Category: Reviews

[Review] Come Over – LE SSERAFIM

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Alongside HOT from March this year, LE SSERAFIM released the single Come Over as part of their 5th mini-album. At the end of March, LE SSERAFIM collaborated with Android for a music video for the single, making it eligible for a review (i.e., this post!).

While I was not much of a fan of HOT (which has remained true almost two months on), it is a different story regarding Come Over. The song is a very addictive retro-pop, all-English song. LE SSERAFIM kills it in this song, unexpectedly. At first, I thought their very light and high-tone approach would be plain and boring. But a few repeats quickly changed my mind. The hooks, though repetitive, were effective at being earwormy and catchy. I have the “So baby come over, come over, come over” in the tone LE SSERAFIM delivers it in still stuck in my mind. The retro influences in the background made the single colourful and vibrant, while the beat kept Come Over moving along. I did like the instrumental breaks Come Over had, which helped emphasise those influences. There are two things Come Over could have done better: a longer length and more variety in the lyrics. While I praise the repetition hook-wise earlier, I feel like Come Over feels short of being taken to the next level for its repetitive lines and lasts for just over 2.25 minutes (though not the shortest song on the album).

For the music video, we see SAKURA go shopping in a retro grocery store, picking up a mysterious can labelled with an anagram that, when rearranged (thanks to the nifty AI on her very ‘retro’ cell phone), says “Open a new world” – a message she shares with the rest of the group, before paying for the can and drinking its contents. This message is about the potential of the Android-based mobile devices used by the members, which, in a retro world, definitely opens a whole new world for the user. Aside from being an Android commercial, the video nicely encapsulates those retro influences from the song. I liked the vintage patterned outfits worn by the members, and later on, the Android robots. The curled hairstyles also screamed retro, and I loved how fantastic the members looked, particularly HUH YUNJIN.

The dance for Come Over is equally as catchy as the song. I liked the energy and oomph the members put into it, which complements the vibrant and upbeat nature of the music. I also enjoyed the members’ serious demeanour during the first instrumental break following the first chorus. This gave off fun vibes, despite the members not showing that as they performed that sequence.

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

[Review] Girlfriend – i-dle

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Earlier this month, it was confirmed that the group formerly known as (G)I-DLE will be making a comeback under the new name, i-dle. Alongside this announcement, the group released a special mini-album titled We are i-dle, which features 5-member versions of their past singles from their debut track LATATA to 2021’s HWAA. This rebrand also follows their contract renewal with CUBE Entertainment, which was announced at the end of last year. Their newly released single, Girlfriend, comes from their upcoming 8th mini-album WE ARE, which will drop in 10 days.

Girlfriend leans into the pop rock genre a fair bit, more than usual for i-dle. I was geniunely surprised (in a good way) to hear how pop-leaning the chorus was, while the verses shows more of the rock elements to make it pop-rock overall. The chorus actually reminds me of a KPOP track from the early ’10s, thanks to the upbeatness, the simplicity of the hooks, the straightforwardness of the pop sound, the slight toots and the all-members sing-song chorus. The simplicity of Girlfriend‘s hooks comes across quite effectively. The “I don’t give a f*ck about love cause we are i-dle” is very catchy and addictive. At first, I was disappointed with how repetitive it was and thought it was wasted real estate. But I am not too bothered by it now. The vocals and rapping are clear and crisp, as usual. Overall, the saying ‘simple is best’ applies well for Girlfriend. I can’t wait to see what else they have in store for us on the 19th with the rest of WE ARE.

i-dle in the music video seems to be some sort of underground group that goes hunting down bad exes to scare them away from their former lovers, who sought out i-dle’s services. At the same time, they also provide company to those who sought them out, referring to themselves as the ‘girlfriend’ in the lyrics. Again, simple is best and I liked how clear and straightforward the video was. There is nothing to confusing and I liked how the story is on par with their other music videos in the past.

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

[Review] Maybe Tomorrow – DAY6

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DAY6 returned yesterday with the digital single, Maybe Tomorrow. The new release follows their 9th mini-album, Band-Aid and the title track Melt Down from last September.

I find Maybe Tomorrow quite captivating. It took me a few tries to realise that (I was distracted by some other things), but once I settled and focused, I found myself being whisked away by the song. The new single is a rock ballad that sounds very DAY6. I liked Maybe Tomorrow‘s wispiness and gentle nature, whilst the guitar and drums ground the song so that it doesn’t feel overly light to the point that it just breezes by, and I can’t remember it. I particularly enjoyed the drumming in the song, which gives it a bit of a punch and beat. The keyboard work was also lovely, and I liked the little buffer at the song’s end. Maybe Tomorrow also carries emotions, and I felt the members did a fantastic job relaying those emotions to the audience. They didn’t go down the heartfelt or powerful routes, but you definitely get a reflective and pensive tone from them. The melodies are soothing, and the chorus is pleasantly catchy. Altogether, Maybe Tomorrow is a beautiful yet safe ballad from DAY6 that I am sure everyone will enjoy.

Maybe Tomorrow‘s lyrics comfort those who are down, sad, or struggling and wish that tomorrow is a better day. Here is my interpretation of the beautiful accompanying music video. DAY6 portrays those emotions of feeling down, sad or struggling. The mood then is dark and heavy. Then, the room around them shakes, sending them flying out the door and falling through the sky. The members slowly open their eyes, representing that the “new day” is better and comforting. But each member opens their eyes at various times, suggesting everyone has something to make tomorrow better for them. For YOUNG K, it was the music (he had his eyes open way before falling), but he needed the bright light from the sun to make him realise maybe tomorrow is better. For SUNGJIN, it was his guitar that made him open his eyes, and for DOWOON, the colours of the confetti brought him comfort and opened his eyes. The ending shows WONPIL falling back into his bed and waking up, only to realise that there is a hole in his room to show him the light that the new day is better. It also suggests that maybe parts of their dreams did occur (i.e., the music, the light, the guitar and the colours).

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

[Review] IKUK – ONEUS

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It is time to review a release from earlier in the year – ONEUS’s IKUK. You may recognise IKUK, as it is a rearranged version of their I KNOW YOU KNOW single that they performed as part of the Road To Kingdom: Ace of Ace series from 2024. IKUK was re-released in mid-January as part of their special Dear. M album. As I had never reviewed that series, I thought I would pick up IKUK for a review. Since the release, SEOHO has enlisted into the military and ONEUS is currently promoting as a quartet.

Unfortunately, I didn’t pay much attention to the release of IKUK as I was on holiday then. Listening back for this review, it is a pity that I didn’t pay attention, as it is a strong showing from the group. I like the funky and groovy nature of the song, which feels quite refreshing coming from ONEUS. I enjoyed the punchiness of the beat in this version and the subtle hip-hop presence behind the rap sequence in the second verse. I wish the bass was more profound, particularly during the hooks when the rest of the instrumentation was stripped away. Bass is present in IKUK in its current form, but I think more could have made IKUK uber funky. I also enjoyed the crispness of their vocals and rapping, which made IKUK stronger and more alluring. And the song’s primary hook, the ‘I know, you know, I love you‘, was catchy. However, IKUK is far from perfect. More could have been done to make IKUK feel less repetitive than it was. I also want various parts of IKUK, such as LEEDO’s rap in the outro and the chorus around it, to not feel as abrupt as they did. It felt like they were slapped in, hindering IKUK from feeling cohesive. Perhaps constraining IKUK to be as short as possible was not ideal, as a few extra seconds to facilitate proper transitions and additional segments to relieve IKUK from its repetitiveness would have boosted it in my books.

I really enjoyed how theatrical the music video felt. When ONEUS goes down that path, you know the music video will be top-notch. While the regal look was very cool (both members and dancers looked awesome throughout the video) and gave off vampire vibes, I wish they explored the theme a little more, mainly since the music video supposedly explored the “deadly allure of vampires” (taken from Soompi). I also wish they had chosen a better location to shoot the video (or designed a whole castle-like set). Exposed air vents detracted slightly from the potential of the regal and vampire vibes. However, these flaws are made up by retaining the wowing elements from the Road To Kingdom: ACE OF ACE stage, such as the KEONHEE emerging from the tables and SEOHO hanging upside down.

The accompanying routine that ONEUS performed on the weekly shows was an adaptation of the routine from the original stage and music video, without some of those aforementioned wow moments. It probably doesn’t sound as exciting anymore, but they retained enough to make it a performance that is still worth watching. I liked how the routine continued to feature a sophisticated and elegant side, which they emphasised during the dance break (and was my favourite part of the routine).

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

[Review] Love Language – TXT

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TXT returned at the end of last week with their new single Love Language. This latest release follows their 7th mini-album, The Star Chapter: Sanctuary, from the end of last year and the title track Over The Moon. It also follows a well-deserved extended break for the group.

Love Language is a pleasant release from TXT, but I wish there was more to Love Language than what it had to offer. Everything from the darting synths in the background, the members’ sweet vocals, and the contrasting deeper spoken tone of the post-chorus sequence from YEONJUN, SOOBIN, and BEOMGYU was all fine. The opening line to the choruses was memorable, and I liked the extra raspiness from TAEHYUN and HEUINGKAI. But Love Language is such a safe release (relative to the rest of their discography, which has been bold and striking at times) that it feels extremely basic. I can’t hear anything exciting enough in Love Language to attract and grab my attention, aside from this being a TXT release. This will put the song’s longevity at risk. I feel like that exciting element is what Love Language is missing. But I am not entirely sure what could be used (perhaps a different texture or something that builds on the edginess that the post-chorus sequences attempt to get across), given the mellowness of Love Language, which restricts their options.

The music video shows TXT in a very cutesy light, searching for their special someone’s love language. It is interesting yet different from the usual portrayal of the members, but I thought it was quite a good watch. The video style and creative decisions really complement the song quite well. I particularly liked the scenes where one member would be at the forefront of the screen, and the rest would be just doing their own thing in the background.

I don’t think we expected to see SOOBIN’s abs as part of the choreography for this comeback, especially with such a sweet song and cutesy video. But I am sure no one is complaining about its appearance in the routine. I actually quite liked the sharp and fast movements during the chorus. It added a little visual oomph to the routine and offered the comeback a little more intensity and dynamic flair.

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

[Review] Bag Bad Back – RIIZE

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RIIZE is also gearing up for a comeback with their first studio album, ODYSSEY, later this month. But ahead of the comeback, the group is teasing us with Bag Bad Back. It is the first comeback from the group since the release of the repackaged version of their first mini-album, Riizing: Epilogue, and the single Combo. It is also the first release following the official withdrawal of SEUNGHAN from the group.

Before I get on with the main parts of the review, I just have one thing to get off my chest – what on earth do they mean by Bag Bad Back? I don’t have the slightest clue. However, according to Soompi, the lyrics “makes a witty comparison between the essentials we carry in our bags and RIIZE’s own drive—their metaphorical bag filled with ambition and a shared vision to grow into shining artists”.

Anyhow, Bag Bad Back is a decent song. However, comparing this hip-hop sound with their previous works, I’d take their previous ’emotional pop’ numbers any day. I just find Bag Bad Back hard to vibe with, and I put it down to personal preference. After all, I have always been more pop-leaning compared to hip-hop. When I break down Bag Bad Back, there is definitely a likable quantity of energy and edge present in Bag Bad Back. I thought the instrumental was rather cool, with a nice simmering underlay that gives the track subtle amount of texture and the piano that kicks in at the bridge was very beautiful. Their vocals and rapping was quite good, though I think I would have liked a stronger and meatier hook in the song. The “Bag Bag Bag” chant felt a little too basic and straightforward for my liking. SOHEE’s high note was great peak for a low-tone song. Separately, I liked the elements. But together, Bag Bad Back doesn’t resonate with me. But I want to emphasis – it is not because the song is bad, but it is because it is simply not my style.

As for the music video, I thought it very cool. It took Bag Bad Back‘s hip-hop sound and translated it well into a visual piece. The video features a bag that represents RIIZE’s ambition, per the lyrics of the song. But for a bag carrying such an important aspect of RIIZE’s career, that bag is definitely not treated as well. It is chucked around a lot. I also liked the dance practice concept, as well as the suited look in the alley. The only thing I am uncertain about is what the accumulating classical instrumentals that concentrates as SOHEE’s delivers his high note represents.

Amazing choreography, with thanks going towards SHOTARO, Lee Bada, J BLAZE, and THE BIPS for choreographing it (this information was also taken from Soompi’s article). I really enjoyed the hip-hop flair that formed part of the routine, as well as the different bag references (backpacks, duffel bags etc) throughout it. II also like it how the moves constantly keep the members on their toes, creating an exciting and energetic routine that shows off RIIZE’s dance capabilities once again.

Song – 8/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 8.7/10

[Review] TIPI-TAP – Kep1er

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Let’s cast our minds back to November 2024, when Kep1er made their comeback with the mini-album and single of the same name, TIPI-TAP. I apologise for the delay in reviewing the single. TIPI-TAP was Kep1er’s first comeback since becoming a seven-member group, following the departure of Mashiro and Yeseo, who did not renew their contracts and left both Wake One Entertainment and the group. It also follows their Shooting Star single and their first full-length album Kep1going On.

While there are some remaining songs from 2024 that I am eager to review, TIPI-TAP isn’t one of them. Well, if I do not pick it up today, I don’t know when I will. Again, it is a song with certain elements I liked. For example, I liked the warmth of the members’ vocals. I liked how the chorus ended up having some bite to it, thanks to the catchy “Crush on you” hook. And I appreciated the soft tune. But being a soft song does have its limitations, and TIPI-TAP realises some of those limitations. Again, I don’t remember much else from the song aside from the above. Even the repetition of the song’s title wasn’t that much of a draw for me. And don’t get me started on TIPI-TAP‘s attempts to beef up this repetition. The softness also means TIPI-TAP is very ‘light on’, in that there isn’t much to ground the song. To me, this makes the song feel very fleeting and forgettable. There isn’t anything memorable about the DnB instrumental, and I can make similar comments about the vocals, though I will admit the cuter motif works well for them (and is not annoying). I am not a fan of their layering of vocals and rapping in the bridge, but the ‘remixed’ instrumental was a good way to change up the song. Overall, TIPI-TAP gave me things to like and things to forget, resulting in an ‘alright’ from me.

I also find the music video for this comeback to be rather forgettable. It matches up with their cutesy vocals and features a dreamy motif. But I feel everything is just a touch too youthful. The colour palette is vibrant, but feels more suited for the younger kids. In Australia, there is a children’s TV show that I grew up with called Play School, and the colours in the music video remind me of that TV show. The outfits exude a pure and innocent aura, which I find fine. However, some of the styling, such as Hikaru’s headpiece, is more suitable for a very young audience. And the whole ‘bag on the back’ trend throughout K-pop more recently feels very elementary or primary school-like. The wings do not help.

The choreography looks nice. It is quite cutesy and youthful. But like the rest of the comeback, there really wasn’t a standout moment in the routine, and so it was easily swept from our minds once promotions ended or you had moved on to another stage.

Song – 6/10
Music Video – 6/10
Performance – 7/10
Overall Rating – 6.2/10

[Review] HANDS UP – MEOVV

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MEOVV is gearing up for a comeback in May. But before we can hear their 1st mini-album, MY EYES OPEN VVIDE, the group pre-released the single HANDS UP (the focus of this post) on Monday. The future album release will follow their TOXIC and BODY comeback from November 2024.

HANDS UP has garnered a lukewarm response from me since its release. I liked certain elements, while other parts of the song felt very beige. Let’s start with what I liked, namely the delivery of the chorus. I really enjoyed the hooks, and MEOVV’s deadpan delivery of them was actually quite effective. It forges a catchy and memorable element in HANDS UP. I also enjoyed the momentum behind the song. That really helped me get through the song. I also liked how cool the ending of HANDS UP sounded, with what felt like a remix of everything before it. Beyond that, I felt HANDS UP was stuck in a bit of a rut. I find the vocals to be over-processed, particularly when they do the longer notes in the choruses. I am not convinced as to why they needed to do this, and I’m unsure of its effectiveness. It did help with that deadpanness, but I am sure the members could handle that part without the autotune. HANDS UP also has a beige problem with its instrumental, where everything felt overly similar throughout the song until the final moment. I wish there were more variety in the music and that it wasn’t linear as it was. The verses, as well as the rapping, were also dull and unimaginative. Overall, what I liked from HANDS UP has helped the song grow on me ever so slowly, but I don’t think I will reach the point of really enjoying the track.

The music video revolves around the Korean game arkkagi, where players flick their own stones to knock off their opponent’s stones off the board. I really like the aesthetic of the setting, which felt very clean and modern. The intense focus on the members and various hand formations displayed prominently throughout the video are probably representative of the intense focus needed to play the game and the necessary hand formations to flick a stone (particularly when it is in a precarious location on the board). I also like how, during the second verse, the stones are flying by the members as per the game. But interestingly, the most memorable moment for me was watching the kid feel so stressed about his next move against another MEOVV member during the second chorus. For some unknown reason, that scene spoke to me and was memorable.

The choreography for HANDS UP was actually quite cool. Obviously, there were a lot of arms and hands up in the air throughout the routine. But there was also an element of intensity, attitude and sassiness from the members that I quite enjoyed.

Song – 6.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 7.8/10

[Review] Chains – HIGHLIGHT

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HIGHLIGHT is back with their new single, Chains, from their 6th mini-album, From Real to Surreal. This is their first comeback since their Switch On mini-album and BODY single from last year. It is also the first release since the group announced that they had regained their former name, BEAST, a massive win for the group. The pre-release Endless Ending was released under the name BEAST (HIGHLIGHT), but the group has chosen to keep and promote under their current name, HIGHLIGHT.

My initial impression of Chains was that it was decent. The chorus was my main favourite segment by far, especially with that deep pounding beat that kicks it off. The melodies and hooks in Chain‘s centrepiece were pretty prolific. I wish the same could be said about the clarinet sound (which I previously described as ‘flute-like’ in other reviews) in the background. There was potential for it to be a standout element in the Chains that really pulls the audience in. However, although it is audible and detectable, I find that it is often masked by the rest of the instrumentation and doesn’t get much opportunity to truly stand out. Another weak aspect of Chains is the verses. I didn’t remember much from these segments aside from being chic and sleek. Each time I have listened to Chains since its release (it has only been two hours, but I had to replay it several times to write this review), I have been anticipating the chorus more than the verses and have not paid much attention to the verses. HIGHLIGHT/BEAST songs, in the past, have had much stronger verses that add significantly to the songs. But in Chains, I didn’t get that same feeling from the verses. Overall, my initial impression of Chains still stands even after consolidating my thoughts into this review.

Chains conveys the feeling of a “mad all-consuming love” (taken from Soompi). While I am unsure of what the video shows, my best guess is that it depicts the influence the person has on the members, leading them to engage in some sort of heist together. Gikwang kills or knocks out a bunch of guards on the inside; Dongwoon blocks the police from coming in; Dojoon keeps watch from afar, and I think Yoseob steals whatever the lover wants. I could be entirely wrong, but that is what I got out of the music video. I like the black outfits they wore throughout the video, which match that chic and sleek vibe I mentioned earlier about the song. Keeping the amount of colour (and their prominence) also matches the same vibes.

The choreography also gives me a similar decent impression. It is not their best or most memorable work, from what I could see in the music video, but it isn’t terrible. I think more can be said once they perform Chains for the first time, and I may return to review the choreography again. For the time being, the choreography remains on par with the above, at this stage.

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

[Review] Beautiful Life – Xdinary Heroes

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Aside from their previous single, Night Before The End, I know I have yet to review any of their singles from their Open ♭eta series, which are featured on their 5th mini-album Live and Fall from October last year. I will get to them eventually ahead of a future album review post for Live and Fall. But more recently (end of March), Xdinary Heroes returned with their 6th mini-album, Beautiful Mind. Today’s review focuses on the lead single Beautiful Life.

Beautiful Life is a bold track from Xdinary Heroes. Right from the start (and throughout various moments of the song), Xdinary Heroes draws inspiration from the legendary rock band Queen. This in itself is an ambitious direction. And yet, they nailed it! Xdinary Heroes’ take on rock opera is infused with contemporary and modern rock influences, giving the nostalgic aspect of Beautiful Life a fresh spin. I quite liked the combination, and it feels very cohesive. I really like it when the song picks up and intensifies, it takes the song up a notch. And that is what I call an amazing rock song. Even the Queen-inspired moments of Beautiful Life were really stunning, and the vocals during those parts were really nice. Talking about the vocals, Xdinary Heroes were consistently strong throughout the song and I liked the raspy touch they add to the song. More prolific melodies and hooks in Beautiful Life would have benefited the song. While I appreciate Beautiful Life musically, I don’t recall much beyond the surface of the song. It is only when I really focus on the song, such as when writing this review, do I notice these elements. They do sound good, but they are not the exact stand outs Beautiful Life calls for.

The music video depicts a dystopian reality where Xdinary Heroes are hunted down for playing music. They go on the run, but are tracked down by the masked man and completely bashed up by them. Xdinary Heroes put up a fight, but they don’t win. Towards the end of the video, the masked men are revealed to be Xdinary Heroes themselves, and the ones playing music or being bashed are virtual forms of themselves. I am not entirely sure what this suggests exactly, but it appears they are protecting their right to play music by being part of the forces that are against it. After all, there is that say “if you can’t beat them, join them”. I really liked Xdinary Heroes’ acting and the make-up department for making the injuries appear very real. Definitely a cool video, and the music just makes it more dramatic and impactful at certain points.

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

[Review] Countdown – TWS:

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TWS: is back with a new single titled Countdown, which comes off their 3rd mini-album, Try With Us. Both song and mini-album officially dropped this past Monday. This release is TWS:’ first major release since 2024, which saw TWS: debut with the highly successful plot twist and return with the equally successful If I’m S, Can You Be My N? and Last Festival.

Countdown very much continues the group’s ‘boyhood pop’ sound that they debuted with. The new song reminded me of plot twist from the first listen, both instrumentally, melodies and brightness wise. There are a few elements that differentiate it from their debut song, namely the deep “ba-bum” that follows some of the second and final choruses and the more intense rapping in the second verse. The former was quite intriguing yet fun, while the latter definitely helps ground the song. I also like how they prolonged the ending by splitting the final line into three parts. It makes the ending of Countdown feel like it offers up a little bit more. I would have appreciated other different elements to help give Countdown its own individuality would have been appreciated, simply because Countdown is very much familiar territory for TWS: and, dare I say, plays it safe. For example, the instrumental shares a similar foundation to plot twist. And their vocal style felt like it was lifted from the earlier song, which raises the “I wished there was more opportunity for the members to shine” comment I made in that review. That being said, Countdown hits the right spot in terms of energy and brightness, making it an ideal release to take us to the more energetic and vibrant summer sounds.

The members wonder what being an adult feels like in the music video, as they move on from their high school days in their previous music videos and into their young adult era. Plot twist – pun fully intended – being an adult isn’t all crack up to be with work, decision making and responsibilities. Just in case TWS: was looking for an answer hahaha…. There are a few different scenes in the video which all adults have experienced in some form, such as moving into your own place, the failed meals and the helplessness of a car breaking down (and your parents/guardians not around as a safety net). I liked the casual wear, which is a nice change up from the school uniform that they previously wore throughout 2024.

The choreography alongside this release is another TWS: routine that impresses. They always manage to make their dances appear fun, despite being super intense and energetic. The moves right after the intro definitely left a mark in my mind, as did the twist and turn in the first pre-choruses and the jumps during the choruses (just to name a few examples of the standout moments).

Song – 8/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 8.7/10

[Review] Wait On Me – KAI (EXO)

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After teasing us with Adult Swim and Walls Don’t Talk, KAI (from EXO) has officially made his first solo comeback since his military enlistment in 2023. The new single, titled Wait On Me, is from his 4th mini-album of the same name. As mentioned previously, his last solo comeback was with Rover in 2023.

Wait On Me continues the subdued nature of the tracks from the mini-album that KAI has unveiled so far. But one of the biggest changes he makes to this sound profile with Wait On Me is his (usual) sexy motif, which makes the new single more alluring. ‘Alluring’ is the exact word I would use to describe his delivery throughout the song. His vocals sound so airy and dreamy throughout Wait On Me, especially as we get to the choruses. This is Wait On Me‘s stand-out element in my mind. His rapping adds some oomph and intensity to the song, giving it some much-needed variety. Otherwise, Wait On Me would have slipped into that neutral gear. Instrumentally, Wait On Me contains a mix of atmospheric synth work and heavy Afrobeats with some groove on the side. They blend together in the bridge to create a really cool instrumental break that doesn’t break the flow or disrupt the song. And like the rapping, I appreciated the intensity this part gives to the song. Unfortunately, Wait On Me falters when it comes to the hooks and melodies department. I think there is a melody in there, but the delivery was so wispy that it was hard to really detect and hear. But the hook was nowhere near strong enough for my liking.

Just like the song, the music video for Wait On Me is just as alluring, and KAI is absolutely sexy throughout the video, just like always. After all, is it a KAI music video without his abs making an appearance? Also (since I am already asking questions), did anyone feel like the silver top he wore at the start reminded them of EXO’s debut era? Anyhow, I liked the use of depth throughout the video, with KAI standing/dancing in the foreground and the dancers in the background. It is a different type of framing that looks cool. The hazy brown colour palette was an interesting choice, but it works well overall.

Choreography-wise, KAI impresses once again with the artistic flair the routine had. It made for a very captivating experience and is easily one of the best solo routines of the year thus far. He pulls it all off so well and charismatically, as well. I really liked the sharp movements that make up the chorus section of the routine. He and the dancers also put so much oomph into the dance break – that was by far the performance’s best section.

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

[Review] poppop – NCT WISH

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Continuing with the supposed SM Entertainment theme is my review of poppop, NCT WISH’s latest single from their new mini-album of the same name. It follows after Dunkshot and Steady from their 1st mini-album, Steady (all of which I have yet to review).

I found poppop to be an okay song. There were aspects that I didn’t enjoy, while there were parts that I liked. The chorus appears to be the most decisive part of poppop, and I completely get why. Launching right into rapping was very unexpected, and the vocal processing applied to the members’ shouty rapping voices in the chorus made the centrepiece feel obnoxious. But this choice of vocal processing was more widespread than just in the chorus, and made most of the other rapping sequences throughout poppop feel subpar. But not all rapping in poppop was disappointing. I don’t feel the same way about poppop‘s final chorus, where all the members do their shouty rap to close out the song. This part felt dynamic, and the vocal processing was less prominent than in earlier parts. I also liked the monotonous “pop, pop, pop” hook in the song, which followed the choruses. This just added a slight deep tone to the song, which offset the bright and bubbly tone of the rest of poppop. The vocal parts in the song were also a strong aspect, but better melodies would have enhanced the song’s quality. And while not as affected, they didn’t escape the vocal processing mentioned, and certain parts still sounded off.

The music video shows SION making a move on someone he has a crush on via message. However, after spending time with the other members of his group, he is almost late for the date. He makes it in time, with the other members running after him and wishing him luck. It’s a cute video, and NCT WISH does a good job of showcasing their youthful charm in the video. Talking about charms, the bubbly charms that appear throughout the video, and to SION once he gets confirmation that the other person is interested, contributed to the cuteness aspect of the music video. Though the scene associated with the second half of the bridge took an odd turn, with what I can assume was (but probably isn’t) the members sacrificing one of the charms for a successful date.

The performance for this comeback was quite good. Again, I enjoyed the “pop, pop, pop” move that accompanies the song’s hook, and I also liked the routine that closed out the song. The end is where the routine really picks up and really puts NCT WISH’s skills and talents on par with the rest of NCT for me.

Song – 7/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.6/10

[Review] Walls Don’t Talk – KAI (EXO)

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A couple of weeks ago, KAI teased his long-awaited return to the stage since Rover and his military enlistment with the single Adult Swim. There are only a couple more sleeps until KAI releases his 4th mini-album, Wait On Me. But ahead of that, KAI unexpectedly dropped another music video for another side track, Walls Don’t Talk, from the new mini-album on Tuesday.

Similar comments regarding Adult Swim can be transferred to Walls Don’t Talk. But I think Walls Don’t Talk has a slight edge over the former song. The minimalistic sound profile that Walls Don’t Talk goes for creates a seamless number. The song’s more consistent and tighter beats made it feel punchy, but I would have loved to hear more in the instrumentation. Repeat listens of Walls Don’t Talk have made, once again, the song’s instrumental feel very linear and neutral. Actually, I might even go to the extent of saying repeated listens have been ‘drying out’ the song for me. There have been a lot of songs with similar effects recently, so Walls Don’t Talk needed something fresh and different for it to stand out. The variety in Walls Don’t Talk actually comes through KAI’s delivery. He showcases nice vocals throughout Walls Don’t Talk, but I liked his rapping and spoken moments more in this song. It added a different tone to the song, which helped it feel a little more engaging.

For a while, I thought Walls Don’t Talk was the actual title track from the upcoming mini-album. I have since realised I was wrong, but this misinformed thought has influenced my perception of the music video. Essentially, I am trying to soften the fact that I still find the home video style the music video goes for disappointing. I have praised this motif previously, but it didn’t feel appropriate for a title track, as that is what I thought Walls Don’t Talk was at the time. It also generally looked incredibly low-budget for SM Entertainment standards. The only element that impressed me was KAI himself, who looked amazingly sexy in a tropical place in Japan.

Song – 7.5/10
Music Video – 6/10
Overall Rating – 6.9/10

[Review] Baby, Not Baby – SEULGI (Red Velvet)

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For some reason, in my mind, I have been reviewing just only SM Entertainment releases. That isn’t true, but I will be continuing this mindset with more SM Entertainment releases from the last couple of weeks to still review. One of them is SEULGI’s long-awaited solo return with Baby, Not Baby, the title track off her 2nd mini-album, Accidentally on Purpose. Her last solo release occurred in 2023, where she debuted with 28 Reasons (title of both her solo debut mini-album and debut single).

Baby, Not Baby is a cool song. It has a complete different aesthetic and sound to SEULGI’s debut single, showcasing variety in her discography and confidence in doing something different. Baby, Not Baby is a pop dance track, with a blend of orchestral and rock elements that come together to give the song a groovy and funky sound profile. I like the boldness that comes from the instrumental, especially when the orchestral elements give off a dramatic flair. This complements well with SEULGI’s sassy and attitude-heavy delivery style. Altogether, Baby, Not Baby has so much oomph and character. In addition to be sassy and attitude heavy, SEULGI manages to infuse a lot of charisma into her vocals, which just makes Baby, Not Baby‘s hooks very appealing and catchy. Personally, I was searching for a rap sequence of some kind, perhaps someone featuring in the song who could have given Baby, Not Baby more edge and heightened that sassiness mentioned earlier. While I did like the vocal-forward approach of the song and SEULGI does slip into a rapping motif at time (although briefly), I just felt that was a missing piece of the puzzle that is Baby, Not Baby.

The song itself is about how someone may appear innocent and pure to their lover, but they might not be in reality. The music video portrays SEULGI doing something innocent and cute, but then she switches it up to show her wild side soon after. For example, at the start of the video, she appears injured and about to be hit by a car. But she ends up smashing the car to get someones attention. In the next scene, she gives out free hugs to people in the mall, but no one wants one. She throws a fit, but uses that to capture the ‘perfect selfie’ and disregards everyone around her. We see her smash up a shop soon after. Overall, SEULGI’s acting was pretty good and I enjoyed watching the bold nature of the music video. The video did well in bringing that edgy factor that I wanted in the song to life in a visual manner.

I liked how engaging the performance from multiple standpoints. SEULGI showed off a very confident and sassy vibe that made the focus on her more exciting. I liked how the dancers added to the stage presence of the performance. And the moves showed off a mature and sexy vibe, without it going into that stereotypical domain of showing skin or looking explicit.

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

[Review] STUNNER – TEN (NCT)

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Last month, TEN (from NCT and WayV) returned to the stage with his second solo mini-album and title track of the same name, STUNNER. It is his first solo release since his official solo debut last year with Nightwalker (which I never got around to reviewing) and, the mini-album, TEN.

STUNNER is a great R&B pop number that shows off TEN’s mature vibe. The latter is definitely the track’s strongest asset, and the producers definitely took great advantage of this. His vocals and rapping were really nicely done. In addition, I liked the groovy sound profile that comes with STUNNER, which is another reason I found the track to be quite appealing. This just melds so well into the R&B pop genre and TEN’s style. But as the song progressed, I would have liked a little more to the instrumentation. By the time we got to the end of STUNNER, the instrumental sounded the same as everything that proceeded before we got to that bit and felt neutrally geared. Given this is TEN, a likely solution could have been the incorporation of an edgy instrumental break that keeps to the R&B motif, which then could have doubled as a dance break. But where STUNNER felt stagnant, certain parts of the song made up for it. The start of the pre-choruses, when the vocal lines were packed in, were an instantaneous highlight that caught my attention from the first listen. The simply spoken repetition of the song’s title in the post-chorus hook was also super catchy. Overall, STUNNER falls slightly short of being a stunner, but definitely had the potential to reach that status.

The music video sees TEN play a man with a magnetic charm that no one can resist. Everywhere he goes, the people around him are physically drawn to him. Even in the inanimate objects in his home have a hard time copying with his magnetic charming and are also drawn to him. It was quite a cool concept. But while the concept was cool, I did think the visuals could have been a little more complementary to the sound profile of the song. Mature yes, but I felt the music video really understated the groovy nature of STUNNER.

Through his stage performances for STUNNER, I could see TEN’s stage presence and chemistry with his dancers. This made for a strong and captivating performance, which is already powerful thanks to the defined body waves and sharp movements that make up the routine.

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