Category: Reviews

[Review] Atlantis – SHINee

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After taking a short break to recover from the more than usual reviews over the weekend, I am jumping back into the reviewing chair with this week’s first major release. SHINee made their long awaited comeback back in February with Don’t Call Me (the title of the lead track and title of their 7th studio album), three years after their previous comeback. Two months on, and the group has returned with the the repackaged version of their 7th studio album and the new single, Atlantis. Just a heads up that the album review for Don’t Call Me/Atlantis will be published this weekend. But we are hear about my personal thoughts about the new song, so let’s have a closer listen to Atlantis.

Take all of SHINee’s past work and boil them down into one song. I think that is the best way to describe the nostalgia and my overall thoughts of Atlantis. And that is saying a lot, given all of SHINee’s massive hits. The song starts off what I could describe as its own blank canvas, light guitar strumming that felt like the background was simmering way. It is paired with powerful vocals from Taemin and Key. It is then followed up with an atmospheric pre-chorus, heightened by the presence of those violins and Onew’s soaring vocals. The combination of this pre-chorus builds up effortlessly towards the chorus. The chorus itself combines an intensifying mixture of pulsating synths and percussion that just snowballs exponentially into a thrilling and adrenaline-inducing instrumental piece. And that isn’t enough, as SHINee comes together as one to sing their way through the chorus. I found the hooks and melodies to be quite piercing (in a good way), hooking me further into Atlantis. The song then repeats the sounds and vibes of the first chorus, but replacing Onew’s powerful pre-chorus with an equally as powerful rapping pre-chorus by Minho. Minho sounds different than usual, which I think is the result of throwing energy and intensity behind his delivery. This section is also heightened grungy synths that later evolved into a full on rock sequence. Atlantis then pulls back the pulsating chorus returns, followed up the vocal-centric stripped down bridge and finally ending with that chorus again (with the addition of ad-libs and what felt like added intensity). Overall, Atlantis really took on board all of SHINee’s strengths and moulded it into a song that has blown me (and many others) away.

While I do like the vibrancy of the music video provided by the presence of the members, and all the imagery that the video contained reminding us of the sea (i.e. tentacle in the can, the many appearances of various sea creatures, the visual pattern of ocean and sea), I wish the music video was more dynamic to match the energy of the song. I just feel what we got as a music video just doesn’t do the song justice. The use of the sets were nice, but they added a heavy coating of plainness and stillness to the video, rather than exuding that mature and legendary status that we now (and for a very long time) have associated with SHINee. The most promising set out of all the set was the sandy colour background which the producers applied a holographic sea water pattern over to resemble the shore line.

You cannot tell that in their 13th year and their oldest member is now past 30 with this choreography. SHINee kept themselves synchronized and in beat with the fast tempo of the song. It makes for an amazing routine. To me, it is not the chorus that is the routine’s best moments. Rather, I find the gracefulness of the first pre-chorus and the intensity of the second pre-chorus to be the routine’s best, showcasing two different but strongly compatible sides of SHINee.

Song – 10/10
Music Video – 6/10
Performance – 10/10
Overall Rating – 8.8/10

[Review] 5K – Lee Jin Hyuk (UP10TION)

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The final review this weekend’s focus on solo artists (I really need to get back to the usual program of reviewing all artists) is Lee Jin Hyuk’s comeback. Lee Jin Hyuk made his solo return to the stage on Monday through the release of 5K and the mini-album, Scene26. This is the soloist’s first comeback since Bedlam in June of last year (and we are still awaiting for the day in which Lee Jin Hyuk makes a return to UP10TION). Since Bedlam, Lee Jin Hyuk was scheduled to make his acting debut early this year through the drama Dear. M, but the drama has been put on hold due to a scandal involving the lead actress. But that is acting and I am not here to review that. I am here to review 5K, so let’s get going.

Lee Jin Hyuk’s solo work have been a miss for me, so far. We have the boring single (i.e. I Like That) and the (to put it bluntly) off-putting releases (i.e. Bedlam). 5K seems to not fit in either of those categories. Gone are the shouting vocals that dominated his previous song, with Lee Jin Hyuk opting for a more pleasing delivery of traditional raps and vocals. When he isn’t overwhelming, he actually sounds quite skilled. I do like that he goes in and out of rapping and singing, which gives the song a wide range of variety. It also seems like Lee Jin Hyuk infuses a bit of a fun character to his delivery, which makes his vocals and rapping even more appealing. I don’t follow Lee Jin Hyuk personally, but my assumption is that this character is what fans would commonly associate with him (based on what I am reading in the YouTube comments). To match the colourful profile lee Jin Hyuk presents us in 5K, the song’s instrumentation opts for a fun profile. Brass, which seems to be the industry’s go to sound for something fun, is heavily employed in the chorus. The jazzy piano that features as part of the chorus is also a nice addition. I also enjoyed the funky sound profile that the song opts for in the verses, further tapping 5K into current trends. So far, so good. But it is the song’s major hook that acts as the hurdle this time around to liking the song. The constant repetition of ‘5K’ (which is a pun on ‘OK‘, as 5 sounds similar to O in Korean) wears off by the midpoint of the song and frankly is annoying by the end of the song. But given his past two releases, I think 5K is his best yet. There are still some improvements that can be made to make the song (and his title tracks) more appealing.

I thought the music video was fantastic. It was a little dizzying, given that the camera constantly spins around to capture Lee Jin Hyuk (and his many counterparts) walk around it in a circle. The whole point of that was to follow the female actress who catches his attention at the start (and the artwork that he is featured in). The music video is set in an art gallery. At first I wasn’t keen on this setting, but it soon made sense to why they had chosen this concept. Obviously, the producers wanted to highlight that 5K is a step up from the ultra high definition of 4K. The 4K that I have seen makes me feel like I am watching the video live (i.e. in the room). So obviously a step up would be that in a literal form, hence the art gallery was an excellent choice. I also like that Lee Jin Hyuk is ‘The Walking Man 2’ and does a lot of walking to play that part. The part in which the female actress was an actual piece of artwork was a bit predictable for me, but it still made for a fun video to watch.

I felt the choreography for this comeback was a let down. There wasn’t anything great about, let alone mind-blowing or new. It just felt like we have seen the moves done before. On top of that, it felt like the choreography was very repetitive. I did like the energy and smiles he brought to the stage. But that isn’t enough in this instance to save the choreography.

Song – 7/10
Music Video – 8/10
Performance – 5/10
Overall Rating – 6.9/10

[Review] What Type of X – Jessi

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On top of focusing on solo artists this weekend, I also want to also look at a new artist that I have never reviewed before. The artist who I am talking about is Jessi, who is known for her variety show appearances and the single NUNU NANA. On a quick side note, NUNU NANA scored Jessi Best Rapper and Best Female Soloist Choreography in the 2020 KPOPREVIEWED Awards. NUNU NANA was on the list for review back when it was first released last year, I never got around to writing a review and have since dropped writing anything for the song (but that doesn’t mean I won’t choose to cover it in the future). But I made a promise with myself to review her next single, whenever that might be. Well, Jessi made her comeback less than a month ago with the single, What Type of X, so it is time for that long-awaited Jessi review.

For those who don’t know, I am not a major fan of hip-hop or rap based songs. However, there is always exceptions for everything and I have enjoyed my fair share of songs from those genres and styles. What Type of X is another song to add to that exception list. You probably can guess (if you have stuck around my blog for enough) that one of the reasons to why I enjoyed What Type of X is because of the instrumentation. There is a fair bit going on in this instrumentation, from the very badass guitar work introduction, to the upbeatness the percussion throughout the verses, to the powerful and memorable synths that made up the chorus, to the impactful and relentless nature of the instrumentation from the point of the song’s climax. Everything came together quite dynamically and screamed out confidence. And if the confidence wasn’t as explicit from the instrumentation, then we can refer to Jessi. Jessi’s name is probably synonymous to the word confidence in the Korean industry. She is not afraid to be go out there and be different, and you can tell that from the song and her performance (something which I will touch on later). Her delivery shows just that, with her husky and raspy voice really coming out throughout her vocal parts. I also find her rapping voice to be so seductive during the bridge. What makes What Type of X even better are all the catchy lines we get throughout the song, adding memorable points to the song. I also find the song’s English lines (such as ‘I am a different type of beast‘ and ‘Thanks to my ex, I am onto the next‘) to be very captivating and memorable. Overall, Jessi gave us another solid song in the form of What Type of X.

As mentioned above, Jessi showcases her confidence throughout the music video, just like in the song. You can tell that she is not afraid of others talking about her as she performs in the video. And this confidence works extremely well with the song’s lyrics. Out of all the sets in this video, the chess board is probably my favourite. Jessi also looks stunning throughout the scene, especially with that headpiece on and her black outfit, representing the queen on the chessboard. The horse masks the dancers wear are slightly frightening, but they work extremely well with the rest of the scene. The rest of the sets looked typical at best, but still good. One disappointing factor was that they CGI in the falling money in one of the scenes. It just didn’t look at as cool as the rest of the video.

One of the things about NUNU NANA that caught on quickly was the iconic choreography. What Type of X followed up with something that feels like it should be just as iconic. The image of the start of the chorus where everyone is bending backwards is effectively ingrained into my mind. And every time I listen to the song, it is what I vividly imagine. It is cool and it also makes a statement, which is something you would want to do with a song like this. I wished the rest of the performance had that same feel though.

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

[Review] I Wouldn’t Look For You – Kim Jae Hwan

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Next up on the list of solo reviews is Kim Jae Hwan. The former Wanna One member began his solo career in 2019 with releases such as Begin Again and The Time I Need. He then entered a fairly quiet year in 2020 (he did release a few singles, but there was no notable or significant comebacks). Over a year in from his last major comeback, Kim Jae Hwan finally returns with his third mini-album, Change, and the lead single, I Wouldn’t Look For You.

I Wouldn’t Look For You delves back into the Latin pop trend that has been dominating KPOP for the past few years. Personally, I don’t mind this influence in this song, as it felt refreshing with all the guitar work for the entirety of the song and the horns that come into play during the chorus. And this Latin pop influence is all over a basic balladry piano piece, tapping into the genre that Kim Jae Hwan is probably most known for. The rain sound effect was also nice touch, aiding in the delivery of the emotional side of the song. Altogether, the instrumental is very enjoyable and pleasing to me. But the instrumental, especially in this song, only contribute to a small part to the song’s appeal. I Wouldn’t Look For You‘s biggest asset is Kim Jae Hwan vocals. With some songs, the instrumental is what what really plays a big part of getting it over the line to being likeable in my books. This is the case for the more upbeat dance tracks that thrive on dynamism and energy. Like most ballads, the vocals play the most important role especially in songs where the instrumental is fairly consistent throughout the entire song (which is the case for this song). In I Wouldn’t Look For You, Kim Jae Hwan infuses so much emotion into the song. He pushes the song forward with his heartbreaking tone, especially when it came to the chorus. It definitely made the song captivating and worthwhile to listen to. His autotuned high note after the stilling bridge was also really good (and it sounds even better live!). Overall, another really strong showing of Kim Jae Hwan in this song.

Finally, a video with a plot line that I can make sense of! It has been a while, but here is what I think is going on in the video. It seems like Kim Jae Hwan’s character nowadays is more preoccupied with hanging with friends (or are those his bandmates) than with his girlfriend. Once lovey dovey (i.e. Kim Jae Hwan would play music to his girlfriend, while she stares lovingly at them), the pair now fight often, leading to Kim Jae Hwan leaving. However, he makes a stop and attempts to get in touch with her to apologise. Whichever way he gets into contact with her, he is unsuccessful. So I am guessing here that he assumes that she doesn’t want to be with him anymore and continues to drive off into the distance. My guess is that he thinks by going back, he would be doing no good and continue cause grief to her. Hence, he chooses not to find her. Unfortunately, as Kim Jae Hwan races off into the distance, the weather causes him to crash and die. His girlfriend hears of this and is heartbroken when she goes out to the crash site. It is definitely a heartbreaking story and one worth watching.

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

[Review] Warning – Kim Sejeong ft. lIlBOI

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Next up on the weekend of reviews for solo artists is Kim Sejeong. This is the soloist’s first comeback since the official disbandment of Gugudan. For those who missed it, Jellyfish Entertainment announced that Gugudan would disband at the very end of 2020, after two years of being inactive. A number of the members have since left the company. One of the members staying behind is Kim Sejeong, who has established a pretty strong solo career ranging from acting to singing, whilst still promoting as Gugudan. We last saw Kim Sejeong through her release of Whale last year. Last week, she made her solo comeback with the title track Warning and her second mini-album, I’m.

Warning is a very pleasant pop song, with its main centerpiece being a catchy, bright and cheerful sounding piano riff that makes this song so enjoyable. The word ‘pleasant’ used here is a very positive compliment and does not describe the full extent of appeal for this song (which I have described some songs in the past). If anything, Warning could potentially go beyond that ‘pleasant’ descriptor in the right circumstances. As the song progresses, there is always something new to discover in the instrumentation as a result. Aside from that piano riff that I have already mentioned, Warning also includes a sprinkling of synths to give off modern vibes and sound effects to add some fun colour to the song. Kim Sejeong’s vocals were also very strong in the song. What I enjoyed the most is that she doesn’t shy away from different types of delivery. We see snippets of her rap-speaking just before the first chorus, just speaking for the catchy hooks of the song and also singing along with the rap sequence. Even her vocals do a bit of changing, depending on the part of the song in question. The rapping, courtesy of lIlBOI, added some oomph to the song that you would think the song needed at first. But it really cuts the otherwise really consistent momentum of the song. There is one more element that really grabbed my attention, and that is the main hook of the song. The simple spoken repetition of the song’s title was really addictive and reeled me into the song from the first listen. Overall, everything in Warning came together quite nicely. Within the song itself, there was a lot of variety, some of which have been explored by the soloist herself.

To match with the pleasant sound of the song, the music video opted for pastel colours as the main colour palette for the video. Everything from the sky, to the word Warning that appeared behind both Sejeong and lIlBOI in some parts, to the sets were all of the pastel colour. It made sense to me why such colours were chosen, as they don’t appear too pale or too harsh to the viewer. Sejeong acts in a cutesy manner for this video. It isn’t over the top and the video is still watchable, unlike other music videos where it is unbearable. Overall, a fitting music video for the song.

Unlike her past singles, Sejeong’s promotions of Warning also incorporates choreography. There really isn’t anything mind-blowing or ‘never done before’ in this routine. I don’t think it would be fitting for such a laidback song. Instead, the choreography opted for a satisfying and pleasing routine to watch. It also allows Kim Sejeong to focus on her live vocals, which is undeniably her main centrepiece of the entire comeback.

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

[Review] Like Water – Wendy (Red Velvet)

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Next up on the list of solo releases that I am reviewing this weekend is Wendy’s solo debut title track. Like Water is the title of her debut single and it was released on the Monday that just past, alongside her debut mini-album (which shares the same name). Wendy is also the first member of Red Velvet to officially begin a solo career in the music industry. She has done some solo work before through collaborations and OSTs previously, but has not been given the opportunity to promote a mini-album under just her name. This official start is also a return to music promotions for Wendy. For those who missed the news back in 2019, she was badly injured at after a stage fall while performing Psycho, which left her in hospital for a while. She was notably absent in 2020, so that she could rest and recover from her injuries. She did release some music, but nothing substantial. Early 2021, she returned as a member of Red Velvet for a SM Concert. But things have been quiet on that front since that major performance milestone for Wendy and Red Velvet.

I was not surprised when I realised that Like Water was going to be a ballad. Firstly, the title felt like a name you would give to a ballad. Secondly, as Wendy is the main vocalist of her group, it is typically the expectation that she would go down that route as many main vocalists have done before. But don’t get me wrong. I am not saying Like Water is like any other typical comeback. Like Water wowed me when I first heard the song. And that is solely due to the captivation spell that Wendy had me under with her vocals. Her high notes were flawless, enabling the song to soar to new heights. Another positive about the vocal department in this song is how clear and straightforward her vocals were. While it may sound like I am referring to that ‘typical’ description again, I actually in fact appreciate this direction. It is always nice to hear a release that is not complicated or overdone once in a while. And so Wendy’s Like Water comes at a perfect time for me. I also find that Wendy’s vocals in this song remind me of labelmate’s Taeyeon’s vocals (and that is a high compliment to give someone, given Taeyeon’s power and influence in the industry). The melodies in this song are so flowy, feeling like a natural water stream you would hear in a forest. What makes Like Water unique is the folksy instrumentation we get. It may sound like another typical contemporary ballad with its instrumentation if you simply take a glance at it. But when you pay close attention, you find that there is a fair bit of a folk influence to its makeup. And if you still question it, then the instrumental break we get about half way through the song should be enough to prove you otherwise. Altogether, Like Water is a stunning ballad that shows off Wendy’s vocals and marks the return of the Red Velvet member to the KPOP music scene.

The song Like Water isn’t an emotional one. Rather, it has a happy tone to it that makes you want to smile. (For those who don’t know, Wendy likens her love to her partner to the need and feeling of water in the lyrics). That smile feeling is shown throughout the video, with Wendy smiling whilst delivering her lines. One thing I liked about the video is how the video captured Wendy from afar. In many of those scenes where you can tell there is some distance between Wendy and the camera, you will notice they are pretty wide shots and there is a lot of space above her. To me, I think it shows how there is no clouds above her (which would commonly be synonymous with breakup ballads and emotional songs). There is imagery of rain throughout the video which make sense given the song is about water. But I find it smart to not include grey clouds (i.e. the source of that rain), which can be heavy and loaded at the same time, and this would not be a good fit for the video.

Song – 10/10
Music Video – 8/10
Overall Rating – 9.2/10

[Review] Spider – Hoshi (SEVENTEEN)

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For the entirety of this weekend, I will be focusing my reviewing efforts on solo artists. This includes both song and album reviews, for recent comebacks involving established solo acts or new idols embarking on their solo careers. First up on the reviewing block is Hoshi’s mixtape single, Spider. This is Hoshi’s first solo release since his debut as part of SEVENTEEN in 2015 (which was six years ago!). The release of Spider has caught fans off guard with its sudden announcement on 26 March and its unveiling within a week (with a few teasers per usual in between). As the release occurred while I was on break, I haven’t had the opportunity to review it yet. But since I am back and dedicating this entire weekend to solo releases, it is perfect time to finally listen to Spider in detail.

Known for his performance skills and is also the leader of the Performance unit of SEVENTEEN, it was expected that any solo release from Hoshi would be a dance song that focuses on the performance. I never thought of Hoshi to go down the ballad route for his first solo release, and Spider confirms that. Spider is a very charismatic R&B dance track, pulling me in right during the first listen with its alluring and engrossing energy. Hoshi starts the song with a melodic whisper, before progressing to vocals that do the building towards to the chorus. For the most part, the instrumental felt very neutral up until the chorus. When the chorus kicks into gear, Hoshi presents us with sensual energy that felt very aesthetic. I really like the sleekness of the whisper-like syllable-by-syllable start to the chorus which incorporated guitar work into the instrumentation and infusing a very minute amount of funkiness into the song. And like the verses, the chorus builds itself to be a substantial centrepiece of vocals and instrumentation that fits into the R&B realm of music. The rest of the song continues the momentum that has been built up so far, with the addition of falsetto vocals in the second verse and electrifying guitar work as the main backing for the song’s dance break. While it sounds like I am only praising the song, I did feel that Spider had one flaw at first. Initially, I thought the song had weak melodies and hooks. But after a week’s worth of listens, I find that they are growing on me and anything different would obviously ruins Spider’s aesthetic, which is a major appeal point of the song. Overall, Spider showcases some of the best parts of Hoshi. Aside from his performance skills (which I will talk about in the bit), Spider shows off potential as a solo artist and his vocal skills as well.

Spider‘s music video is an excellent visual concoction that caught my attention during the first pass. One of the strongest aspects of this music video is the cinematography. One really great example is the slow spin of the camera at the start of the video. It plays with us, using the fact that Hoshi was actually hanging upside down in the choreography at that point. It also felt like the POV of a spider crawling down using its web. I also really like how the camera angles and zooming made those ‘corridors’ (like the one in which he is hanging upside down in) feel longer. The second aspect of the video has to be Hoshi’s visuals. He looked amazing throughout the video. Just by seeing him in this music video, he has shown that he can be sensual, charismatic and hypnotic. And those a three big boxes to tick.

Obviously, the biggest element of this solo release has to be the performance (I know, I have already rambled on about how this comeback is all centric on the performance). And I think Hoshi fulfilled all expectations of him. Right from the start, Hoshi hang upside down, delivering us with an impactful view. He moves in a very sleek yet powerful manner throughout the performance. I also really like the choreography for the second verse and chorus, where he is held, blocked and pulled by the dancers. We see interactions with dancers commonly. But that how sequence is complicated timing wise and felt very calculated. A very strong routine from the Performance Leader.

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

[Review] Unnatural – WJSN (Cosmic Girls)

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Another comeback from last week was made by WJSN otherwise known as Cosmic Girls. They made their long awaited comeback with Unnatural as the title track and their ninth mini-album that shares the same name. This comes after almost a year after previous comeback as a full group with Butterfly and the mini-album Neverland. After their only 2020 comeback, members Soobin, Luda, Yeoreum, and Dayoung formed WJSN’s first subunit, WJSN Chocome, which went on to release the single Hmph! in October of last year.

Unnatural seems to be what I have been wanting from WJSN for a while now. A really well-done comeback title track that taps into the group’s mature side. A few of their past comebacks have done just that. But I feel like Unnatural is really the peak of what they have attempted thus far. That being said, Unnatural still taps into WJSN usual style of KPOP music. There is a lot to like about Unnatural. First of all are the vocals. To me, the bulk of the verses were quite plain at first glance. But the vocals are what really reeled me in from said verses. They opt for a more powerful delivery, which adds that needed oomph to make the verses more attractive. This does come with some setbacks however, as the members sound like they are straining their vocals to make it work. But I do think it pays off. The second really attractive aspect of the song is its pre-chorus. It is a twist that just comes unexpectedly, but also adds so much flair and texture to the song. It is Unnatural‘s biggest selling point and it seems like it has attracted a lot of attention from fans. The third promising aspect of the song is the explosive chorus that follows right after that pre-chorus. The stripped back manner of the pre-chorus heightens the chorus and the powerful vocals (although continues to be strained) really helps make the chorus appear more impactful. The fourth aspect is the bridge, which is a combination of the already mentioned vocals and pre-chorus instrumentation. I do find the pre-chorus backing here is slightly stronger, leading the song to its peak. Finally, the return of the pre-chorus instrumentation and the vocal layer that finished up the song gave Unnatural that last second push of a changeup, yet still keeping true to the roots of the song. Overall, there was a fair bit to enjoy in Unnatural, with all of the appeal came naturally to WJSN.

The music video portrays those mature vibes the song exuded in a very vibrant manner. Their visuals were well shown throughout the video. However, aside from all of that, I don’t have much else to say about the music video. I found it to be plain and typical for the most part. There isn’t much going on the video apart from the closeup and choreography formula. Usually I would have something more to say about the sets, outfits or overall ambience. But the music video for Unnatural just felt like it was something we have seen before.

The choreography is good. But I wished they were bolder with their moves and the choreography. It would have made the routine even better. Something that shows more confidence and intensity would be what I am after, as this would have been more fitting for the song.

Song – 9/10
Music Video – 6/10
Performance – 7/10
Overall Rating – 7.7/10

[Review] ONE – ASTRO

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ASTRO marks the beginning of a new week with their latest comeback, ONE, and their second studio album, All Yours. This is the first time we have seen ASTRO as a group with a new song since their Knock comeback last year. Since Knock, ASTRO launched their first official unit, Moonbin & Sanha, through the release of Bad Idea. The group also released a special single, We Still (Be With You), at the very end of 2020 but this was not promoted. But now the group is back in promotional mode for ONE, so let’s check out out their latest title track.

ONE is one of the songs that you need to listen to a few times before you could really dig it. My first impression of ONE was that it sounded very generic and typical of male groups releasing a song with an edgy sound. But the more I listen to it, the more I find myself diverting away from that first impression and coming to like the song. And within in a day of its release, I am enjoying ONE a lot. It still shares that typical edgy sound profile, but I find ASTRO to really infuse their own charms into the song. The song starts off with the song’s main hook. The backing instrumentals for this hook at this stage of the song isn’t as dynamic as when the hook reappears in the song, but it held out to be a good opener for the song. The first verse brought in their vocals. These vocals were best during the pre-chorus sequence with Eunwoo and MJ bringing in some atmospheric vibes that make me anticipate the chorus. The instrumental builds to the chorus, which its melodies felt like it could easily have slid into ‘back in the day’ KPOP. The song’s main hook returns with a more abrasive and texturally interesting backing. I quite liked this change in style. Firstly, it is definitely more dynamic. Secondly, it brings forth that edgy feel. Thirdly, the repetition of the hook makes it catches on quite easily. The song’s most surprising part is Rocky’s rapping that follows immediately right after the first chorus. Rocky’s really fast and sleek delivery of his part of the rap sequence will be going down as one of the most iconic moments in KPOP 2021. Fast forwarding towards the end, ONE peaks during the dance break just before the final chorus, going for the song’s most robust and heightened intensity sequence. Overall, I found a lot to like and look forward to in my many repeats of ONE. I do think it sits below some of their past title tracks, but ONE is still pretty much up there for ASTRO’s discography.

Aside from the choreography and closeup formula, there isn’t much going on in this video. I wished these was more to the video, such as cool special effects applied in post-production or even during production through lighting and camera work. There was some of each in the video, but not enough to really match the song’s dynamic and intense side. The closeups did capture the best of the group’s visuals and I liked the industrial vibes that the music video’s sets had going on. I just wished there was more to the video.

The choreography looks good, based on the snippets I saw in the music video. I am looking forward to seeing the full routine around the song’s hook. With the mixture of edgy and sensual outfits the members wore throughout the video, I think the choreography of the particular section could easily go either way. The dance break also looks really cool and dynamic, as well.

Song – 8/10
Music Video – 6.5/10
Performance – 8.5/10
Overall Rating – 7.7/10

[Review] Bambi – Baekhyun (EXO)

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Before we proceed with any more reviews for this week, I have to write my review for Baekhyun’s Bambi. Bambi dropped almost a week ago on Tuesday as the title track of Baekhyun’s third mini-album of the same name. This release has also been confirmed to be his final release before his military enlistment, which is scheduled to occur on his birthday (May 6). However I did recently read somewhere that Baekhyun may be releasing even more material while he is enlisted. But I guess we have to wait and see. Baekhyun’s third mini-album also become the most pre-ordered album for a soloist to date. Congratulations to Baekhyun for achieving such a feat!

It is no surprise that Baekhyun’s latest release taps into the R&B genre. All of his solo releases have dug deep into the R&B genre in some form or another. But there is always variation between this releases. I don’t think any of them have been as straight forward as Bambi however. And as I have previously specified in other reviews, this isn’t always a bad thing. Kicking off with atmospheric guitar work, Baekhyun’s vocals becomes the star attraction of Bambi with really smooth and engaging delivery. I also really like the clearness of his vocals in this song. It really helped elevate the vocals to that ‘star attraction’ feel and it doesn’t feel overcomplicated by the instrumentation, which in turn was quite simple and (as mentioned previously) straight forward R&B. I personally really enjoyed the ‘Bambi bam Bambi Bambi Bambi‘ hook, which was really keyed into my mind since its release last week. But while it sounds like it is all praise for Bambi and Baekhyun this time around, I have to note that there was one flaw that really stuck out at me. Pretty much from start to end, the song sounded all the same. And as a result, I don’t feel that the song goes for the three and half minutes that it is actually goes for. It is more so a blur. Not really a great impression. But once you listen to the song in detail, you notice Bambi‘s details and positives.

The music video opens with a very intense sequence with Baekhyun stepping in front of a train to pick up a coin he had flicked onto the train track, as it is chugging full steam ahead towards him. The video then cuts to Baekhyun on the train dancing, which is when the music kicks in. Throughout the video, we see Baekhyun hang around on the train, however I am unsure of the train’s significance in the video or who Baekhyun is playing. Aside from the confusion, I did like various aspects of the video including the noir-like appearance of the video, which is thanks to the suit and hat outfit that Baekhyun dons throughout the video. It adds an addition layer of mysteriousness to the video, which was already present thanks to the darkness that the video is set in. Also, when Baekhyun hangs outside the train while it was raining was also a strong moment. Firstly, it showed emotional commitment. Secondly, it felt very dramatic, which aligned with the rest of the video. Maybe slightly over the top, now that I have rewatched that part a couple of times. But overall, a good video.

Based on what can be seen in the music video, the choreography for Bambi is very sensual. And this matches up really nicely with the straight forward and typical side of R&B. On top of that, I really like the sharper moments of the choreography, when they move in time with the percussion beats of the song. The suit and hat also elevate the performance. I wish we get to see a full performance for Bambi soon.

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

[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