Gearing up for a comeback very soon (i.e., end of this month) is RM (from BTS). But ahead of the release of his second studio album Right Place, Wrong Person, RM has pre-released the all-English single Come Back To Me, which will be the focus of this post. RM is currently undertaking his mandatory military service and won’t complete it until 2025. But he joins V and j-hope who have been also been busy preparing new music pre-enlistment for us to enjoy despite their absence from the stage.
RMtakes us down an indie pop route with Come Back To Me, with a slight jazzy influence coming into play down the line. This track is unlike anything that RM has released before. It is extremely paced and purposely dragged out to make the entire piece quite thought provoking. Despite not enjoying tracks that take their time to build, I find Come Back To Me quite welcoming for some reason. I think I put it down to beautiful execution by co-producers RM and HYUKOH’s Oh Hyuk (who is quite well known in the Korean indie scene and you can hear of his influence in Come Back To Me). That purposefulness is also deliberate in other fronts in Come Back To Me. Instrumentally, the acoustic guitar sets the thought-provoking tone to the song, while the slight jazzy influence amps up Come Back To Me to make it more engaging and changes the tone to be a little more uplifting. Even RM’s various vocal styles that he employs throughout the track felt carefully selected to ensure that it captivates and steals the audience’s attention. The melodies were so easy to get lost in, and the “Your are my pain, Divine, Divine” was quite an artistic hook. Overall, I quite enjoyed Come Back To Me and I am excited to hear the rest of the Right Place, Wrong Person album when it is released on 24 May 2024.
Come Back To Me‘s lyrics explores the idea of ‘right’ and ‘wrong’, which is also the central theme for the upcoming album from what I am reading. In the music video, we see RM appear in multiple potential lives – from being a person who constantly hang out with his friends, to being a dad, to being in a relationship where he is constantly fighting with his partner, to being a son of parents who have high expectations for him. Part way through the video, he crosses path with another lady who makes him encounter a happier and smiling version from himself. From this encounter, he becomes more him appreciative of all of the potential lives he could have been in – going from the idea of exploring those potential lives that are wrong for/to him to exploring potential lives that could be right for him. Ultimately, he re-meets the same lady who made him happier and change his outlook, and follows her to be with her. His unlocks the door that has been constantly locked throughout the entire video, opening a new life outside the many lives we have seen him apart of already. It is definitely a thought-provoking video and the paced nature of the song really emphasises this. I also enjoyed RM’s acting in the video, as well as the other actors who helped make the video engaging.
Song – 8.5/10 Music Video – 9/10 Overall Rating – 8.7/`10
Late to the game as always. But I am finally getting around to reviewing Jung Kook’s solo studio album. Golden. Golden was released by Jung Kook in November last year prior to his military enlistment in December 2023. The 11-song tracklist boasts Jung Kook’s 2023 singles, including the title track Standing Next To You, July 2023’s SEVEN (featuring Latto) and September 2023’s 3D (fearing Jack Harlow). Per usual with all of my album reviews, links to the reviews for these songs and my individual thoughts on each song are down below.
My thoughts on the album is simple. Golden is a predominately pop album that was perfectly curated for Jung Kook. I wouldn’t want to imagine the pressure of putting this album together, since it was so highly anticipated by fans in Korea and globally. But he really made sure it exceeded expectations that everyone had. The album itself also sees Jung Kook collaborate with some big names in the pop industry – including Ed Sheeran and Shawn Mendes. The album is also fully in English.
2. Closer To You (ft. Major Lazer) – Closer To You is a muted R&B track, with a reggae touch and enticing bass-line in the instrumental. There is a lot of tension in this track, but I find to be more subtle and of backseat manner. It is definitely there in Closer To You, but it isn’t in your face about it. Jung Kook brings a soft and breathy tone to the song, which works extremely well with rest of the track and makes it even more seductive and alluring to listen to. (9/10)
5. Yes or No – Jung Kook taps squarely into the pop genre with Yes or No. If you look at the team behind the song, you will see super pop star Ed Sheeran’s name, which explains why Yes or No feels so familiar. The track features a catchy guitar riff in the background, and it falls to the bright side of the spectrum. Jung Kook’s vocals definitely contributes to that commend the fact that his vocals were crisp and clear throughout this track. I would have liked something more, as it feels a little too simple and consistent. But it was a great track nonetheless. (8/10)
6. Please Don’t Change (ft. DJ Snake) – The upbeatness of Please Don’t Change makes it feel fitting for the dance floor. The track employs afro-beats and electro-pop, which makes for a really cool mix. The instrumental never really peaks, keeping fairly neutral overall. I find this direction (or lack thereof) to be quite charming and it makes complete sense considering the title of the song speaks to the desire not wanting one’s lover to change. The neutral feeling also flows into Jung Kook’s vocals. (8/10)
7. Hate You – Hate You is a pop ballad that I always close my eyes to when it pops up. It is the only way in which I can fully appreciate the song and take it all in. Jung Kook’s vocals is stunningly beautiful yet so heartbreaking at the same time. Hate You’s message of hating a former lover to make life easier is conveyed so well that you can feel Jung Kook’s pain in this voice. And this in itself speaks volume to the talent that is Jung Kook. This is all over a simple and minimalistic piano. The track boasts Shawn Mendes as part of the team behind it. (10/10)
8.Somebody – Somebody sees Jung Kook’s vocals processed and altered in a way that gives him a deeper voice. It is an interesting and peculiar result that I am not entirely sure of. But it doesn’t mean Somebody is a bad song. The deeper tone does pair well with the bass that features in the R&B instrumentation. I really like the beat and detailing synths to this this track, particularly in the parts without any vocals. (8/10)
9. Too Sad To Dance – Returning to the pop genre with a more acoustic direction is Too Sad To Dance. I find myself nodding along to the song, and enjoy the simplicity of Jung Kook’s vocals in this song. But when I dive deeper into the song, I find the happier and cheerful demeanour of the vocals and the sad and emotional lyrics to be an interesting contrast. I am honestly not sure what I should be feeling when I listen to the song, as a result. (7.5/10)
10. Shot Glass of Tears – The final original song on the album is Shot Glass of Tears, which is another pop ballad. I liked the pace of this track and Jung Kook continues to sound good in this song. The atmosphere that builds in the background as Shot Glass of Tears was intriguing in a not so good way. I am not entirely sure if it was needed or what its purpose was. (7/10)
11. Seven (Clean Version) (ft. Latto) – See my thoughts on Seven above.
(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.
Songs in Japanese, Chinese, English or (more recently!) Spanish by our favourite KPOP artists are continually being pumped out this year, especially since the appeal of these artists internationally are growing exponentially. So much so that I am still behind. I am taking a break from covering some slightly older releases from earlier on this year, and look forward to cover some more recent non-Korean language releases – Stray Kids’ SOCIAL PATH, TXT’s Back For More, Jung Kook’s 3D and aespa’s Better Things. Last weekend, I looked at songs from SEVENTEEN’s VERNON, ATEEZ, TWICE and IVE.
Social Path – Stray Kids ft. LiSA
Language: Japanese Release Date: 6 September 2023 Release Type: Social Path / Super Bowl (1st Japanese Mini Album)
Social Path is one of two songs in this post that has reached the top of my personal Weekly KPOP Charts, which is uncommon for non-Korean tracks given I do dedicate most of my music-listening time towards KPOP releases. Social Path is actually more English, with the rapping only featuring Japanese. Social Path features rock influences on top of the usual presence of synths in Stray Kids, and does so in such a straightforwardly manner. With the chorus being the most recognisable, the rock influences comes off very cleanly. Talking about the chorus, I had the vocal melodies of the central piece stuck in my brain, leading me to humming and revisiting Social Path quite often. Similarly, I found the vocals and rapping from all members of Stray Kids to be very clean and straightforward, as well. LiSA’s featuring in the track really helps adds more vibrancy and to the song, and she balances out the song quite well with her sharp vocals. But ultimately, the best part of Social Path is when both Stray Kids and LiSA joins forces to lead into the final chorus. It is a such a simple yet effective highlight of the song, worthwhile after such a strong buildup.
Despite it being an intense and energetic track, Social Path speaks to what they had to sacrifice in order to be where they are now (i.e. their younger years, freedom, privacy etc.). To me, the lyrics hits hard, especially when you consider the recent stories of privacy invasion and their companies basically owning their lives. Throughout the video, we see the members struggle with being followed, chased and surrounded by people who has their face covered in paper bags with question marks on them, which most likely represents the negative comments and haters on the internet. LiSA is trapped in a cage for most of her parts. But Stray Kids come together to fight this nightmare and join LiSA to rise to the top and conquer the fiery world. The choreography was pretty good. The chorus routine is memorable and I really like the huddle just before the final chorus.
Overall Rating – 8.8/10
Back For More – TXT ft. Anitta
Language: English Release Date: 15 September 2023 Release Type: The Name Chapter: FREEFALL (3rd Korean Studio Album)
Back For More is the second song that has risen to the top of my Weekly KPOP Charts. It was also first performed at the MTV Video Music Awards that occurred mid-September and serves as a pre-release single for their upcoming third Korean studio album, The Name Chapter: FREEFALL (which will be released later this month). Back For More is a solid pop track, featuring a funky underlay throughout the track and some really cool cymbal flourishes as we head into the main parts of the song. The melodies and hooks are also quite straightforward, but catchy and addictive. Just like the song, their vocals are very solid throughout Back For More, coming off as alluring the more you listen to Back For More. I also really like their vocal homage to Michael Jackson towards the end of Back For More via the ad-libs. As for Anitta, I do like how her part attempts to change up the momentum slightly and create a different atmosphere. It is what I thought Back For More needed to avoid the overly consistent issue (that is until I heard the TXT version, which my preferred version now). But Anitta herself just seems to be plugged in and doesn’t really meld with the rest of song. I also really dislike the soft taps in the background of her part, distracting me away from the song.
I thought the music video for Back For More was simple, with the members performing the track on stage and ‘behind the scenes’ in the music video in navy suits. I guess I would wish for a bit more variety, maybe different coloured suits, just to give the music video a bit more depth. The choreography for the comeback was super cool, with the members showcasing a bit more of a mature and sleek energy in the routine. The best bit is the Michael Jackson sequence in the choreography, which they all pull off effortlessly.
Overall Rating – 8.7/10
3D – Jung Kook (BTS) ft. Jack Harlow
Language: English Release Date: 29 September 2023 Release Type: 3D (2nd Solo Digital Single)
Jung Kook’s solo release, once again, is the most recent release in this post. I really like the early 2000s influence that is going on in 3D, throwing us back to when Justin Timberlake was starting out as a solo artist. It is the era that I grew up in, and so 3D plays towards the nostalgia I have for that era. The percussion and soft beats make it an easy listen. Jung Kook himself sounds very charismatic throughout 3D and pulls you into the track further. The whispery pre-choruses were an excellent shift in vocals, adding to the momentum of the track in a subtle and soft manner that fits the rest of the song. We also see the return of rapper Jung Kook in 3D, which is exactly what I had hoped for when I passed the first verse and entered the chorus for the first time. I did think he could have incorporated something with a little more definition as the song tracks along, just to give 3D some more oomph and flair. Jack Harlow features in the song and also brings adds more rapping to 3D. While I do like the flow and added rapping, I did think Jack Harlow’s section was quite cringy. But for the most part, I really liked 3D and that Jung Kook is definitely psyching us up for his solo album (which he has said is coming out later this year).
As for the music video, I found it a bit boring. Jung Kook obviously looks fantastic in the video and I am sure fans are swooning over his visuals and style in the video. And the early 2000s style is pretty strong in this video. But I do like my music videos with a bit more to them than just visuals, and I don’t see anything more but visuals in this video. Also, someone pointed out that Jack Harlow mentions ABG in his rap, but there were no ABG in the shot at that particular moment. As for the choreography, it is another great routine from Jung Kook. This one has an edge over Seven, with both Jung Kook and the dancers doing a lot more interesting moves for 3D.
Overall Rating – 8/1`0
Better Things – aespa
Language: English Release Date: 18 August 2023 Release Type: Better Things (1st English Digital Single)
Better Things isn’t aespa’s first full English track, but it is their first original English single for the Western market. I do like how refreshing the instrumentation feels, which makes it a good release for the Summer season that it was released in. It is quite a rhythmic background piece, but I did think it needed some flourishes or a bold element to it. It just chugs along in the background and doesn’t really go or do anything further than that. As such, Better Things does become dull and dry towards the end. The melodies and hooks share a similar issue, but I don’t think it was as bad as the instrumentation. At first, they are catchy and simple, making Better Things another easy listen. But as the song goes on, it just feels like a repeat of what we had heard earlier from the girl group. But the addition of the sleek rap-speak in the bridge and the added vibrancy to the vocals throughout does add more to the track, and this helps makes it less repetitive. Overall, Better Things is a fair track from the group. Not as striking as I wished it could be, but pleasant enough.
The music video follows on from the Better Things sitcom that was released in the lead to the release of this track. I somehow missed this, so I am going off what I understand. The fish that appears from in the video comes from a device that appears in the sitcom. From there, the members follow the fish and discover brand new worlds in a rainforest, under the sea and on an island. I do like the summery colours that featured in the video and the striking blue of the choreography set that offsets these warmer colours. Complementing the more mellow sounds of Better Things, the choreography features softer moves. While it isn’t as bold or sharp as compared to their other works, the routine is just as captivating and pairs well with the song.
Today’s album review focuses on JIMIN’s solo debut mini-album, FACE, which was released back in March of this year. As we all know, BTS is currently focusing on solo endeavours as they are near (or currently are) carrying out their military enlistments. And since that announcement, each member has been releasing solo music. JIMIN is the 3rd member to do so, with a mini-album that features the title track Like Crazy, the English version of the title track, a pre-release track titled Set Me Free Pt. 2, an interlude and two side tracks.
While the mini-album appears to be light on, FACE is pretty loaded with high quality tracks. The two side tracks I just mentioned both earn a 10/10 rating, while the interlude earns high praises from me. And if you remember my posts on the pre-release and title track, then you know my thoughts about those songs. But apologies if you don’t, as it has been a while since I put those reviews out. To see my thoughts on each song, including links to those two reviews, keep on reading below.
FACE Album Cover
1. Face-off– Beginning the mini-album is Face-off, which is an edgier and grungier side of Jimin that feels very unexpected and different for Jimin himself. This doesn’t mean the song is bad. Rather, I think Face-off is a very strong song and gives off such a dark aura that just feels very compelling. The plucking synths and the trap-based instrumental was subtly intense, and Jimin’s vocals and delivery was very intriguing throughout Face-off. His delivery is also very emotionally charged, to the point where you can feel his anger and distrust. (10/10)
2. Interlude: Dive – Dive begins by rapidly reversing, before a simple knock on the doors signals the true beginning of this 2-minute instrumental track. I really like how sensory the track is. We hear an audience cheer as Jimin speaks on stage, then footsteps, then a car engine start and drive off, and finally the pouring and swallowing of water at the end. I presume this is all post-concert, with Jimin retiring back home for the day. All of these audible sounds occur over an atmospheric set of instrumentation, creating a unique interlude track.
4. Alone – Alone goes for a softer pop approach. I found the track to be so captivating to listen to and a clear standout on this mini-album. From the very first moment, we hear delicate vocals. As the song progresses, more is added to the track. Jimin’s vocals become more defined with the addition of backing vocals and the instrumentation becomes more layered. That descending distortion at the end of Jimin’s vocals was another intriguing element on this mini-album, but it was a punchy and alluring aspect of the song. (10/10)
6. Like Crazy (English Version) – Refer to link above to the review of Like Crazy for my thoughts on the song. But the English version is still linked below.
V is the final member of BTS to release solo work since the announcement that the group would focus more on solo endeavours as they move towards their military enlistment. His official solo debut won’t occur until early September. But in preparation of that release, V has pre-released Love Me Again on Wednesday, alongside a music video for the single. In addition to that, V has also pre-released another single Rainy Day with its own music video just yesterday – both song and video will be the subject of its own review.
There is no doubts that Love Me Again showcases the wonderfully husky and raspy vocal tones that V is known for. The track really nails down in that department at the start and continues to bring these vocal tones as Love Me Again progresses. The R&B instrumentation is very comforting and mellow-sounding, with the atmospheric instrumental break (which doubles as the bridge of Love Me Again) being quite dreamy. But while the track is executed well, I did think it lacked a compelling element to get me back once it ended. Love Me Again is the type of track that I would listen to if it appears on my playlist or queue, but I wouldn’t necessarily go out of my way to search for the track or go back to it. I also found the track, while wispy and floaty, to be over sooner rather than late, and I felt this prevented the song a chance to show or develop that compelling element if it was in Love Me Again already.
I feel like similar comments can be made with regards to the music video. V, himself, is quite well known for his visuals. So the focus on his face in this video is warranted. V is also dressed in a sequined top, which glimmers and dazzles in the light. But aside from that and the retro-style karaoke setup during some parts of the music video, there isn’t too much else to the video. And the lack of ‘else’ in this video does make it become on of those where ‘you watch it once, you have seen it all’ videos. The only other comment I can make about the video is question why the background is cave-like.
Song – 7/10 Music Video – 6/10 Overall Rating – 6.6/10
Welcome back to another International Song Reviews post. Last week, I continued the coverage of 2022 releases, including Japanese songs from ITZY, LOONA and Rocket Punch, and an English from JAMIE. During this week, it dawned on me that we are already in the latter half of 2023 and I haven’t reviewed any 2023 non-Korean releases yet. Pretty behind schedule, if you also just noticed. So, today, I am going to start my coverage of 2023 non-Korean releases (and return to the existing 2022 songs in later posts). In this post, I will be covering two Japanese songs released by trendy Korean artists (STAYC & Stray Kids), one English song from earlier on in the year (TWICE) and one very fresh English-language release that dropped just yesterday (Jung Kook’s solo debut).
Poppy – STAYC
Language: Japanese Release Date: 23 November 2022 Album: POPPY (1st Japanese Single)
Before you say it, yes, STAYC’s POPPY is technically a 2022 release. But it was not eligible as part of the 2022 KPOPREVIEWED Awards, so I am considering it as part of the upcoming 2023 KPOPREVIEWED Awards (and hence have included in my list of 2023 songs). For me, the strongest aspect of POPPY was its chorus, which was definitely catchy and addictive. I really liked the slightly monotonous and breathy approach that the producers and members utilised in the first half of the chorus, followed up with a very vibrant set of melodies in the second half. Combined with the quirky and bouncy synths, POPPY ended up being a very cool and fun track from my point of view. Elsewhere in the song, we got strong vocals and rapping from the group. Altogether, POPPY is a successful extension of their discography and highlights their pop style. The music video is indeed colourful, which works well with both the song and the Japanese market. It creates a playful atmosphere, which appeals to the latter as well. I did like the retro flair the music video, bringing in a 90s element to the video. But I aloo enjoyed the modern special effects that were used to help fill out the background. The choreography feels catchy and fun, just like the song and music video. There is also a more apparent cutesiness to the choreography, which I don’t find too overbearing to watch.
Overall Rating – 8.4/10
Seven – Jung Kook (BTS) ft. Latto
Language: English Release Date: 14 July 2023 Album: Seven (Digital Single)
I figured I prioritise Seven’s review, given it is one of the biggest comebacks of this past week and it could potentially take months for me to actually review Seven per the usual schedule. But before we begin, I am genuinely surprised Jung Kook’s solo single would be in English (and that there is an explicit version). It was quite unexpected when I checked out the songs yesterday, but I am not upset about it. There is a lot to like in Seven. I really enjoyed the up-tempo nature of the song, with the glitchy beat really driving the song forward. This instrumentation works really well with Jung Kook’s vocals, with the pairing of these elements feeling well-rounded and balanced. The ‘Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday‘ hook is very catchy and Jung Kook makes this roll along so effortlessly. The verses are very clean and straight-forward. Latto makes an appearance in what is supposed to be the bridge of Seven. While I am not too troubled by this featuring, I was not entirely fond of the sound effects she was adding to the song. I felt that this should be been maintained in the explicit version, rather than the clean version.
As for the music video, it was unexpectedly a funny watch. Throughout the video, we see Jung Kook chase after Han So Hee after the pair had an argument. He wants to make amends, while she is not having it. We see these events transpire over dinner, in a flooded laundromat, on a train and a very stormy day. At one point, Jung Kook supposedly dies whilst chasing after her. We cut to his funeral, in which he miraculously wakes up and Han So Hee reacts by giving him the biggest eye and head roll. In the end, Han So Hee does relent and forgives him, and the pair walks away into the distance. Jung Kook also preformed Seven on Good Morning America, so the comeback does have some choreography to it. It isn’t anything major or epic, but it shows Jung Kook’s stage presence and style.
Overall Rating – 9.1/10
The Sound – Stray Kids
Language: Japanese Release Date: 28 January 2023 Album: The Sound (1st Japanese Studio Album)
Just like how I said POPPY is a successful extension of STAYC’s discography above, the exact same comment can be applied here for The Sound and Stray Kids. The Sound is your classic Stray Kids track, complete with a full dosage of intensity and ‘noisy’ synths that people have previously described Stray Kids comebacks. I do find that The Sound is a lot more electrifying and the chorus is probably their most in-your-face effort to date. The group nails the vocals and rapping aspects of the song, which isn’t much of a surprise for me. Though, I am appreciative that the members can still be heard over the instrumentation. Otherwise, the combination of intensity and synths could easily drown out the group. If I had to be critical of anything, I am bit disappointed at the short length of the track. it just felt like it was over so soon. But on the flip side, they did pack a lot in and pulled it off. The music video depicts two sides of the group. On one hand, the group lives a peaceful life. But ever so slowly, the members can feel the presence of energy that shows the group’s more intense and powerful side. I liked how the music video depicts the energy as a tornado and intense storm (which they can see in the distance). The special effects were super cool, especially the effects that depicts the sound energy and the moments in which the house is being ripped apart by the storm. Choreography-wise, I like the clock-like formation, the group’s embracement of the song’s intensity by incorporating vibrations into their performance and the group’s command of the stage.
Overall Rating – 9/10
MOONLIGHT SUNRISE – TWICE
Language: English Release Date: 20 January 2023 Album: Ready To Be (12th Mini Album)
Another reason to why I am looking at 2023 releases now in this segment is that I am slowly getting around to writing album reviews for certain releases which include an English song that was pre-released or promoted as part of the comeback, which is very much a growing trend in KPOP nowadays. And TWICE’s MOONLIGHT SUNRISE is on that list of songs that I need to review before I write the album review. All my thoughts on MOONLIGHT SUNRISE in this review comes after the song has grown on me a lot. MOONLIGHT SUNRISE does indeed sound pleasant and has a decent ring to it. But my craving for something more out of MOONLIGHT SUNRISE still stands. However, it lacks the energy and punchiness that makes it a prolific TWICE track. It feels constricted and limited, which leaves the song deflated and monotonous (but not in a good way like in POPPY). As the song progresses towards its end, we do get a teaser of what MOONLIGHT SUNRISE potentially could have been like, with JIHYO and NAYEON’s soaring vocals and ad-libs really helps bring life back into the song. Had the song mirrored similar energy in its body and gone further in the end, then MOONLIGHT SUNRISE would have been set up to be a much better track. But as it is, even though decent enough, MOONLIGHT SUNRISE still feels lacking. For the music video, it showed off the visuals of the members really well and I enjoyed the purple hue that was quite prominent. The group appears to be appealing to their lover to come by, which we do see happen at the end with the car rolling up by the love heart lock house. Honestly, however, I haven’t really returned to the music video since its release, just because there isn’t too much in it to pull me back. On the other hand, the choreography was a very big positive for this pre-release. The group shows a more mature energy and executed the moves so well. I also enjoyed the synchronisation and smoothness, particularly during chorus.
It has been a long time coming, but here are my thoughts on RM’s solo debut album. Released at the start of December 2022, Indigo follows the releases of mixtapes from RM back in 2015 (titled RM) and 2018 (titled Mono). It features 10 tracks in total, including Wild Flower and Still Life that I had already reviewed separately in their respective song review posts (links to both are below). The album itself is collaboration galore, with RM seeking the assistance of Erykah Badu, Anderson Paak, Tablo (from Epik High), Kim Sa Wol, Paul Blanco, Mahalia, Colde, Youjeen (from Cherry Filter) and Park Ji Yoon to tell some very deep and powerful messages in the songs that feature on the album. I think that pretty much says it all – Indigo is such an artistic and aesthetic album that explores so much in terms of lyrics, genres (though all come back to hip-hop in one form or another) and featuring artists. This is without a doubt a recommended listen.
Also, as I have previously mentioned time and time again in recent days, this will be the final album released in 2022 in which I will cover. Later this month, I will be turning my head towards the 2023 albums, which reviews are very much long overdue. But until then, here is what I have to say about Indigo.
Indigo Album Cover
1. Yun (with Erykah Badu) – Opening up the album is the single Yun. It explores a very chill, jazzy form of R&B. This track is stunningly smooth and I really enjoyed the glow that comes from the song. Alongside RM, Yun features the late Yun Hyong-keun as the narrator who we can hear at the start and end of the track. The song is also titled after him and whom RM draws inspiration from for this track, which explores the idea of going back to his younger days to rediscover his passion for music and art. Yun also features the Queen of Neo Soul, Erykah Badu, whom I understand does not collaborate with just anyone. Her vocals oozes so much charisma, as does RM in this song. (9/10)
I couldn’t find the official audio link for Still Life on YouTube, so I have linked the music video here instead.
3. All Day (with Tablo) – All Day packs a punch with its instrumentation. I always end up feeling the beat and head-nodding along to the song every time it comes on. I really liked the vibrancy of the song, with the beat and brass adding a liveliness to the song that feels super invigorating. The backing vocals in the chorus also have a similar effect. This alone makes the song one of my favourites from the album. All Day features the leader of Epik High, Tablo, who delivers his part with the same vigor as RM did in the song. The pair are super balanced and make an impact with their statement of fighting social pressures ‘all day’. (10/10)
4. Forg_tful (건망증) (with Kim Sa-wol) – RM trades in rapping for breathy vocals in Forg_tful, a ballad simply instrumented by an acoustic guitar. Folksy whistle also makes an appears, just to give the song just that something bit more. Just like every other ballad I have enjoyed during my time reviewing KPOP songs, the melody of Forg_tful has this subtle swaying effect, which already tells me that it is going to be success in my books. The song features folk singer Kim Sa-wol, who just has a beautifully delicate set of vocals. I really liked how RM bent his delivery to ensure it fits alongside Kim Sa-wol’s vocals, making Forg_tful quite a harmonious track. (8/10)
5. Closer (with Paul Blanco & Mahalia) – Closer speaks towards the idea of wanting to be closer to someone who just isn’t the right person. The track comes in the form of an alternative R&B song which features the likes of Paul Blanco and Mahalia, who both sound great in the song. It took me a while to get into the song, unfortunately. Just because it feels plainer than the rest of the album. But once I did get there, it was such a nice track to have in the background. (7/10)
6. Change Pt. 2– So far, the album has been quite heavy with featurings from other artists (and there are more to come!). But we finally hit the two solo tracks from RM himself. The first is Change Pt. 2, which is quite a unique textural change-up. It is an experimental track that kicks off with quite an abrasive and crunchy set of synths and electronica that was very much unexpected. This transforms into a jazzy piano number, before slowing down completely at the end. The experimental nature of Change Pt. 2 continues through RM’s slurred delivery. There is definitely charm to delivering the track this way and it is quite artistic. But it is quite overwhelmed when paired with the boldness of the Change’s instrumentation. Overall, quite a surprise. But one that I do like. (8.5/10)
7. Lonely – Lonely is quite an enjoyable pop number instrumentally, with the guitar work being such a prominent feature of the song’s background. The powerful nature of the pre-choruses was quite an impactful sequence and I liked how RM effortlessly switch back to the pop vibes for the chorus. RM’s vocals are amazing and well appreciated in this song. However, don’t let Lonely mislead you. Despite it being of pop vibes, the lyrics are quite pessimistic and weighty on the topic of loneliness. Altogether, it creates an interesting atmosphere, which makes it a favourite in my books. (10/10)
8. Hectic (with Colde) – The city pop instrumentation that features in Hectic is my favourite aspect of the song. The beat is quite addictive, and paired with the synths, Hectic just takes on a groovy undertone. I also enjoyed both RM and Colde’s husky vocal tone, which was another highlight of the track. Another strong track that shows off RM’s versatility and Colde’s appeal. (10/10)
10. No.2 (with Park Ji Yoon) – Ending the album is the more positive No.2, which speaks of looking forward (rather than backwards). It is quite a comforting track, especially since the lyrics feature the line “You’ve done your best”. Park Ji Yoon’s nasally vocals shine in this song for me, while RM himself ensure the song stayed grounded. It is a nice closer to the album, and a nice ‘change of tune’ after the exploration of the heavy and deep messages that RM features on the album. (9/10)
Apologies with how long it has taken me to review this particular song. Still Life was released as part of RM’s debut studio album that was released in December last year. The single Wild Flower, which I did review at the time of release, was the main title track. But Still Life was released as a second single a week after the album’s release. Today, I will finally review Still Life. Also, with this song review soon to be out of the way, this does mean I will finally be posting a review for RM’s studio length album Indigo this coming weekend. Indigo’s album review will also be the final 2022 album review, which will mean that I will finally start tackling the 2023 albums! That will be coming out later this week. But until then, here is my review for Still Life.
Still Life has such a groovy flair that makes it one damn good expressive song. I remember constantly listening to the track when it was first released, just because it was such a fun number and was quite an attractive track from the album. The positive vibes exuded from Still Life were notable, and the upbeat energy throughout makes me want to have a bit of a boogie. The instrumental had some great percussion and subtle brass that gives life to that groovy flair that I already mentioned. As for the artists, RM’s rapping had really good flow and was very captivating during the verses. Anderson .Paak comes through primarily during the choruses alongside RM, and gives off a really great texture via his raspy voice. His “I’m still life” line throughout the song was very punchy and memorable, and this adds more to that expressive profile of Still Life. There is such a catchy ring to the choruses as well. I also found it clever how Anderson .Paak is able to manipulate the pronunciation of “I’m still life” to make it sound like ‘I’m still alive‘, which adds further meaning to the song (which I will touch on later). Together, the pair had great chemistry, as evident by that sequence just prior to the final chorus, and this helped make Still Life a fantastic song. Altogether, I found Still Life is be suitably selected as a second single and a highlight from the Indigo album.
The video plays on the concept of still art. Whilst everything around him is frozen, RM is still able to move about freely, grooving to the song as it plays. With everything around him frozen, he is showing how something still can continue to be alive. The lyrics also speak about moving forward. And the concept of a train was a great way to show this, as the train is a vehicle that constantly moves forward to reach its destination. A well thought out video.
Song – 9/10 Music Video – 10/10 Overall Rating – 9.4/10
A week ago, Jimin released the pre-release single Set Me Free Pt. 2, ahead of the release of his solo debut mini-album. Yesterday, Jimin unveiled his highly anticipated mini-album, FACE, which is lead the by the single Like Crazy. He is the fourth member of his group BTS to release an official solo release since the announcement that the group would be taking a break to focus on solo endeavors and military enlistment. Recently, he collaborated with TAEYANG for VIBE, kicking the year off in style.
To me, Like Crazy is a lot more palatable then Set Me Free Pt. 2. Compared to the pre-release single, Like Crazy is a lot more contained and much more charming. No autotune is present to leave a sour aftertaste nor do I feel an overpowering instrumentation. Instead, Like Crazy opts for a synthpop instrumental, which is traditionally soft and light. I like this style as it is captivating and it has a drive to it, even though the instrumental stays pretty neutral throughout. One of the aspects of the instrumental that I really enjoyed was the instrumental break of Like Crazy, which really upped the retro dial and gave a logical but needed change to keep the song alluring. Jimin brings both a sexiness charm and delicate touch to the song via his vocals, which I brings that charming element to the song. He also turns the emotions up, particularly in the final moments of the song before the outro, which I quite enjoyed. The only thing I can see as lacking from Like Crazy was a good hook/melody. Without these, Like Crazy fails to come off as a memorable song. It is still a pleasant listen, nonetheless. But I think a substantial hook or melody would have only improved Like Crazy, taking it to the next level.
The music video had an alluring aesthetic which complements the song extremely well. The song is about being heartbroken, and using fun adventures to move on from the feelings of break up (taken from PinkVilla) and this is shown in a literal sense in the video. For majority of the video, we see Jimin heartbroken and coming to terms with his breakup. I really liked the muddy spew that comes out of the walls and the floor in these scenes, probably representing the coldness from the current state of his relationship, while the spewing motion represents the sudden onset of these developments. We then transition to the club scenes, where Jimin begins alone but slowly starts having fun with the people around him. I really liked the blue hue that the club scenes having, which is a colour that represents calmness and stability, which is what Jimin is looking for after the developments of his relationships.
[Updated] The choreography is quite artistic and shares a similar alluring aesthetic that the music video had. I liked how the routine takes that sensual vibe that I mentioned earlier in the review. Tad disappointed that retro instrumental break was featured in the choreography. Also, no move really stands out, so the I don’t see this becoming a memorable performance. But it is one still worth watching, especially since it Jimin has some really good chemistry with the dancers.
Song – 8.5/10 Music Video – 9/10 Performance – 8/10 [Updated] Overall Rating – 8.6/10 [Updated]
The next BTS member to branch out further into solo work is Jimin, who is due to return to the stage with his solo debut album next week. In the meanwhile, Jimin has pre-released the single Set Me Free Pt. 2 today alongside a music video as a teaser for his solo debut next week. Earlier this month, Jimin also released his previous solo singles Promise (from 2018) and Christmas Love (from 2020) through official streaming platforms to mark his impending return.
All of the members’ solo releases since it was announced the BTS would focus on solo ventures and enlist into the military have been quite promising, and this definitely helps raise the expectations for the subsequent solo releases from the members have yet to embark on that solo career. Jimin’s was no exception. However, upon listening to Set Me Free Pt. 2 today, I am on the fence as to whether Jimin lives up to that standard. There was great promise with the classical orchestrated and brass loaded introduction that created an intense, suspenseful and powerful atmosphere, setting up Set Me Free Pt. 2 very well. Then the autotuned vocals kick in. And this turns the song sour for me. I don’t understand the need to autotune his vocals in this manner. I can guess they are trying to keep the intensity and suspenseful tone whilst also making the song more dynamic, but it just doesn’t sound good. The same comments can be made during the return of the autotuned vocals in the second verse. When we are relieved from the autotune and we hear Jimin’s signature vocal tone in a more pure form, everything sounds so immensely better. I am sure they could have done with a less obnoxious autotune style, whilst also adding to the dynamic and intense sides of the song. The rest of Set Me Free Pt. 2 was pretty much solid. Jimin, on top of showing off his signature vocal tone that I mentioned earlier, really maintained the captivation with powerful vocals and falsettos. I particularly like the subtle spoken form of the song’s title in the background. It was barely audible, but it helps give Set Me Free Pt. 2 depth which in turns adds to the song’s epicness. I did feel like the instrumental did get overpowering in the chorus, which doesn’t exactly sit well with me. But I rather that than the autotune. Maybe it they toned it down a notch to not be as overwhelming, Set Me Free Pt. 2 would have earned a higher rating from me.
The music video was, without a doubt, epic. The wide angle bird’s eye view shot that captured the grandness of the start, the simplicity of the circular room, the cinematography was all so good. I did wish there was a few more steady solo shots of Jimin in the video. We did get a fair bit, but the camera was constantly moving, the dancers were constantly moving which gave the impression of a lot was going on and the large nature of the set made just a tad difficult to focus on the subject of the video (i.e. Jimin himself). I did like the sensual side that Jimin showed off in the video, and that part where the lights turned off and back on again to reveal Jimin all tatted up and his shirtless body on display underneath the jacket was a showstopper moment in the video. The ending, when the dancers moved away after dropping tatted Jimin, revealing a version of Jimin in a white sweater hints towards a possible connection with next week’s video. The only way to confirm this is to wait for next week’s music video.
Both Jimin and the dancers needs to be applauded when it comes to the choreography. There is an aesthetic that comes from the dancers that really helped give the video such a strong and epic vibe. The dancers did an amazing job, especially at the start when they clustered together and then panned out. Jimin showed off an artistic flair with his movement, encapsulating both epic and sensual vibes with his movements. Usually, they don’t go to together. But trust Jimin to successfully combine them. I really liked the use of circular formations throughout the routine, and that ending where Jimin is lifted up and dropped was one of the coolest finales in a long time.
Song – 7.5/10 Music Video – 9/10 Performance – 10/10 Overall Rating – 8.5/10
It has been a while since we have heard from TAEYANG, with his last album release, White Night, being from 2017. Leading the album were the title tracks Darling and Wake Me Up. Since then, Taeyang had enlisted, got married to actress Min Hyo Rin and both of them had a child together (congratulations!). As for his singing career, things have been rather silent up until the end of last year when it was announced that Taeyang had decided to not renew his contract with YG Entertainment and went on to sign with The Black Label (a YG Entertainment subsidiary label). Now signed with a new label, TAEYANG announced his return to the stage through the release of VIBE, a collaborative single with Jimin (from BTS).
Now, the announcement of this single was quite a surprise. But it was a surprise that I was interested in seeing, given VIBE joins the forces of two of the biggest acts from the second and third generations of KPOP. VIBE definitely continues the idea of surprises, bringing forth an upbeat groovy ‘vibe’ that taps into retro and new jack swing influences. They help liven up the song and adds a fresh flair to the current KPOP industry. I also enjoyed the subtle presence of electric guitar towards the end of the song. It just gives even more refreshing at the end and helps bring everything in VIBE to a fitting and satisfying close. As for the vocal work, both TAEYANG and Jimin sounds really good throughout VIBE. I liked that TAEYANG doesn’t waste a second, starting off the song with a smooth R&B melody and sultry vocals. Once the instrumental kicks into gear, his vocals drives VIBE upwards and forwards, and he also brings a really vivid tone to the song that just kicks everything into gear. Jimin’s vocals in the second verse brings out a more innocent and young tone to the song, which contrasts really nicely with TAEYANG’s vocals. His higher pitch gave the song a bit of depth and adds to the dynamics of the song. The chorus, to me, was quite memorable thanks to the melodies and the energy both TEYANG and Jimin puts in. If I had to make some sort of complaint about VIBE, it is that I found the to be too short. I think more could have given and I would have enjoyed it just as much. Hopefully, we see more of TAEYANG in the near future!
When the video opens up and we sing TAEYANG shirtless, I was brought back to his Eyes, Nose, Lips days (back in 2014). That was a nice throwback. We then get both TAEYANG and Jimin, during their respective parts, fill the massive sets with their stage presence. Both TAEYANG and Jimin show off their sleek choreography skills (more on that later) and impressed me with how they carried themselves throughout the video. Watching them do their thing in this video was truly a vibe. I liked how there was the lowering of the stairs structure for TAEAYNG’s solo part and the lifting of a cityscape for Jimin’s solo part. These probably have some sort of meaning to TAEYANG or the song. It just isn’t apparent/obvious. But it was a simple addition to the song that felt aesthetic. When the pair finally came together in the second chorus to the very end of the video, they knocked it out of the park. Overall, I find this music video to be an example of simplicity done effectively.
As mentioned above, this music video shows off both TAEYANG and Jimin’s skills in the performance department. In TAEYANG’s case, he proves he still has what it takes to put together a riveting and skilled performance. I am unsure whether their solo parts were freestyle or actual choreography. Hopefully we find out through promotions (though I haven’t heard anything about that just yet). As for the chorus routine, that is all choreographed and I really liked the chemistry the two brought together when they performed together. The sharpness with their movements was very cool and memorable.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
j-hope is nominated for Best Male Soloist, Best Rap Performance (for Arson), Best Rap or Hip-Hop Song (for MORE) and other categories in the 2022 KPOPREVIEWED Awards. BTS is also nominated for Best Stage Prescence and Best Special Performance. Support j-hope and BTS, along with your other favourite artists, songs and performances by clicking here to vote today.
Another long overdue album review is finally here. Cast your mind back to earlier this year when BTS confirmed that they would be focusing on solo ventures in the foreseeable future. Soon after, j-hope was confirmed to be the first member to release new solo music following the announcement. Come June, j-hope released his first studio-length album, Jack In The Box, featuring the title track Arson, the pre-release single MORE, and 8 other singles. I was a bit hesitant about reviewing this album, as I am not a big fan of rap or hip-hop music, which is what j-hope has released in the past. But after deciding to just do it, Jack In The Box proved to be much more than rap or hip-hop music. Continue reading to see what else j-hope had to offer in Jack In The Box.
Jack In The Box Album Cover
1. Intro – The intro to the album isn’t an instrumental piece like most other introductory tracks. Instead, for Jack In The Box, the intro was a segment of the narration of the mythical story of Pandora’s Box. The narration zones into the part of the story, where after releasing all the darkness and evil from the box, Pandora discovered hope. Soon after, the narration cuts out.
2. Pandora’s Box – While on topic, Pandora’s Box is the next track on the album. And it is a hip-hop track that goes in hard. There is a fair bit of angst behind j-hope’s delivery in the verses, which equates to a very passionate and intense track about his life as an idol. The chanting chorus was definitely the peak of the track, and leaves a deep impression on you in the final moments. (8/10)
4. Stop (세상에 나쁜 사람은 없다) – Stop follows on neatly from MORE, continuing that urban-like feel that was present in MORE. When I listen to this track, I can imagine a music video of j-hope rapping whilst walking down the street. The track explores the topic of human nature, and I liked how he included audio of an arrest going on in the background. Going back to that idea of a music video, it sounds like he could walk past the situation and observe it play out in the music video. Other than that, Stop is a lot more laidback and finishes up quicker than you expect. (8/10)
5. = (Equal Sign) – Equal Sign flaunts both vocals and rapping over a hip-hop instrumental that I found to be quite refreshing and easy on the ears. I also like the funky undertones Equal Sign had, thanks to that bass. I really enjoyed how smooth yet deep j-hope’s vocals, which contrasted really nicely to the rapping in the first half of the song. The way he sung reminded me of the chorus of Where is The Love, an equally (pun unintended) hopefully track. (10/10)
6. Music Box: Reflection – Heavy breathing, which I presume is j-hope was catching his breath, is played alongside the music box tune and some scratchy and dark synths. The music box tune and synths are two clashing opposites, but they come together to really create what felt like a deep interlude for the album.
7. What If … – I really liked how the piano/keyboard starts off striking (which is a sample from Shimmy Shimmy Ya by Ol’ Dirty Bastard) and is slowly incorporated into the background of the grungy hip-hop beat. It was quite a smooth incorporation. Given the grungy hip-hop, What If… brings back rapper j-hope, who goes down low and brings us a raspy tone to the mix. (8/10)
8. Safety Zone – j-hope brings soulful R&B to the album through with Safety Zone. And it makes sense, as the lyrics expresses j-hope’s desire for a ‘safe zone’ where he can clear headed and step away from his stressful life. I really liked the ‘Ooo’ in the background and the soulful vocals that come through at the end of the song. It makes Safety Zone a lot more emotive and yearning. His rapping was slow and paced in this song, which helped him expressed his confusion over where his ‘safe zone’ is. Overall, a well put together track that made me feel for j-hope. (10/10)
9. Future – Future was quite a change up in terms of sound, when you compare it to the rest of this songs on it. Future is a lot more upbeat, cheerful, playful and vibrant. And this works really well with the song’s more hopeful lyrics. I also like how j-hope sounds like he has a smile on his face whilst recording the song. There is a bit of a child’s choir in the background, which was a nice touch to the song. (8/10)
For the 2022 KPOPREVIEWED Awards, BTS is nominated for Best Stage Presence and Best Special Performance, while BTS members j-hope, SUGA and JIN are nominated in a range of other categories, including Best Rap Performance, Best New Male Soloist and Best Collaborations. Support BTS and your other favourite artists, songs and performances by clicking here to vote today.
For some, RM’s solo debut is probably the biggest release of the week. Yesterday, RM joined fellow members j-hope and JIN in solo release territory through the release of Indigo (the title of his solo debut studio-length album) and the title track Wild Flower, which features youjeen, the vocalist of Cherry Filter, a South Korean rock band. Earlier on in the year, RM confirmed that the BTS members would be focusing on solo ventures for the time being for the foreseeable future ahead of the impending military enlistment of the individual members with plans to regroup in 2025 following the completion of the group’s enlistment duties.
For those who don’t know, hip-hop and rap songs are not my go-to genres when I want to listen to music. I have just never been drawn to the style of music. But through KPOP, I have slowly grown accustomed to the genre and enjoy a few tracks from the genres. For RM, it was expected that we would heard delve into this style of music, given his role as main rapper in his group’s releases. What I did not expect was to be completely swept away by this song. Wild Flower was super captivating. To the point where I have to stop whatever I am doing (for example, writing this review). Usually, I can write a review (or do other things) whilst listening to the song in question. But with the likes of Wild Flower, it is one of those songs where the only way to appreciate is by taking it in purely and to do so without distractions. Wild Flower begins off with an atmospheric instrumental, before RM kicks it into gear by continuing the atmospheric underlay but also giving Wild Flower some momentum with the insertion of rock sounds. It creates for a powerful piece in such the opening section of the song. For the verses of Wild Flower, RM adds brings forth a more calming demeanour that effortlessly exudes passion. It is such an interesting balance that I find so interesting to listen to. The violins probably add to the calmness, and I thought that was clever. The verses are then followed by a second chorus, which features youjeen’s soaring vocals. I love the texture she brings to the song, adding to the captivation factor of Wild Flower. I quite liked how the violins and rock elements merge for the bridge and final run of the choruses of the song, combining the best of the two worlds that make up Wild Flower. Overall, I am definitely singing praises for Wild Flower, a song I didn’t expect to be the best release of the week.
The music video was stunning even without sitting down and interpreting the video. After all, Big Hit Music definitely have the budget to create such aesthetic videos. Based on SOOMPI’s article for this release, Wild Flower is about RM’s desire to live like a tranquil wild flower rather than an extravagant but quickly disappearing spark, which may be connected to RM’s desire to rediscover himself in music, which he has spoken about before. The video does a great job of depicting this, with RM present in a stunning outdoor setting that sets him up as a ‘tranquil wild flower’. Dark stormy clouds come by (which might be a representation of the stress and bad energy that RM experiences as an artist), but RM stands strong throughout, which allows him to passionately perform on stage at the end of the video. Overall, a literal but clever video.
Song – 10/10 Music Video – 10/10 Overall Rating – 10/10
The focus on soloists this week on the blog is quite timely, given the biggest release this week is without a doubt the solo debut of one of the members of the biggest KPOP group at the moment. JIN (from BTS) is the logical choice as the next member of the 7-member group for solo promotions, given that he is expected to be the first member to officially enlist into the military (which I believe will happen some time in the next two months). However, just before he does leave, JIN gives us The Astronaut, the title of his solo debut track and the focus of this review.
You may notice right off the bat that the track feels very Coldplay. Well, you notice and thought right, as both JIN and Coldplay co-wrote The Astronaut. If you pay close attention, you can hear Chris Martin contributing to the song via some of the backing vocals, as well. With this partnership in mind, it does not surprise me that The Astronaut is a pop rock song with a hint of synths. And it is a very beautiful one, at that. It isn’t one of those vibrant and upbeat pop rock songs that I think KPOP has geared towards more. Instead, The Astronaut opts for a slower pace that draws out the song in a captivating and stunning manner. I am glad that the slow pace doesn’t draw out the song to the point of boredom, which easily could have been the case. As for the vocals, I am quite entranced. JIN isn’t the person to come to mind when it comes to vocals in BTS, so I was interested in hearing what he has to offer in terms of his official solo work. In The Astronaut, we get to hear a heartfelt and profound tone from JIN. He utilised his lower tone so well in the song to captivate me. I also enjoyed the moments in the song where his vocals become wispy, which helped make The Astronaut more appealing and dimensional. The Astronaut was incredibly thought out and played towards JIN’s strengths. Sadly, it will be a while until we hear from JIN again, but The Astronaut leaves me (and a lot of listeners) quite satisfied for the next while.
While the song’s lyrics appear to have been written for the fans, the story that was told in the music video was so nice and equally as fitting for The Astronaut‘s lyrics. Essentially, JIN plays an alien, who was left to fend for himself when his spaceship crashed into Earth. During his time on Earth, he befriended a young girl who he hanged out with often. A lot of his fondest memories was with her, where she taught him pastimes and he taught her to ride a bike. One day, the spaceship starts beaming up a light which I guess is a call for Alien JIN to return to his home planet. He leaves behind the young girl who was looking for him with a bike (but not after leaving her with his helmet) and makes his way to the spaceship. When he reaches it, however, he realizes that he made Earth his home and reflects on his time with his friend. He ultimately makes the decision to stay behind and returns home. When the young girl rings the bell on the bike at the end, he see a smile on his face, showing us that he is happy with the big and spontaneous decision.
Song – 9/10 Music Video – 10/10 Overall Rating – 9.4/10
As mentioned in the other day’s review for MORE, I will be posting my review for Arson, j-hope’s title track from his debut studio album, Jack In The Box. And here it is! Just to recap, the other review was for MORE, the pre-release for j-hope’s latest album and was released two weeks ago. Arson (the focal point of this review) was officially released the Friday that just passed, along with the rest of the album.
If I had to sum up Arson in very simple terms, it is a straight forward hip-hop track. So if you are looking for something a bit more innovative or different, Arson won’t be the title track you seek. But if you are for a straight forward hip-hop song, then Arson is the song for you. For me, I find the straight forward and no nonsense nature of Arson to be its drawing point. Arson‘s instrumental exudes a captivating flow, a moody rhythm and a strong beat, all of which had me head nodding along to the song. A small part of me does feel that more could have been done to develop the instrumental even further, but I pretty much enjoy how the instrumental is (and this pretty much could have ruined that no nonsense comment I made before). Adding to the moody nature of Arson is j-hope’s delivery. I liked the subtle aggression that comes from j-hope during some parts where he brings a small growl into play or pushes out a raspy tone in his delivery. The layering at the end with the filtered vocals that make the sequence beginning with the ‘If anyone asks me…’ and the paced delivery of the ‘Done, Done‘ was quite cool. Talking about the ‘Done, Done‘ parts of the song, it was so simple, but made Arson so catchy for me. Overall, Arson is a strong showing of j-hope’s skills that we all know he has over an uncomplicated backing.
The world is on fire in Arson‘s music video, which makes complete sense for a song titled Arson. The lyrics of the song expresses a dilemma for j-hope, whether to continue burning brightly or to put out the fire. A bit cryptic, but it appears that fans believe they have cracked the code and that this is a song based on j-hope’s journey as an artist. The flame represents the power and energy that j-hope has developed over the years (thanks to his success as part one of the biggest male groups of all time), showing that he is unstoppable and that only he can put out his own flame. He can harness the energy for his fans, being that bright light to guide them through, and/or burn his haters (as depicted by the people running around on fire in the video). I liked the dark atmosphere of the video, which compliments the hip-hop style of the song, and j-hope’s aggressive and powerful delivery in the song. The visual effects in the video, especially the glowing exposed wounds on his face at the end, were top notch!
Song – 8/10 Music Video – 9/10 Overall Rating – 8.4/10
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