also really tops the emotions that he portrayed in the song. His vocal melodies also tick the swaying box that I have on my list of criteria for ballads. Overall, while IYAH was not the expected release I had in mind for Kang Seung Yoon, it managed to surpass and be even better than what I had in mind.

The music video for IYAH shows us the life story of Kang Seung Yoon from a young age to now. We see him enjoy music from that young age to pursuing it in high school (where I believe we see him score that life-changing opportunity to participate on SuperStar K). We then see the pressure that he experienced leading up to his debut with Winner. The black and white sleeveless shirt and hat were his debut outfit. And we see him in the present performing on stage with his fellow members. Mino made a cameo appearance here, which made the present appear more clearer. From what I understand, fans and other viewers find this life journey and song very relatable. And I think that is the best compliment to pay this release. What I also liked about this life experience journey that is shown in the video is that it isn’t in chronological order. Instead, the different scenes and life stage are edited together in a jumbled manner. However, the scenes all interlink and the transitions all flow into one another.

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

[Review] HUSH – Kim Sung Kyu (Infinite)

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Kicking off this week’s rush of comebacks is Kim Sung Kyu with HUSH. This is Kim Sung Kyu’s final release as part of Woolim Entertainment, the company in which he has been apart of since his debut in 2010. For those who don’t know, Kim Sung Kyu is a member and the leader of male group Infinite, who has gone on to become one of the top male groups in the early 2010s and are widely known for their synchronized choreography. It was announced that Kim Sung Kyu would leave Woolim Entertainment in early March, however still remaining a member of Infinite. It seems like the pair are still on good terms, with Woolim picking up promotions for HUSH and Kim Sung Kyu’s first single album, Won’t Forget You (you will notice that HUSH’s music video is release on Woolim’s home channel and carry the company’s branding as well). We last saw Kim Sung Kyu make his solo comeback in December of last year with I’m Cold and Inside Me.

My first impression of HUSH is that it reminded me of Kim Sung Kyu’s previous title tracks, Kontrol. This is simply because of HUSH‘s 80s synth pop instrumentation. The new song initially started off like your typical traditional band style ballad, a sound that is explored territory for the solo artist. The synths start filtering into the song soon after and the song starts building momentum towards that synth pop instrumentation. What I do like about the song is that it isn’t too much like Kontrol, which seemed more committed to the synth pop genre. While I do like the reminding notion of HUSH, it is still its own style. HUSH maintains that traditional band underlay as part of its instrumentation, creating a fine balance between band and synth. The resultant product sounds amazing, atmospheric and powerful in its own way. What obviously makes any Kim Sung Kyu song better is, of course, the presence of Kim Sung Kyu’s vocals. I find his vocals so captivating and gripping in this song. You can feel the emotions behind his vocals, relaying the song’s message (the powerful power of attraction and emotion that is conveyed even without words – sourced from Soompi) very nicely. I liked the way the song’s title is delivered in the song, feeling present but also distant at the same time. While I have made comments about excessive use of autotune, I also really liked how it was used for ad-libs. I also enjoyed the ‘echoing’ that rounded out the song. To me, these kept the song very grounded and makes the instrumental do the ‘soaring’, which is usually something you describe the vocals. I find this related to the lyrics, with the words doing less and the music being more powerful as a result. Overall, HUSH is a really nice way to round out Kim Sung Kyu’s time as part of the Woolim family.

The music video stars both Kim Sung Kyu and IZ*ONE’s leader Kwon Eun Bi, who is also a fellow Woolim labelmate. Based on the lyrics, I believe it is assumed that the pair do not exchange words throughout the video. Rather, we see their emotion be portrayed in their facial expressions. At the start of the video, we see the two sad and distant. In one scene, where Kim Sung Kyu goes to hug Kwon Eun Bi, she vanishes into the air. This signifies that they have broken up. But the memories between the two lingers and we see the pair smile towards the end, which drives Eun Bi to return to Sung Kyu, where they hug one more time. This time, she doesn’t disappear and the pair are reunited without the exchange of words but rather memories and thoughts.

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

[Review] I Like You – Ciipher

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The next debut on the review list is Ciipher’s debut with I Like You, which dropped on 15 March 2021. Ciipher is a new male group under RAIN Company, which is also the company that Rain set up in 2015 after deciding not to renew his own contract with Cube Entertainment. The group consist of Hyunbin, Tan, Hwi, Keita, Tag, Dohwan, Won. All members, aside from Hwi, have participated in some sort of survival show such as Produce 101 X (which formed X1), NO.MERCY (which formed MONSTA X), YG TREASURE BOX (which formed TREASURE), Under Nineteen (which formed 1THE9 – member Won was part of the final lineup for this group) and High School Rapper.

I Like You is a pleasant R&B track. But I don’t think the song extends any further than ‘pleasant’. To better breakdown the song, I have decided to rank the song’s three main elements. I Like You‘s greatest asset was the hooks and melodies. There was a nice sway to them and they add a decent ring to the song, helping make the song more memorable (which is great for a debut). The song’s lyrics were all about falling in love with their crush, and I feel the melodies did a good job of sweetening the song to match with that theme. The song mid-range asset was the instrumental. Like the melodies, I feel that the instrumental did a good job of setting the tone, bright and innocent, and keeping the energy upbeat. It gave the song its colour and complimented that sweetness we got from the vocals. It is also the main driver to why the song is so pleasant. However, I have put it in the mid-range because the instrumental is also quite dull. I don’t find much in it as exciting and I am not head over heels for I Like You‘s instrumentation. But at least the instrumental is more appealing than the final element. This final element is probably the most important element of the song, and it is the vocals. The excessive presence of autotune is quite off-putting and dismantles anything the hooks/melodies and instrumental had done to make the song appealing. It also dulls the song and adds unnecessary weight, which doesn’t go with the bright tone of the song. And there is so much of it, that I can’t tell whether there is potential behind their vocals. Overall, I Like You has some great potential, but it felt hijacked by what I would consider the most important element.

The music video was decent. It isn’t mind-blowing or have much of a memorable factor to it. But, it was still watchable nonetheless. The video is filmed in what looks like a Costco, but is in fact a Korean version of Costco (Emart Traders, I believe is what the store is called). The setting is an odd choice and doesn’t make much sense to me. But I happy for anyone to explain to me if the store setting holds any meaning. I liked how they made sure Ciipher had their ‘product’ in the video, which adds a personalised touch to the video. I also enjoyed the energy that the members conveyed through their energetic moods and I also like the Instagram frame for some of the solo shots. Kim Tae Hee (Rain’s wife and a famous Korean actress) also makes cameo appearances in the video as the crush the members are singing about.

I feel the performance is a better version of the song’s official version. The autotune is less present, as the members are singing live, which makes it hard for the autotune to filtered over the vocals. And based on what I can hear, they sound decent. There is a bit of shakiness to their vocals, but this is partly due to their choreography which looks pretty decent as well. I like the bounce it has and the youthful charms the members bring to the stage.

Song – 6/10
Music Video – 7/10
Performance – 7/10
Overall Rating – 6.5/10

[Review] KILLA – MIRAE

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Last week, we saw the debut of a few groups which I have yet to review. I am hoping today I will finally get around to reviewing all of them (sounds ambitious given my track record). The focus of today’s review is MIRAE, a new group under DSP Media (the home of APRIL and KARD). MIRAE is a seven-member male group, consisting of Lee Junhyuk (former Produce 101 X contestant), Son Dongpyo (former Produce 101 X contestant and X1 member), Kael (former Under Nineteen contestant), Park Siyoung (former Under Nineteen contestant), Lien, Jang Yubin and Yoo Douhyun. They made their debut on 17 March with the title track and mini-album of the same name, KILLA.

KILLA is a powerful song, tapping into the EDM genre of music for MIRAE’s debut song. But I feel that KILLA seems to take things that step further, which differentiates their EDM release from other releases that fall into the same genre. And that is something that I really look for in new releases. Let’s start from the beginning of KILLA. The song opens with its chorus and very blastful electro-house in the background. From the get-go, the song is loaded with intensity and power, making it is a fulfilling way to start the song. The song then moves into the verses, with introduces us to MIRAE’s rap line. The pre-chorus features the vocal line and adds some smoothness to the song in the otherwise texturally loaded song. Both the vocal and rap line that form MIRAE are very skilled. Both rose to the occasion to match that loaded intensity we got from the instrumentation. The second verse is delivered by a mixture of the two factions of the group and they really work with each other to continue the song’s momentum. Fast-forwarding to after the second chorus, we enter the bridge, which is where I believe KILLA starts to detour away from its competition. We are first hit with a bit of an electric guitar which adds an electrifying and undoubtedly exciting energy to the song. This is then followed up with a slowed down vocal section, which quickly ramps back up to a distorted EDM breakdown (uniqueness here, as I don’t think I have heard any song distort EDM in the way KILLA‘s producers have). We are then quickly blasted by a return of some powerful and angsty rapping from Junhyuk, which felt perfect to lead into the final chorus. Overall, I feel that KILLA was a very strong song to start off their debut with. If you enjoyed the thrill of songs like SEVENTEEN’s HIT, then I am sure KILLA would be an equal compliment to your playlist.

You can tell that DSP Media is really going hard with their investment in MIRAE. Everything in this video was top notch in terms of editing, set design and graphics. The music video that accompanies the release of KILLA quite futuristic (a fair amount of neon lights, robots, screens and holograms were observed). I am unsure if Junhyuk is stuck in a technological limbo, but he makes the call to all of his fellow MIRAE members to band together which we see them all do once they get his message. I also like the traditional touch that the video had, which gave the video an extra level of attraction. The glitching graphics make total sense when it comes to the bridge of the song. But I was completely convinced my laptop was playing up when we got to that part the first time. However, after the video wrapped up, I was completely in awe with how cool the resulting product ended up being.

It comes as no surprise that the performance was as powerful as the song. I really enjoyed the dance break, with their robust moves really complimenting the intense energy we get from that sequence of the song. It does seems like they had to tone back their energy to allow for a live performance (which makes complete sense). But I am not disappointed in that, as they managed to wow me with the performance nonetheless. And if I needed additional convincing to do so, this performance really makes me want to keep an eye out for future MIRAE releases.

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

[Review] COIN – IU

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Screenshot of IU in the Coin music video. IU, dressed in classy clothes, at the end of the poker table with many poker chips in front of her. Behind her is an old-fashion stage (in which later in the video she sings on).

Following her LILAC comeback (I just posted the review), IU has dropped a second music video for this comeback for the song COIN. Both COIN and LILAC (and her pre-release Celebrity) features on her fifth studio album titled LILAC, which officially dropped on 25 March 2021. Based on the release of this music video and the presence of a music video teaser earlier in the week, I suspect we might be getting a music video for Flu, as we also got a music video teaser for that song. Whenever that video is dropped, I will be adding IU back on the review list and will write a review for the new release at the first instant. As for now, here is my review for COIN.

Coin tackles that funky and groovy style of music that LILAC also went for. But Coin is a little more straight forward with its funkiness and doesn’t really tap into a sub-genre. Instead, the funkiness comes through in Coin via the brass elements (which I did touch on in LILAC as a quintessential aspect of retro songs) and the guitar work. I also find that these are more prolific than in her main title track, which brings a lot more colour and energy to the song. IU’s vocals also help bring some more character and profile to the song, which instantly drives up the energy of the song. It brings a side to the soloist that I don’t think we have seen before. She also brings a slight playful tone to the song, which matches up with the lyrics of the song about playing a game (which I suppose extends out to a relationship). The most surprising element of Coin is IU’s rapping. I don’t think anyone suspected that IU was going to delivery some lines using a rapping method. It is well executed and I really like how she matches lyrics that is full of confidence to this part of the song (as her rapping showcases that confident style). Aside from the rapping, the song is quite catchy and addictive to listen to. The hooks in the chorus (i.e. ‘I can’t die, I am all in…‘ really is keyed into your mind after just a few replays). I would have liked to hear something from IU towards the end with a bit more oomph. We got some additional textural elements in the instrumentation and background at the end, but I wanted IU to just add that ‘cherry on top’ herself to make it more fulfilling. But overall, Coin is a fun and catchy song, and a nice change to IU’s usual style (in many ways than one).

The music video shows IU as a very lucky and successful card player. I am not well versed in this area, so I am unsure exactly what game is being played (and the cards just throw me off, despite also looking quite aesthetic at the same time). She starts off the music video inserting a coin into the jukebox, before gambling her way from the bottom to the top. While she is rolling in money (not literally), an unknown player comes in and challenges IU. I guess from the thrill that she is experiencing, she accepts. I feel like the rope that shows the two tied together and unable to leave the table represents they are in a possible relationship and that this relationship is essentially a game to her. But I am not exactly sure. In the end, she loses everything, but the guy leaves her a coin. Now I feel the ending is ambiguous, given the smirk that IU has on her face. It seems like she has done this before. And the coin is then used to play a song on the jukebox, which is what we saw at the start of the video. This means that IU continues playing on. I really like the setup of the video and the various animal heads we see. I also liked the changing colours and card suits that make up the choreography scenes as well.

While there doesn’t seem to be a live performance of Coin just yet, the choreography scenes we do get to see in the music video look quite classy and this adds has some uniqueness amongst solo releases. I do wish we get to see more in the future, as I feel like the choreography would also have a fun element to it.

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

[Review] After School – Weeekly

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Throughout the usual award season in the KPOP industry (December – January), Weeekly was recognized on multiple occasions for their debut in 2020 with new artist awards, such as at the Melon Music Awards and the MNET Asian Music Awards. Following those awards and a successful debut year with Tag Me and Zig Zag, the group made their return last week with their second comeback, After School, and third mini-album, We Play.

After School follows the same direction as the group’s debut and previous comeback. The pop song is undeniably bright and bubbly, however it is not to the same extent as the songs in their debut year. I put blame on the instrumentation of this track. It isn’t as dynamic, bouncy or energy filled as their previous tracks. This was a selling point to Tag Me and Zig Zag, so it is disappointing to a degree. I think the most dynamic part was the use of the snare drums synths at the start of the final chorus, which added a bit of change to the song at that stage. I remember the uneventful instrumental really stuck out at me in the first verse during my first listen of the song and it had me hoping that the chorus would be spectacular in comparison. Let’s just say it wasn’t the instrumental that ended up selling the song to me. Instead, it was the vocals that did that job. The melodies in After School were really nice and showcased the members vocals in a very strong light. They were flowy, added in that missing dynamic touch and made the song so much more appealing to me. Even the rapping that dominated the second verse shared a similar flowy and melodic profile. I also enjoyed the little sequence right after the first chorus where the lyricists managed to integrate the titles of their past title tracks, giving it that more personal touch. Interestingly, the combination of the instrumentation and vocals didn’t come across as terrible for me. I actually think they complimented each other quite well in the end and I felt a nice mature tinge come from the song, as a result of the two elements working in harmony. I just wished there was more to the instrumentation.

The music video felt appropriate to the song’s lyrics. In their previous music videos, the focus has been on the members at school. But After School is obviously reference to being out of hours of the schooling, so the members don casual clothing and skateboarder gear. They hang out and have a bit of fun with each other. I think the lyrics also reference a potential crush, but the music video ends up showing a portal that appears taking them to a ‘whole new world’. I think this might be a representation of what the crush could lead to, once they and the members hang out. I also liked how the group retained that cutesy vibe that they are known for from their past concepts and how this video (once again) isn’t oversaturated with said vibe. It made the whole experience pleasant and this overall complimented the song quite well.

I really enjoyed how bubbly the performance ended becoming. It added a layer of appeal to the comeback, which I didn’t expect given my comments in the song section of this review. I also enjoyed the chairs in performance. I wished they used it more, as it could really make the performance smoother (to a degree) and more fun.

Song – 7.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.8/10

[Review] House Party – Super Junior

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One of the longest running groups of all time has finally made their comeback with their 10th studio album in celebration of their 15 years in the industry. For any of the new KPOP fans who are wondering, I am talking about Super Junior, who made their debut way back in 2005. Their 10th studio album is titled The Renaissance and features the title track, House Party. Previously, the group was teased their 10th studio album release with the pre-release The Melody. The album release was also originally scheduled for a December 2020 release, but was later postponed to February 2021. It was once again postponed until March 16th, which was when the album and new single, House Party, was officially released.

For the most part, House Party was a decent song. The song delves into funky pop track. It is something that Super Junior has done before. But this has less quirks than their usual releases and feel relatively more plain. However, at the same time, I do think Super Junior manages to infuse their own character and showmanship into the song. Furthermore, I think the plainness is offset by relentlessness of the song’s energy, which is practically 100% throughout the song. I also find their rap centric delivery to be quite engaging, despite it falling more to the cringy side of the spectrum. Their vocals during the chorus where they are all singing together really make the song feel more wholesome and feel-good. This momentum continues into the second verse, until we are interrupted by the most ill fitting trap hip-hop breakdown sequence ever. My reaction to it the first time around was a jaw drop and a confused look on my face. And while I do want to go back to replay the song for those funky feel good vibes, I have to brace myself as they lead us into this unnecessary edgy sequence in the song. Another aspect which I don’t like about this particular sequence is how much it felt like an insert. There is no transition into this segment. There was no attempt to blend it in or build up to it, which could have potentially made it sit a bit better in the song. It to me broke the song and I am left gutted by this as I was enjoying the high that they had going on preceding the second verse. Even though they returned to the what they started off with, House Party is left impacted by the sudden poorly thought out breakdown in the second verse.

I don’t know about you. But I expected something a little more along the lines of a house party, given the song’s name, and not just a house dinner. I am a bit disappointed on that part. But I guess the video make sense, given that a lot of our world are bored out of their minds because of quarantining and being in self isolation. And a dinner party with a couple of people, given that is what is most likely all you can do at the moment. Aside from touching on the current climate, the music video actually looks nice. I really like the elegant suits they wear. Their casual wear is a hit and miss for me. I did like the edgy black outfits they wore during the breakdown, though I am not exactly into the whole idea of shooting guns at your fellow members for no apparent reason. The music video had to do something edgy to match with that part of the song, so I acknowledge that. But even here, it looks really ill-fitting concept wise.

The choreography looks nice. I would have expected it to be a lot simpler, but I like it that they make sure the choreography matches the relentless nature of the energy exuded from the song. I also like how it still remains playful and looks fun as well.

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

[Review] Young Blood – DRIPPIN’

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After reviewing all of Monday’s releases, I can finally move onto releases from this week that occurred after Monday. One of these releases is DRIPPIN’s comeback single, Young Blood, which is featured on their latest mini-album, A Better Tomorrow. They are a relatively new group and this is their official comeback since their debut with Nostalgia. So for the benefit of those who are unfamiliar with DRIPPIN’, they are a seven-member male group under Woolim Entertainment. And here is a reason to why you should familiarise yourself with the group. They were overwhelmingly voted (44%) as the Best Male Rookie Group of 2020 in the 2020 KPOPREVIEWED Awards. And if that it the attention they garnered within two months of their debut, the future for DRIPPIN’ is looking very bright. Let’s see what they are doing with Young Blood.

Young Blood reminds me of some of AB6IX’s early works. From the vocals to the upbeat yet straightforward nature of the instrumentation, it takes me back to those 2019 releases by AB6IX. What I did like about Young Blood that stood out for me was the groovy tinge to the song. Once again, this is another song to add to the ongoing trend. But this is who DRIPPIN’ made the song theirs. AB6IX’s releases did have a similar tinge, but it was not as satisfying or fulfilling as Young Blood. The electronic synths and energy come together to make a quite dynamic dance track that I am sure meets the expectations of fans. I find the pre-chorus slow down to be quite nice, especially with the piano coming through. It also helped make the launch into the chorus more exciting and impactful. The rapping in the song’s second verse was probably its weakest moment. Compared to the rest of the song, the instrumental strip down felt as simple as a blank canvas. Some synths can be heard, but they were used sparingly. The rapping just didn’t do enough to fill in that ‘blank canvas’ for me. The song then returns to the chorus, pulling the song back up to the thrill that was heard before the second verse. The bridge was short, but it was decent. I enjoyed the thumping beat that dominated the bridge. It added more to that thrill that just mentioned and threw in a bit of suspense. I also enjoyed the instant launch back into the final chorus, reinforcing that idea of being straightforward and not messing around. Overall, Young Blood was very energetic and dynamic, aside from its middle core.

I am not entirely sure about what is happening in the video. The start looked intriguing with one of the members going about his day as a convenience store clerk. During his usual duties, the power goes out and he notices a light behind the refrigerator. He looks into the light and this takes us to a world with no restraints (this is my assumption). The members look like they are having fun. But at the same time, they are seeking something (which I assume is in the box that they found the key for). What is in that box, I have no idea. It does give the video an air of mystery. But at the same time, it was lackluster and I don’t think there was enough in the video to decipher whatever was going on. Aside from that, I really like the use of multiple scenes throughout the video, which gave us some variety in the visuals of the video.

I really like the energy and drive behind their moves. It matches the dynamism and momentum of the song. No moves or not any moment stood out to me on its own. Rather I felt the entire choreography routine was a solid package. If I had to point out one part of the choreography that did at the very least elicit some sort of reaction from me, it was the spinning leg move they did at the start. The choreography just quickly moved on and so I didn’t really have much time to really think about it.

Song – 8/10
Music Video – 6.5/10
Performance – 7/10
Overall Rating – 7.4/10

[Review] Feel Like – WOODZ

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Also making his comeback this past Monday was WOODZ, with his new single Feel Like. I was super excited upon hearing the news of WOODZ’s impending return, as he is one of the solo artists to really stand out last year with his solo releases. His 2020 releases include his return to solo promotions with Love Me Harder (and his first mini-album Equal) and then the release of Bump Bump and the mini-album WOOPS! in November of last year. Feel Like is featured on his first single album, titled Set.

WOODZ delivers what I had hoped for. Feel Like channels the aesthetic that we got through some of his best side tracks of 2020. Such tracks include Lift Up (from Equal) and Trigger (from WOOPS!). Though, Feel Like differs in its own way when it comes to it musically. The start of the song and the body of the first verse feels like a R&B dance track. It is sleek, moody and very alluring. The bass is very present and really sets the tone of the song from the get-go. I really like the use of the drums for the pre-chorus segment. They come crashing in and adds a layer of texture to the song that helps make it more dynamic. The chorus brings in electric guitar solos that just sound so good. They are the star attraction of the song. While his vocals are really smooth and sleek like the electric guitar solos in the chorus (and pretty much the whole song), I wished there was more of a hook in this section. This would have transformed the song and enhance it to a new level. The delivery of the rapping in the second verse in combination with the instrumentation reminds me of one of SHINHWA’s song (I believe the song I am thinking of is Sniper). The rapping in Sniper was quite cool and has left a great impression on me. So WOODZ going down that route and opting for something similar was very fulfilling. Similarly, I thought the bridge (and in hindsight, the entirety of the song) had Taemin-like vibes, which is another really cool artist to pay homage to. Still, despite all of this, WOODZ retains his own colour. Overall, Feel Like is a really good song that shows off the strengths of WOODZ.

The highlight to the music video for Feel Like is WOODZ’s captivating charisma. The dark tone of the video sets the atmosphere, which I found fitting for the sleek nature of his vocals. While at times it was hard to see what was going on, WOODZ managed to shine with his alluring appeal and charisma. Most of it stems from his solo choreography and movement. In addition to all of that, I really like the post-production editing of the music video. The way the dancers made their entrance into the video and how we see WOODZ gets zapped back into reality at the end of the video. That was all pretty cool. Not entirely sure what the story in this video is, though. All I understood that he was zapped into and out of an alternate world.

The choreography for this comeback is really cool. Once again, it fits in with the sleekness of the song. In addition to matching up with the song’s vibe, Feel Like showcases more of the performance side of the soloist. That charisma and energy from the music video comes through and I really enjoyed the smoothness of the moves during the chorus.

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

[Review] DO or NOT – Pentagon

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Another group making their return this week is Pentagon. They make their welcomed return with DO or NOT, the title track off their 11th mini-album LOVE or TAKE. It follows the release of their hit Daisy, which earned them with their first music show win since debut. This comeback is also without Hui, who enlisted a month ago after his original enlistment was postponed due to COVID-19. You will still be able to hear Hui’s vocals in the song for this comeback and you will also see him in the music video. But he will not be participating in promotions. Apart from that temporary lineup change, Pentagon continues to power through with DO or NOT.

The title track opens with really nice harmonisation. Hui leads this part, with the rest of the group harmonising in the background. It is a very delicate start and draws your attention to the vocals. Some whistling appears out of nowhere in this section, but it manages to create a segueway between the intro of the song to the main body. The main body of DO or NOT has a bit more substance with its pop sound, ultimately peaking during the chorus. I really like the bass in the verse, which felt like the energy of the song was brewing in the background. That brewing energy become apparent in the chorus, where band instrumentation livens up the song, and creates a very fun and lively atmosphere. The rest of the song follows a similar profile. Vocally, I don’t think it is their most impressive showcase of vocals. But the vocals were still pretty good and solid nonetheless. The vocals do enjoy some enhancement thanks to the energy from the instrumentation that I have already spoken about and the really catchy melodies of the song. DO or NOT also has some really addictive hooks that really help make the song more memorable. The rapping by Wooseok and Yuto were also pretty good, adding some more oomph to the energy of the song with their deeper and raspy tones. Overall, I think the song was a really strong showing from the members. To me, the best element of the song has to be the energy they created with DO or NOT, which brought a feel-good vibe and was something I constantly revisited as you may have noticed above.

The song’s lyrics depict the guys as cool and laidback in a relationship (or a potential relationship). They say they don’t care what their partner does next, but ultimately the guys are in love with their partner. And the music video shows just that as well. We see the female get a text message and she rushes away from the members to answer. And this starts a whole bunch of events which show the guys pretending not to care. But they end up chasing after her and being around her while they ask her to pick who she wants to be with whilst pretending to be cool. At the end of the video, we see the guys sitting around the couch like at the start of the video, with the exception of their crush, who I am assuming has chosen someone else over them. You can see the disappointment in their faces. Apart from the storyline, I really like the how the music video reflected the song’s upbeat energy. I also enjoyed the splash of colour throughout the video.

I really like the playful vibes they brought to the stage with the performance. I compared two of their performances and noted that for one of them, the members seemed to be very cautious (I am guess the set they are performing on isn’t made for dance performances) and toned down the energy considerably. It made the performance awkward to watch. The other performance was a lot more lively and more fun as their movement was not bound by caution. And it is this energy that I really enjoy from Pentagon’s performance that I hope they stick with in the future.

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

[Review] Ponzona – PURPLE KISS

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After teasing us with two pre-release singles, My Heart Skip A Beat and Can We Talk Again, PURPLE KISS has finally made their debut with Ponzona (‘Poison’ in Spanish), today. For those who are unfamiliar with the group, PURPLE KISS is a seven-member female group from RBW Entertainment, which is the home of MAMAMOO, ONEUS and ONEWE. The seven members that make up the new group are Park Jieun, Na Goeun, Dosie, Ireh, Yuki, Chaein and Swan. On a side note, I have yet to review those two pre-release tracks. I do intend on reviewing them and will get around to them soon. Aside from that, let’s have a closer listen and look at Ponzona.

Based on sound alone, PURPLE KISS’s debut single sounds very unique. There was this very mysterious, intriguing but ultimately edgy vibe to their overall sound, which I thought was an interesting blend of emotions that helped made Ponzona very appealing. On top of that, I also like how bold and intense the fusion urban hip-hop instrumental felt. That dance break was something very different to what I am used to and shows off a unique flair. It definitely captivated. I also liked the use of classical instrumentation and the piano throughout the song. that helped the song come off as artistic and aesthetic. The only concern I had with the song was its pace. I thought it was sluggish in the verses and some of the choruses. I know they really tried to intensify all of that mysteriousness and edgy vibes by using this technique. But I felt that this backfired slightly and drained some of that energy from the song. Aside from instrumentation, I really want to draw attention to their delivery in Ponzona. The vocals are superb. Coming from RBW Entertainment, I definitely had high expectations for the group in this department and they literally met that expectation with ease. That growl by the member who sings ‘Purple‘ at the end of the chorus really catches my attention. The members who participated in the pre-chorus also delivered smashing vocals that blew me away. The rapping was equally as strong and really gave the song more of that intense kick that notable rappers always give off in their personal songs. Ponzona really catches my attention from the get-go and I am definitely excited to hear what they have in store next for us listeners!

To match that mysterious and edgy vibe, the music video that accompanies the release of Ponzona did an excellent job of showcasing those same vibes in a visual manner. And they did so with the addition of a creepy aura which really sends a statement to viewers who are coming to see the members/release for the first time. While I am not sure if all the scenes are meant to connect to tell a story. But I feel the common message is that these girls are very powerful, sought after by followers and even the devil (or an evil creature) bowing down to one of the members as well. I also liked how their use of purple isn’t too overwhelming. I would have expected the video to be somewhat saturated with the colour, given that it was their debut and you would want your name to be known. But it was used sparingly and in a refined manner.

I liked how those vibes I mentioned above were also reflected in the choreography. I really like the introductory sequence to the choreography, with its robotic like movements. I also enjoyed the boldness of the dance break, matching that paced nature of the song, but also showing more of that unique flair that I mentioned in the song section of this review.

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

[Review] On The Ground – ROSÉ (BLACKPINK)

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It has been a long time coming. But after years of promise, the next BLACKPINK member has made their official solo debut. ROSÉ makes her start as a solo artist with the single On The Ground, an all English single. Usually for an all English single would be lumped as part of the International Song Review segment. But as ROSÉ will be promoting the song in Korea, I have decided to write a separate review for it. The first member of BLACKPINK to make her solo debut was Jennie, way back in 2018 with SOLO. Check out that song if you haven’t yet after this review.

On The Ground is an awesome track. I literally have to get that off my chest. I was pretty satisfied with the entire song from the start. ROSÉ really shined with her vocals in this song, making a lasting impression of a minimalistic acoustic instrumental at the start of the song. Her vocals were extremely clear and I really like the tiniest tinge of raspiness in her voice throughout the song. The producers were very clever with the minimalistic instrumental approach, as this made us zone into her vocals from the very first second. I also like the ‘Every day, every night‘ line in the verses, which reminded me for the briefest of seconds, a Taylor Swift type of melody. The chorus is a bit of a twist, with the direction changing for a bit of an electronic influence. I really liked this beat drop changeup, as it cuts through the acoustic of this song and brought a intense dynamic to the song without going for an overload of synths or strong beats. It is aesthetic, similar to how I perceived Jennie’s solo debut. As mentioned at the start of this paragraph, I was pretty satisfied with the song. But what sealed the deal for On The Ground that spectacular high note/peak. It came out of nowhere and everything before it in the bridge did not give me any idea that high note was fast approaching. It was so good and out of the blue that it left a strong impression on me. To the point where it made the final chorus feel more astonishing and lively. Needlessly to say with how impressed I am with the song, ROSÉ delivered a stunning solo debut song with On The Ground.

The music video compliments the song so well. I really like how the music video really highlighted her visuals throughout the video and kept her grounded (pun intended) throughout the video (for the most part). I also liked, to match with the song’s chorus, the music video opted for explosions and really cool effects (i.e. floating ROSÉ) to heightened the chorus’ vibes and energy. I also like how glamarous she looked throughout the video, which I am sure is reference to her celebrity status. But there are many scenes littered throughout showing us that she is realizing what is most important to her is not that lifestyle, but rather being herself. This is the premise of the lyrics as well.

[Updated] The performance was very clever. The thing that really stood out to me was just really how low the performance was, which felt fitting for the song’s lyrics/title. The first chorus was performed by Rose and the dancers by lying on the floor. The second chorus was performed sitting on the ground, while the final chorus was performed while standing up. It was a creative choice and it felt like a climb that shows that while she was at a low while living the glamorous life, she got back up as she fully embraced her own identity.

Song – 10/10
Music Video – 10/10
Performance – 10/10 [Updated]
Overall Rating – 10/10

[Review] SEOUL – GHOST9

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GHOST9 is back with a brand new single, titled after the capital city of South Korea! SEOUL is featured on the group’s third mini-album, Now: We Are Here. One of the things that I am glad about with GHOST9 is that they (and their management) have already bypassed their first hurdle by already delivering multiple comebacks within less than a year of debut. That is a big feat as they aren’t from a big company, and we have seen many groups from similar companies fail to return after one song. SEOUL follows the release of W.ALL, which was the main title track for their December 2020 comeback.

Within just one listen of SEOUL, I was confident that the new song surpassed their previous title track in terms of likeability, execution and enjoyment. I really liked how the song started off with such an intense introduction, before throwing us a curveball with a higher pitch synth. It was definitely an intriguing start. SEOUL then followed up with the same choppy spiraling synth but at a lower pitch. I liked this reversal as the higher one would have been too whiny to continually listened to, given how much the latter was played throughout the verses. The synth itself brought dynamism, something that I pointed out was lacking in the the verses of W.ALL. It also complimented the lower tone in their members voices when they rapped or sung in the verses. I also liked the energy that the vocals and raps in the verses brought to the section, heightening the dynamism I just mentioned. SEOUL‘s chorus was also pretty good. It went for a more vocal centric approach. I felt that this was a lot less intense and almost softer than their other releases, allowing for a pop vibe to come through. I quite like this changeup for GHOST9 as it brings something different to the table for the group. One thought that did occur to me while listening to the song is that the chorus does feel ever so slightly plain. I feel that was the super critical side of me processing the song. I still enjoyed the chorus nonetheless and would happily continuing listening to the song regardless of that thought. Skipping forward to the bridge of the song, especially with how atmospheric it felt. The heavy thumping made it sound more epic. The higher pitch version of the synth returned just before we launched into the final chorus. I felt quite done with the sound by then, but the higher pitch made it feel reinvigorating and punchy. The ending brought a bit of dubstep to the song, which I quite liked as well. Overall. SEOUL was quite enjoyable.

I was keen on getting a continuation of the big robots that featured in their Think of Dawn and W.ALL music videos. But the music video for SEOUL opted for more traditional icons in the giant department. For this video, the focus was primarily on Seoul (the city) and their giant of choice was a really cool dragon. The city of Seoul was also featured in the video, with the nightline of the city being the centrepiece for this comeback. We saw it behind the choreography shot where they performed on a floating platform which I am assuming is on Han River. We also saw it in their rollercoaster ride, though I assumed this was more post-production than reality. I also liked how they performed in front of the more traditionally structures of the city, acknowledging the culture of the city. The hanboks and jackets worked really well, as well. Overall, a really good video.

I liked the choreography for this comeback, but I felt that it could have been a little more powerful. It was going in the right direction, but I felt their moves were a bit weak and could have been sharpened a bit. I know they employed some smooth moves during the chorus, but that doesn’t mean other parts didn’t need to be a bit sharper. Other than that, I really like the choreography for the bridge and enjoyed the different vibe the ending part had when the dubstep started to come through.

Song – 9/10
Music Video – 9/10
Performance – 7/10
Overall Rating – 8.6/10

[Review] Encore – GOT7

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Earlier this year, GOT7 announced their departure from JYP Entertainment, their home for the past seven years since debut. The leadup to this news, there were rumours of disbandment and rifts between the members and their agency (i.e. JYP Entertainment unfollowing GOT7 members on Instagram and vice versa). However, like many groups nowadays, GOT7 promised their fans that they will remain as a seven-member group into the future despite signing to different companies and seek ways to promote together under the name GOT7. Many groups have made similar promises but have yet to make that group comeback that they have promised, instead focusing on solo work. Well, GOT7 has managed to deliver on this promise by regrouping shortly after their departure to release Encore, a single that promises fans that they are still a group no matter what.

As the song’s messaging suggests, Encore is quite different from the usual dance centric title tracks we have heard from GOT7 over the past seven years. While a dance track or something of their usual style would have been greatly appreciated, the group opts for more of a ballad approach with a band-inspired instrumental that is quite toned back. I feel like most songs for fans typically fall into this style simply because it is the easiest way to convey thoughts and feelings. But instead of being a sad ballad, there is a hopeful tone in both the instrumentation and from the members, which suits the messaging of Encore. Every member (vocalist or rapper alike) all take a melodic approach to their lines, complimenting the band-like instrumental that I had mentioned they opted for. It was quite flowy and soothing to listen to. What I also really enjoyed was the line distribution of the song. It felt like each member got a distinct part. I know that Mark and BamBam got the least, but their parts were noticeably theirs. I also liked how these two members, who usually just rap, actually had vocal lines in this song. The ‘Encore‘ repetition was quite nice, briefly mimicking the shouting of ‘Encore‘ that you would usually hear fans shout at the end of the concert, which they actually did blend into the song at the very end. Overall, Encore definitely came off as touching and pleasant.

The music video simply showed the members gather to record the song, share a meal and convey that promise that they are still a group in a short speech in the video. Pretty much what I expected. It was nice to see the members show their friendship in a casual and laidback manner, without the need for flashy lighting and elaborate set designs. They used a home style filming approach, which made the video feel more impactful. At the end, when they blend the fans shouting ‘Encore‘ into the song, we see a camera filming the crowds at one of their concerts whilst the members on stage. To include fans in the final moments of the video was really nice and appreciative.

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