Next album up for a review is JISOO’s debut mini-album, AMORTAGE, which was released in February 2025. Led by the single earthquake, the mini-album features a total of four songs. All songs on this mini-album are definitely a great addition to JISOO’s small yet growing discography.
AMORTAGE and earthquake serve as her first solo release since her Me single album and lead single Flower from 2023.
2. Your Love – Despite being released back in February (which is Winter in South Korea), Your Love radiates summer energy. To this day, Your Love has remained my favourite side track on this mini-album. It starts off soft with atmospheric synths and delicate vocals from JISOO, before building to a really nice drop which helps the pop melodies of Your Love shine. I love how simple and pure JISOO sounds in the song, and the energy just hits all the right spots for me. (10/10)
3. TEARS – TEARS goes down the pop-rock direction. The deep beats during the verses were very riveting and commanding, while the rock instrumentation gives TEARS some appreciated texture. I also like how dramatic the bridge got and how JISOO’s vocals are solid throughout. However, compared to the other songs on the mini-album, TEARS is just a little too plain for my liking. (8/10)
4. Hugs & Kisses – Bringing the short mini-album to a close is Hugs & Kisses, a powerful EDM song that definitely leaves an impression. The autotune placed over JISOO’s vocals in certain moments (like the very end) reminds me of some ‘00s pop diva songs. The chorus is actually quite catchy thanks to the pop melodies. The pre-choruses are dramatic, and the progression of Hugs & Kisses adds to the memorable factor. I liked how strong her vocals got to remain on top of the boastful EDM, and in some moments, she definitely soars. The bridge is a little awkward for me, but I liked how JISOO’s high note connects the bridge and final chorus. (9/10)
The last time we heard from BLACPINK was in 2022, when they released their second studio album, BORN PINK, along with the title tracks Pink Venomand Shut Down. Since then, BLACKPINK have focused more on their successful solo careers. However, as of the start of this month, they have regrouped for their Deadline world tour, which featured the debut of their new track JUMP. An album is also on the cards, as confirmed by LISA earlier this year.
BLACKPINK’s past songs have shared a distinct structure, resulting in a similar discography. This consistency had made their releases somewhat dry and unexciting, to the point where I don’t think I was ever really drawn back to their music while they were on hiatus (except for Lovesick Girls – this one will always be my favourite BLACKPINK track). While JUMP does draw on that structure somewhat, there is a refreshingness to JUMP that makes it stand out. The beat and distinctive European techno EDM give JUMP a neat, constrained bounce that keeps it buoyant and fun. The slight country influence in the verses gives off a wild-west Western feel that adds a layer of fun. All of these influences add colour and vibrancy that we have not heard from the group in a very long time. The vocals and rapping were fine, and I did like the material the members delivered during the verses. As for the choruses, the breathy singular ‘Jump‘ in Korean was nice and gives impact. But the chanty parts could have been stronger. I also liked the final part of JUMP, with the addition of sharper yet rounded beats to accompany JUMP‘s chorus to bring the new single to an effective close in a no-fuss and straightforward way.
While I can support the music, the accompanying music video is a letdown. I understand that the producers were trying to do something different, and I did like parts of the concept of a crowd head-banging wildly during the chorus. However, the use of green screens and similar effects in the video really cheapened the music video. It really unravels the reputation that YG Entertainment has built for their music videos, particularly BLACKPINK’s videos. The montages of the members running during the second verse, and when they float into the sky in their puffy jackets, are so terrible that they have become memorable at the same time.
The choreography for the comeback is actually quite good. Unsurprisingly, small bounces and jumps make their way into the routine for the chorus, and it genuinely looks like a lot of fun. I also liked how the formations and routine take time to spotlight each member individually.
Song – 8.5/10 Music Video – 6.5/10 Performance – 8/10 Overall Rating – 7.8/10
JENNIE’s Mantra is your pick for Best Dance Performance – Female Solo of 2024 in the 2024 KPOPREVIEWED Awards. Find out if your other favourite artists, performances and songs of 2024 won the 2024 KPOPREVIEWED Awards by clicking the link here.
JENNIE also returned at the start of the month with her solo debut album, Ruby. The album features the title track like JENNIE (the focus of this post), last year’s Mantra single and the singles that have received music videos thus far (ZEN, ExtraL ft. Dominic Fike, Love Hangover ft. Doechii, and Handlebars ft. Dua Lipa). And there is a lot more to unpack in a future album review post. But for now, here is my thoughts on like JENNIE.
Right off the bat, likeJENNIE is fierce and powerful. The harsh metallic beat, hip-hop production and JENNIE’s delivery encapsulate that dynamic in the song’s two minutes. I liked how JENNIE and the song stood their ground and didn’t let up this momentum, creating a distinct statement piece for the artist herself. This fierceness and powerfulness also fit the song’s message, a statement about how only one JENNIE can exist. The chorus and hook were effective in delivering this message, but it also served as a double-edged sword, in my opinion. The only thing I can really remember about like JENNIE aside from the stomping instrumentation is her name, which is on repeat for what felt like most of the song. It took the focus away from the other moments in like JENNIE. For example, I know she raps in the song, but I cannot remember too much from those sequences (such as the fact some of it was in Korean) as her name is the only thing I get out of like JENNIE.
The music video opens with JENNIE as an astronaut consuming a tablet shaped like the letter J, which transforms her into the hip-hop form we see throughout the video. From there, we get JENNIE in the same way she presents herself in the song — fierce and powerful. I really liked the use of the dancers to make the choreography pronounced as JENNIE charms us with the above presentation and her charisma. Like the song, the music video is very much a statement piece for JENNIE, even as she reaches her final form as a capybara. This ending catches you off guard, but it is a memorable one to what felt like a jam-packed music video.
Fierceness and powerfulness are common themes for the comeback, so it is no surprise that JENNIE and the dancers give us just that in the choreography. The hip-hop routine accompanying this comeback is very much ‘in-your-face’, and I like how she showed off her command of the stage alongside the routine.
Song – 8/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8.5/10
Welcome back to the usual transmission of the Weekly KPOP Chart posts (with all the usual segments below). This time, it is for Week 3 of February 2025, which includes 16 February to 22 February 2025. There is not much to update on, aside from I have been working hard on the 2024 KPOPREVIEWED Awards over the week to make sure it can go live later this week (see announcement below). But until then, here are the Weekly KPOP Chart posts for Week 3 of February 2025.
Coming soon – Winners of the 2024 KPOPREVIEWED Awards
Later this week, I will announce the 2024 KPOPREVIEWED Awards winners. The post will go live on 28 February 2025 (this coming Friday, Australian time). There is no exact time, but I will make it happen sometime that day.
Hope you are all looking forward to finding out who you thought were the winners of each category!
What else am I listening to?
Each week, I spotlight a song not on the Weekly KPOP Charts that I also listened to last week. This week’s song is TXT’s Over The Moon. I am pretty sure Over The Moon has been on my mind because I wasn’t paying much attention to songs released in the last few months of 2024 (because of holiday preparation and working on the 2024 KPOPREVIEWED Awards), and I am now playing catch-up.
Non-Korean Song of the Week
Each week, the top-ranked non-Korean Song on the Weekly KPOP Chart is spotlighted (as this is an area I haven’t been focusing on as much on my blog lately). For the past week, the non-Korean song of the week is LISA’s Born Again, which features Doja Cat and Raye.
The Chart
JISOO ranked in the top spot this past week with her latest single earthquake. Congratulations to JISOO!
Pos.
Title
Artist
Status
1
earthquake
JISOO (BLACKPINK)
(▲ 15)
2
Dash
PLAVE
(▲ 19)
3
HOT MESS
EVNNE
(▲ 7)
4
The Stranger
ONF
(NEW)
5
PYTHON
GOT7
(▼ 1)
6
ATTITUDE
IVE
(=)
7
STRESS
CHUNG HA
(▼ 2)
8
CBZ (Prime Time)
BSS (SEVENTEEN)
(▼ 7)
9
Doctor! Doctor!
ZEROBASEONE
(▲ 3)
10
IF I SAY, I LOVE YOU
BOYNEXTDOOR
(▲ 12)
11
Love is a Movie
pH-1 ft. Jung Ziso
(RE-ENTER)
12
REBEL HEART
IVE
(▼ 10)
13
HER
MINNIE ((G)I-DLE)
(RE-ENTER)
14
Born Again
LISA (BLACKPINK) ft. Doja Cat, RAYE
(▲ 5)
15
Love Hangover
JENNIE (BLACKPINK) ft. Dominic Fike
(▼ 4)
16
THUNDER
CIX
(RE-ENTER)
17
Season of Memories
GFriend
(▲ 1)
18
Sad Loop
INFINITE
(RE-ENTER)
19
BILLIONAIRE
BABYMONSTER
(RE-ENTER)
20
Wonderland
I:MOND
(RE-ENTER)
21
Miracle (Orig.: Super Junior)
NCT WISH
(RE-ENTER)
22
OMW
RYUL
(RE-ENTER)
23
Drink
JAEMIN
(RE-ENTER)
24
Cherry Sky
MINNIE ((G)I-DLE)
(▼ 9)
25
Generation_Cloud
KJRGL
(RE-ENTER)
26
Love Me Right (Orig.: EXO)
NCT DREAM
(▼ 9)
27
Psycho (Orig.: Red Velvet)
TVXQ
(RE-ENTER)
28
Confessions
Flo Rida ft. Heeseung & Jake (ENHYPEN), Paul Russell
JISOO made her long-awaited return to the music scene last week with the single earthquake and her first mini-album, Amortage. It is her first release since her solo debut in 2023 with Flower. In addition to the new music, JISOO has been busy with a new K-drama Newtopia. She will also regroup with the rest of BLACKPINK for a comeback and world tour later this year. So, keep your eyes out for more JISOO shortly!
earthquake starts off sleek and tense with low tones before building into a nice dance track. The instrumental brings in a slight grooviness and a hefty dance beat as it develops. Part of me thinks the combination is plain and straightforward, but I also believe it made earthquake sound more compelling (especially when compared to Flower). It also gave earthquake some dynamic flair, contrasting with the song’s monotonous melodies. But these melodies aren’t necessarily a bad thing. JISOO handles them well, especially the “da da da” post-chorus hook and the “It hits me like an earthquake” opener line to the chorus. I think they are the most memorable aspects of the song and have been on repeat since Valentine’s Day (the day earthquake was released). JISOO also flourishes in the pre-choruses, where her vocals are the strongest. I can’t think of anything bad about earthquake, and I find it to be a definite improvement from her solo debut.
I really enjoyed the music video. JISOO looks very stylish and fitting for the song. Essentially, this comeback is about how someone’s ex dropping back into that person’s life will shake it up, just like an earthquake. The music video shows her being interrogated by an officer from the Department of Heart Security (cameo by Cha Seung Won). But she gives in, blowing up the interrogation room (which also takes out Cha Seung Won). I like the explosions in the video, which feels cool and works well with the song’s title. JISOO also looks very cool in the driver’s seat of that sports car.
I also enjoyed the performance for earthquake very much, especially the aesthetics given off. The performance has some memorable moments, such as the vibrating dancers at the start, the serious post-chorus clicks and arm swings accompanying the first and last post-chorus hooks, and the sharp arms at the start of the second post-chorus sequence. JISOO also shows off her charisma throughout the performance, which adds to the performance.
Song – 9/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.3/10
ROSÉ officially released her solo album, Rosie, alongside the single toxic till the end last week. It follows the very successful APT. collaboration with Bruno Mars and the single number one girl last month, both featured on the new album. It is also ROSÉ’s first album release since her solo debut with R (led by the single On The Ground) almost four years ago.
I quite enjoyed toxic till the end when it was first released. It has good melodies that make the song easy to listen to, some catchy moments (such as the ‘end, end, end‘ line at the end of the choruses) and a punchy pop instrumental that hits all the right spots. These three are a start to a good song. Throw in ROSÉ’s distinct vocals, who does a decent job of showcasing her emotions in toxic till the end, and you have an undeniably fantastic song. Sure, toxic till the end feels very familiar and very Taylor Swift-esque. But I don’t think there is anything wrong with this direction, as it speaks to the masses and feels very appropriate for 2024. Plus, ROSÉ does a good job with the material overall. But there is one thing holding toxic till the end back – the vocal processing. This was felt most during the bridge, where it is very clear that ROSÉ steps up her vocals but is limited in how far her vocals go. I feel like this is a part where she could have given us a lot of emotion and impact. But the vocal processing gets in the way of that. But apart from that, toxic till the end is still a good song to me.
The music video stars ROSÉ and actor Evan Mock, who become a toxic couple. The video begins with Evan Mock’s character hitchhiking. ROSÉ pulls up and offers him a lift, creating the beginnings of a relationship between the two. And the pair appear to be quite in love (kissing at one point), playful with one another, and ROSÉ also shows she cares for Evan’s character following a tumble on a skateboard (which breaks his arm). Partway through the video, Evan Mock’s character gets a text message, which he attempts to hide. But this ends up being ROSÉ’s tipping point, and she tries to leave. Throughout their fight (in which Evan’s character hits his head), there is a montage of flashbacks exposing Evan’s character’s toxicity, where he keeps her from leaving by rigging her car and injuring himself to make her feel bad. And it all continues as we see ROSÉ lying in bed with him after their fight. It is a well-executed video with a thorough storyline, and I really liked the Autumn/Fall elements around the mansion.
Song – 8.5/10 Music Video – 9/10 Overall Rating – 8.7/10
Through my review of ROSÉ and Bruno Mars’ APT. collaboration last week, I mentioned the BLACKPINK members have been making solo comebacks this year and that I would return to cover them on the blog. It is time to pick up JENNIE’s solo comeback with Mantra, which I have been revisiting a lot in the past week.
Mantra was released almost three weeks ago, and I didn’t care much when it was first released. This may be because I didn’t catch wind of JENNIE’s solo comeback until after Mantra dropped, and I was busy figuring out how I missed that piece of news. But almost three weeks later, Mantra had grown on me thanks to its repetitiveness. The way Mantra‘s chorus was set up and its spoken delivery was quite earwormy and catchy, making it memorable and addictive. It also helped that the chorus was a big chunk of the song, re-emphasising and laying the chorus thickly on the listener. There was no escaping the chorus. As for the rest of Mantra, things were not as memorable. While we get two verses and a pre-chorus in Mantra, you simply don’t remember much from these parts. They felt very brief, and Mantra‘s short length doesn’t allow JENNIE to revisit or explore these segments further. Some of it had intriguing delivery, which I find myself torn about. It was interesting in one sense but not great in another. Overall, Mantra‘s chorus was definitely the focal and standout point of the song, and I have been revisiting it more recently to enjoy it.
I hope the video’s opening pays homage to that classic scene from Rush Hour, where Soo Young is singing in the backseat of the chauffeur’s car before she is kidnapped. I love it! Personally, that is the most memorable part of the video for me. But aside from that opening, the music video also showcases JENNIE in a sexy summer way. Of all the looks in the video, I like all but the blonde bob (the one she dons while in the kiddy pool). The video is also has a lot of choreography scenes.
I really liked the energy she brought to the performance. It was sexy and fun. The former speaks to JENNIE’s appeal, while the latter indicates the track’s upbeatness and dynamism. There was a certain point in her career when she was accused of being a lazy performer, but everything in this routine points to the contrary.
Song – 7/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.7/10
In 2023, BLACKPINK renewed their contracts with YG Entertainment for group-based activities while taking their solo activities elsewhere. Over this year, the BLACKPINK members have been busy working on solo projects (including song releases). We have heard song releases from LISA and JENNIE, which I have not reviewed yet but will do so in the coming weeks—watch the blog for those reviews. But for now, ROSÉ’s collaboration with Bruno Mars, APT., sneaks in to be the first song I will review from the BLACKPINK members’ solo careers post YG Entertainment.
It should take you less than a listen to feel the fun nature behind APT.. A few signs will help you make this realization. The chant that begins the song and the super catchy and fun “Apteu, Apteu” are familiar drinking games in Korea and have been heard on many Korean variety shows. The chant features giggles from ROSÉ and friends (a clear indication of how fun it should be), and APT.‘s main refrain is addictively catchy. Even the energy that ROSÉ and Bruno Mars exude during the song is playful and whimsical, contributing to that fun sound. And since APT. dropped on Friday, I have been playing it repeatedly because it is so catchy. But while the exterior is entertaining, I also have good things to say about the music of APT. itself. I love the song’s simplicity, with the straightforward pop-punk instrumentation reminding me very much of Arvil Lavinge in the early ’00s. I have also come across people saying it reminds them of Hey Mickey (which is so true), another song from the early ’00s that brings further nostalgia. ROSÉ and Bruno Mars sound amazing when they aren’t repeating “Apteu, Apteu“; the pre-choruses are a testament to that. While a little cringy, I also enjoyed ROSÉ’s bridge in the song. Altogether, APT. is a fun song that is easy to get into but hard to forget.
The music video also contributes to the song’s fun nature. ROSÉ and Bruno Mars are having so much fun playing around and dancing with each other. I can see everyone else (me included) joining in with them to just let loose and have some fun after a long day. Simplicity is also an appealing factor in this video. ROSÉ and Bruno Mars donned black leather motorcyclist jackets and had fun in a pink room. Nothing complicated about this video, which helps make APT. more enjoyable and appealing. Even the visual effects added to the video don’t feel crazy and just channel the same energy that ROSÉ and Bruno Mars bring out in the video.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
2024 has seen a few collaborations drop. But I don’t think any got as much fanfare as SPOT! did, which sees ZICO and JENNIE (from BLACKPINK) join forces. Both artists are widely popular in their own right. ZICO is a very familiar name when it comes to collaborations and JENNIE is widely known for being part of BLACKPINK and her solo works, as well. SPOT! dropped at the end of April, so apologies for only getting around to reviewing it now.
I will be honest – I didn’t pay much attention to the song when it was released. I can’t remember the exact reason, but I just never really turned my attention to it. As such, time allowed SPOT! to develop on my mind. And now, SPOT! is a song I cannot get out of my head. The songs’ two major hooks are extremely catchy. JENNIE’s vocal hook is probably the song’s primary hook and it is executed in a way that really demands your attention. Some might call it forceful – had I reviewed the song back in April, I probably would have said just that. But the vocal hook now feels very bold and I liked how it developed into a shoutier line. The hype and buildup within just that one line is definitely grabbing. ZICO’s repetitive rapping that follows the choruses (i.e. the “Up and down, Round and round, Everybody hit the spot“) follows through from the energy of JENNIE’s part. The backing maintains that hype energy and adds further excitement. Elsewhere in the hip-hop song, ZICO and JENNIE executes their parts just fine. You’d expect a good rap sequence from ZICO in his songs, and JENNIE adds some extra colour in SPOT!. Talking about colour, I quite like how fun that pitchy and windy synth at the end was. It was one of the elements that I remember being unsure about. But once again, time has allowed it to grow on me, just like how SPOT! did.
The music video sees both ZICO and JENNIE have a casual time alone, with one another and in the company of others. I am glad they managed to get JENNIE in the music video, which isn’t always the case for collaborations. This usually creates a void in those music videos. But for SPOT!, this was not the case, given the presence of both artists. I quite liked JENNIE’s parts. For some reason, I don’t think I ever connect JENNIE to such a causal fit or atmosphere, given her more elegant visuals on stage and at events. So, it was quite refreshing to see in her in that style and environment. ZICO’s parts add fun to the video and I like how he could do that in any situation, as evident throughout the video. Not the most memorable music video ever, but it does the job and keeps the casualness of SPOT! alive.
Song – 9/10 Music Video – 8/10 Overall Rating – 8.6/10
(G)I-DLE, Jung Kook (and his fellow BTS members), JENNIE’s groupmate JISOO and NCT (and its units) are nominated in the 2023 KPOPREVIEWED Awards. Support your favourite acts byclicking here to vote today.
It has been a couple of weeks since the last International Song Review post, so it is time for another. Last time, I focused on songs releases by Anne Marie and Minnie ((G)I-DLE), LE SSERAFIM, ITZY & CHEN (EXO). This time, I will focusing on (G)I-DLE’s I Want That, Jung Kook’s Standing Next To You, JENNIE’s You & Me and NCT NEW TEAM’s Hands Up.
I Want That – (G)I-DLE
Language: English Release Date: 5 October 2023 Release Type: Heat (1st English Mini-Album)
(G)I-DLE made their official Western debut with the single I Want That, following from their I DO pre-release earlier this year. I don’t have too much to say about the track. I do like what they have offered to us, but I think more could have been added to I WANT THAT to really enhance it. The club style and heavy bass gives this dance track some sassy and powerful energy, which is backed up by their lyrics. The chorus is super addictive, thanks to the combination of the beat drop and repetitive hook. Personally, I would have liked more character from each member, as I WANT THAT does get monotonous at certain points. A bit more sassiness and attitude from the members in I WANT THAT would have taken it to the next level
The music video begins with the members on the boat, which I presume is the aftermath of the events in the video. We are then shown the toxic relationships between the members and this guy. At points, it is sweet and romantic. Other times, he is abusive and a horrible human. In particular, we see Minnie walking down the aisle as a bride to marry this guy. But when she turns back, she only see a dark church (which alludes to her future with him). She runs away from the wedding before it gets any further. In the end, she takes matters into her own hands by walking into the guy’s workplace and points a gun to his head. We see glimpses of the other members pointing guns at the same guy, which represents the anger from his past partners and revenge they want. He taunts her, but he doesn’t realize that she was determined and shoots him point blank. To finish the job, she also brought a bomb, which causes chaos with the other workers. In the end, Minnie and the rest of the members walk out and get on the boat we see them on at the start of the video. As for the choreography, we don’t get too see much of it. But it looks okay. I just wished the choreography scenes were better incorporated into the video and featured better styling.
Overall Rating – 7.9/10
Standing Next To You – Jung Kook (BTS)
Language: English Release Date: 3 November 2023 Release Type: Golden (1st Studio Album)
Following the success of his other singles (Seven and 3D) earlier this year, the announcement of Golden and Standing Next To You became highly anticipated releases. I will be making plans to review Golden, but that might not happen until next year. But for now, I can say that my thoughts on Standing Next To You are somewhat positive. When I really focus on Standing Next To You, I really find myself appreciating the sleek vibes, retro energy and funky tones this pop track offers. I like that the track doesn’t mess with such a formula, keeping the track consistent from start to end. In the context of Standing Next To You, this is a very positive aspect of the track. Jung Kook’s delivery is charismatic and sensual in this song, which I am sure fans are enjoying. His falsettos can become quite addictive, but I particularly like the shoutier style he gives the pre-chorus, which heightens the chorus that comes after. But reflecting on the track afterwards and when I don’t focus on Standing Next To You, the track is rather forgettable and doesn’t really hold me as much as Seven and 3D did. It might be the case of being too sleek, but I boil it down to a lack of memorable hooks to really get this song into my mind and make me want to return.
In addition to the song, the music video also shows off Jung Kook’s charismatic charms that fans consistently highlight. His good looks are definitely are also on full display, which again, I think fans would be loving. The video is descried as showing Jung Kook chasing after a mysterious femme fatale. We see him catching up to her at the “light at the end of the tunnel”, which is a nice way of showing us the positive effect this femme fatale might have on Jung Kook. I did also think Jung Kook dancing in front of the big hole in a way is his way of showing how he could potentially fill that void in the femme fatale. All of this (and I am presuming the dancing also had an effect) convinced her to approach Jung Kook at the end of the music video. Talking about dancing, it is no doubt that Jung Kook’s performance skills were on full display, which I personally really enjoyed each time I have seen the music video. The sleekness and sensual nature of the song comes through really well in the choreography, and I also like the more intense parts of the routine, as well (such as the pre-chorus and the end).
Overall Rating – 8.2/10
You & Me – JENNIE (BLACKPINK)
Language: English Release Date: 6 October 2023 Release Type: You & Me (Digital Single)
You & Me was released following the conclusion of BLACKPINK’s massive Born Pink world tour. Upon first listen, I was disappointed with the track for a number of reasons, including the lack of personality, the disconnect between the different parts (particularly the verses and choruses), the lack of any memorable melodies or hooks etc. There was a lot in You & Me that just did not sit right for me. But the more I continued to listen to You & Me, the more I grew to like You & Me. After all, I am all about giving second chances when it comes to the music I listen to. The problems are still there, but they are less jarring then before. The standout parts of the song, for me personally, are the verses and the instrumental outro. The verses had a nice pleasant pop vibe to them. Sure, it isn’t anything riveting, but I felt a sense of nostalgia to those sequences. The heftier beats and electronic instrumental outro felt like a decent conclusion to the song, which was all very synth forward from the get-go. Heck, even the squeaks became charming for me. But there are some stuff in You & Me that I still feel the same way about from day 1 – the chorus instrumentation and vocal work was bland, there isn’t memorable melodies or hooks in the song to make the track memorable, the post-chorus vocal tone was not appreciable, and the rap speak sequence reiterated the song’s blandness. Overall, the good aspects were balanced out by the bad aspects in You & Me, and so I am on the fence for this one.
As for the performance video released to accompany You & Me, it is your standard high quality video that you would expect from YG Entertainment. It is more on the simpler side of the spectrum of music videos, but it still features a memorable moment or two, such as the silhouette of JENNIE and the male dancer whilst the moon in the background was brightest. JENNIE’s red dress is also pretty memorable. Performance-wise, it looks good. Nothing stands out to me, but it was a good routine nonetheless.
Overall Rating – 7/10
Hands Up – NCT NEW TEAM
Language: Japanese Release Date: 8 October 2023 Release Type: Hands Up (Digital Single)
The final song in this post is for a future group. NCT NEW TEAM is the current temporary name for NCT’s Japanese (and final) unit, who will debut next year. Beats me to why we don’t have an official name when they are already putting out Japanese songs. Hands Up is what you expect with NCT title tracks – a very synth driven dance number. There is more to the synths, but my mind keeps on coming back to describing the synth selection as “tinny”, and this I find to be pretty standard. The drumming/percussion added to the song does infuse more energy and texture to Hands Up. But I would also describe this to be quite tinny, so it doesn’t really add anything new to the song. At least, the energy and texture does provide a fun vibe, which is backed by hooks like the “Ooh Ooh“. The vocal work is a bit standard, as well. A good showing of skills, but nothing worth discussing further. And with every other NCT (or SM song for that matter), the bridge is definitely on point. As a starting point, Hands Up does a decent job of introducing us to the new unit/group. However, as they begin to pump out more songs (which I hope will be the case) and finds an actual name, I hope they can also develop a sound for themselves that is within the realm of NCT’s music.
The music video sees NCT NEW TEAM’s world become overrun with these green blobs that keeps on self-generating. The group, whom are just high school students, use their skills as baseball players and the power of the baseball to smash these green blobs. Ultimately, they kill the biggest blob with a power pitch and hit by the members, which causes all of the others to die. At the end, we see one of the members back on a train with a glowing green baseball, suggesting we might not have seen the last of the green blob monster. Overall, I quite liked how the producers showed off the group’s youthfulness and the new energy they bring to the industry. The choreography looks good, matching their synchronisation with what the other NCT units are very much known for. The energy they bring via their performance and choreography is refreshing and fun, as well. The choruses’ routine is the best bit.
TAEYANG made his long awaited solo comeback earlier this year with his second mini-album since his debut as part of BIGBANG way back in 2006. As part of the comeback, TAEYANG has released VIBE (which features JIMIN from BTS), the title track Seed and a performance vide for the side track Shoong! (which features LISA from BLACKPINK). As flagged in Seed‘s review, a review for Shoong! was on the cards and I will finally be getting around to doing that today.
Of the songs that was released in April as part of TAEYANG’s second mini-album (Down To Earth), Shoong! is the one that comes to mind most readily (more so than the title track). It recurred in my recommendations quite a bit in the weeks following its release and the track also boasts the featuring of LISA from BLACKPINK (which probably helped widen the audience of the song, and so it was shared further). But despite it boasting two big names in the KPOP industry and was shared around quite a bit on my social media, I oddly don’t remember much of Shoong! months on from its release. Listening back to Shoong! now, I find it uneventful. On Wikipedia, Shoong! described to be a mid-tempo dance track, described as an R&B and trap song. That is pretty accurate. But Shoong! is also is described as having “addictive melodies and trendy hip-hop beats”. This I disagree with. I find the melodies to be a bit of a drag (even though there is a ring to it, but not enough for me to categorise it as memorable or addictive) and the trendiness to be absent. Also, for a song titled after the sound of cars passing by, the way that the title is delivered throughout Shoong! makes it seem like everyone is going below the speed limit and passing by. The vocal work in Shoong! is reasonable for a mid-tempo song, with TAEYANG’s being quite solid and LISA adding a tinge of brightness to the song with her higher pitched vocals. I also liked LISA’s that flirty delivery, which adds a bit of character to the song. However, I think more could have been done in pretty much all areas of Shoong! to make it even better. As it is, Shoong! is an okay song, but it doesn’t live up to the expectations that I had expected with the two artists.
For this review, I am combining the music video and performance aspects of the release into one paragraph, given the video we do get is a performance video. I did appreciate the crispness and quality of the video, which is an expectation of a YG product. For those who are wondering, The Black Label (the company which TAEYANG is now signed to following his departure from YG Entertainment is actually a subsidiary under YG Entertainment). With the song in mind, the simplicity of the T set made a lot of sense. But I also enjoyed the “outdoor scenes” in the alleyway and cityscape roof. It was also definitely nice to see LISA in the video alongside TAEYANG. As for the choreography, it works. It was by far the most memorable aspect of the release. The key moves were smooth and I liked their chemistry. LISA’s flirty tone makes it into the choreography, while TAEYANG does a great job towards the end in adding a bit more intensity to the routine.
Song – 7/10 Music Video/Performance – 8/10 Overall Rating – 7.4/10
It was announced way back in 2018 that all the members of BLACKPINK would make their solo debut. Everything promptly kicked off at the end of 2018 with JENNIE’s release for SOLO. Then ROSÉ released On The Ground in 2020, followed by LISA’s LALISA in 2021. And now finally, after five years since the announcement of solo releases, JISOO makes her solo debut (as the last BLACKPINK member to do so) with the release of FLOWER yesterday.
To me, FLOWER sounds like the ideal song to become the next trend through TikTok/short form videos. The chorus of FLOWER reminds me of those Vietnamese songs that have been used as a backing to most of the shorts, reels and TikTok videos that I have been seeing on my social media. They all share a pretty similar appeal, in my opinion, and FLOWER would fit in quite well. However, FLOWER isn’t my cup of tea as a whole. The song’s chorus is quite lacking and feels very empty, as a result. I wished there was more body, lyrics or a catchy hook to it. Essentially, anything in addition would have been better than the empty feeling of FLOWER. I am not a fan of the whiny synth in the background the choruses, but they do have their charm. The chorus also disappoints as it follows on from some really decent verses that I felt was a nice showing of JISOO’s abilities, character, and vocal colour. Something to continue the momentum from the verses would have been ideal as the choruses, and I feel that the bridge is a good example of this. The inclination and oomph that we get from JISOO in that segment adds a lot more meat to the song,. The ad-libs and breathy “Hey” that follow also had a similar effect. Overall, FLOWER could have used a lot more to it. And as it stands, FLOWER is probably the weakest solo release from the group’s solo releases (thus far).
The music video was kind of boring. I hate to be a bummer, but I don’t think this particular video offered as much as the other solo music videos. The other videos had fabulous fashion, dramatic effects and cultural influences which helped make the video interesting to watch. And while we do have great fashion in this one and strong acting for JISOO, there just wasn’t anything else worth discussing. I do wish there was more to the video, similar to what I want from the song.
The choreography looks quite simple and was quite fitting for the song, from what I can see from the music video. I do hope that the verses have relatively more complex arrangements, like that spiral at the start of the final chorus with the dancers hands. That would give the performance bit more to it and something to get viewers to watch the performances for. What did see in the verses was interesting and heads in that direction, so I am definitely hopeful!
Song – 6/`10 Music Video – 6/10 Performance – 7/10 Overall Rating – 6.2/10
Welcome to the first official album review of the year. All the other album reviews I posted so far this year were drafted last year, and my review for BORN PINK is the first album review I have written this year. Woo! There is plenty more album review coming your way, but I thought I start off with a big release from 2022 that I hadn’t looked at just yet. BORN PINK is BLACKPINK’s second studio length album and was released mid-September 2022. It features the pre-release single Pink Venom and the title track Shut Down, alongside down another 6 side tracks. It follows The Album from 2020. Personally, my biggest takeaway from this studio album is that BLACKPINK and their producers could have done more with majority of the side tracks on the album. Despite that comment, there are still some standout and solid tracks on the album to enjoy. So continue reading to see which songs I thought were great and which songs could have been better.
3. Typa Girl – Typa Girl had some potential with the opening synths. It gave off intriguing vibes which I was all excited for. Given BLACKPINK’s consistent sound with majority of their promotional tracks, intriguing is definitely something good. Unfortunately, the intriguingness isn’t worthwhile. Once we enter the verses and choruses, we get that familiar sound profile that we all associate with BLACKPINK. Despite going down the same route as their previous track, Typa Girl’s instrumental continues to disappoint, as there just isn’t a whole heap going on. It does place the focus on the members. But clear vocals and fast rapping just doesn’t make up for the rest of the song, in my opinion. (5/10)
4. Yeah Yeah Yeah – I am glad the disappointment is short lived. Things start looking up for BORN PINK’s side tracks with Yeah Yeah Yeah. I really liked the retro tinge that the song had, especially when the chorus comes along. It is a centrepiece that I look forward to on this album. The vocal work was solid and presented the members in a pleasant light. My only gripe about the song is how cliché the main hook of the song is – just simply being “Just say Yeah Yeah Yeah”. (8/10)
5. Hard To Love (Rosé Solo) – The only member of BLACKPINK to have a solo song on this album is Rosé. The pop feel of the Hard To Love and the guitar work in the chorus were highlights, along with Rosé’s vocals. I particularly like that emotional pull that Rosé subtly provides to Hard To Love, which makes it more riveting to listen to. (9/10)
6. The Happiest Girl – Stealing my attention away from the entirety of this album is The Happiest Girl, which is a stunning and beautiful ballad. This is not exactly a style of music that I associate with BLACKPINK, but it was so well done. Repetition is the song’s biggest and only problem, but that can be easily overlooked when you consider the orchestration and the emotionally fragile vocals of the members caused by the breakup that is imagined in the lyrics. My favourite part of all, if I had to pick, would be Jisoo’s harmonic line “I can stop the tears if I want to”. (10/10)
7. Tally – For me, Tally is a skippable song. It is a decent display of potential from the members themselves and there is a neat swaying melody to the song. But apart from that, there isn’t much to remember about Tally. It is probably more because Tally follows The Happiest Girl – all of my attention is directed towards the previous song and I don’t have much more to share for Tally. But I felt the instrumental was plain, while there isn’t much of a hook to the song other than the aforementioned melody. (6/10)
8. Ready For Love – Final song on the album is Ready For Love. It is another pre-release single released back in July 2022 which I had not reviewed as the song was marketed to us as a promotional single for PUBG Mobile at the time. But its inclusion on the album allows me to finally review it! I quite liked the EDM chorus (definitely the highlight of the song) and the house pop style the rest of the song opted for. BLACKPINK themselves sound quite good in the song, but the hooks again were repetitive and I wished there were more to the hooks of Ready For Love. (7.5/10)
Following the pre-release of Pink Venom last month, BLACKPINK is back with their official comeback single Shut Down and the studio album Born Pink. Prior to Pink Venom, the group’s last comeback was back in 2020 with single Lovesick Girls and their first studio album, The Album.
The most memorable aspect of Pink Venom, for me, ended up being the fact that song was just so alike to many of their past singles. And I believe this was a common theme of other people’s thoughts on the pre-release as well. It appears that BLACKPINK and their producers have caught on, as Shut Down sounds vastly different from the group’s past releases. The biggest game changer to Shut Down was the La Campanella strings sample, which definitely gave off a refined and sophisticated feel to the song. But as one would expect with a BLACKPINK and YG song, there is still a strong hip-hop influence. Together, they created an intriguing piece that came out to be quite decent. However, I did wish the instrumental picked up a bit as the song progresses, just to give Shut Down a more dynamic flair. I kind of expected something extra to happen towards the end of the song, as we were given a pretty consistent background piece throughout the first and second runs of the verses/choruses. The bridge does seem to allude at a potential change in momentum and energy, but Shut Down eventuated into an even more sluggish ending. As for the members, I thought they did a fine job with their rapping and vocals. The rapping was definitely exciting and there was some good sequences and flow. The vocals were more on the forgettable side, but it was still appreciable. Good news, the hooks in Shut Down do have a memorable ring to it, and this helps Shut Down loads in my books. Overall, Shut Down is a much better track compared to their pre-release and a much appreciated new sound profile to their discography.
There appears to be a lot of references to their oldest music videos in Shut Down‘s very own music video. Some of the references that I picked up on include the Jennie’s tank, Rose’s light-piece swing and Lisa’s katana from their DDU-DU DDU-DU music video and Rose sitting on top of the planet Earth from their WHISTLE music video. The billboard that Jisoo takes a selfie in front also features a scene from the DDU-DU DDU-DU music video of herself. Aside from those references, I continually enjoy the presence of the black and pink coloured items and themes throughout their music videos. I don’t know why and I feel like it pretty much cliché now, but I still find the references to their name in the video to be quite interesting. I also liked the roller door and alleyway set, as well, for this music video. The colour from their outfits were also a refreshing visual as well.
The choreography for this comeback looks fantastic. It was tough and I liked how they were imaginary smashing or slamming things on the ground or their hands in time with the ‘Shut Down‘ mentions in the song. I particularly like the clock hands that preceded the clap of the hand in the chorus. I would definitely like to see what else BLACKPINK has in store for the rest of the routine.
Song – 8/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 8.4/10
It has been almost two years since we have heard BLACKPINK through a full group comeback via the promotions of Lovesick Girls and The Album. Currently, we are progressing full speed ahead towards BLACKPINK’s official comeback in a month time with their second studio length album Born Pink and a yet to be unveiled titled track. But ahead of the release of Born Pink, we find ourselves here today just about to review the pre-release for that album, Pink Venom, which dropped earlier today.
It appears that Lovesick Girls was a once event in terms of the group’s discography. BLACKPINK returns to familiar powerful territory with Pink Venom, following the same vein of their past releases such as How You Like That and Kill This Love. There isn’t anything wrong with this classic BLACKPINK sound and style. It is just quite overdone by now. Pink Venom attempts to change it up with a mixture of traditional and tribal-like instrumentation throughout the song, sans the second verse which deep dives the song into 90s hip-hop territory. I think this instrumental combo lacks that knock out of the park feel that their previous tracks have. And I am quite sure the typical formula also dulls the potential of Pink Venom. The chorus was probably the most interesting aspect, but I am of the opinion that it is disappointing. Lisa and Jennie go into this high pitch soft whisper-like motif. I feel that this detracts from the powerfulness potential of song, and weakens the integrity of Pink Venom. It is somewhat unique, but very fragile. It makes me want to handle the chorus with care, which isn’t something you would want with a BLACKPINK song that starts off powerful. The verses and pre-choruses were more appreciable and enjoyable by a long mile. There was potential between the vocals in the pre-chorus from Jisoo and Rose, to the rapping by Jennie and Lisa in the verses. The chorus just lets it down. Pink Venom ends with a ‘La Ta Ta‘ hook, which I didn’t think really gave Pink Venom that punchy ending that I had expected. There was something lacking in the background to really hone the ending in and make it all climatic. It appears that Pink Venom isn’t my cup of tea this time around. Maybe more listens would make the song more approachable, but for now, Pink Venom just doesn’t live up to their previous tracks of a similar nature.
Per usual, BLACKPINK’s music videos are top notch. And once again, Pink Venom‘s does not disappoint. Visually, this music video had it all. Vibrant colours, impactful shots and stunning looks. Best shots for each member are: Jennie’s red outfit at the start of the video. Lisa’s gangster look, Rose’s leather look and Jisoo’s Korean hanbok inspired look. The scene with Rose and the black paint was also quite epic and could potentially be interpreted as quite deep. The sets looked amazing, especially that first choreography shot with the fabric blowing about in the background. I also enjoyed the subtle black and pink colours on some of the sets.
While musically, I think the chorus is weak, the choreography might be the next big thing for the group (until next month’s release). The small movements with their hands behind their back, for example, works well with the softer and fragile delivery of the chorus, while the bigger movements work well with the slightly more aggressive parts of the chorus (i.e. the ‘woah woah woah‘). The ‘La Ta Ta Ta‘ end sequence looks cool in the performance, as well.
Song – 6.5/10 Music Video – 10/10 Performance – 8/10 Overall Rating – 7.9/10
The next BLACKPINK member has finally made their solo debut. We were first teased with solo work from the members of BLACKPINK back in 2018. We first saw Jennie making her solo debut in 2018 with SOLO. It took three years for the next member, ROSÉ, to debut as a solo artist with On The Ground. And today (and not after a three year gap), Lisa makes her solo debut with LALISA. That just leaves Jisoo, whom I hope we can see solo music from in the very near future. But for now, this is my review of Lisa’s LALISA.
LISA’s solo debut comes in the form of an anthem about herself. As much as I want to like LALISA, I feel like this is a barrier for me to get into the song. I am indifferent to songs that are just for the artist themselves (i.e. stamped with their name throughout the song). Of course, there are exceptions (as always). But I felt this indifference for this release and it had a pronounced flow on effect to other elements within the song. I wish I could overcome the barrier. But no matter how much I have replayed the song thus far, I can’t get over the fact that this song is only for LISA to sing or perform. It might just be that I am narrow-minded in this regard. Anyhow, putting aside my personal thoughts of the lyrics and title, LALISA has a pretty standard instrumental. I didn’t find anything interesting within it. I did like how it enabled a bit of attitude and sassiness from LISA herself. I also enjoyed LISA’s delivery of the song, particularly her rap verse in the second verse. That sequence was a bit of a wow factor for me and further proved to me her rapping ability (not that I had any doubts of her rapping capabilities in the first place). The repetition of the title ‘LALISA‘ is definitely quite catchy and helps makes the song memorable. But as I said at the start, the overly emphasised personalised side of LALISA makes it hard for me to really enjoy the song (though this is great for LISA!).
What I like about these solo music videos is that they are not confined to the usual amazingly designed and detailed sets we see the group (and other YG artists usually in). While they did re-emerge in this solo music video, it still had an outside component which I liked. That being said, the sets are really cool in this music video, particularly the white light dance set with the word LALISA forming part of the wall . That looked really cool and modern. I also like how the music video paid homage to LISA’s background with a bit of Thai influence in a segment of the music video through a set and some outfits. That was pretty cool element and LISA pulled it off effortlessly, just like every other look in this music video.
We got to see a fair bit of the choreography of the performance. And I think it is one that fits in with LISA really well. I liked the chorus in particular, which shows off two sides of her. There is a bit of cute bounce to the first half of the chorus, followed by the sassy and attitude-filled stomping in the second half of the chorus’ choreography. I also like the ‘L’ and ‘A’ that LISA and the dancers form with their hands to represent LISA’s name in the choreography.
Song – 6.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.3/10
KPOPREVIEWED 