Last month, SUHO from EXO made his solo comeback with his 4th mini-album, Who Are You, and the title track of the same name. It follows his 3rd mini-album released in May 2024, 1 to 3, led by the title track of the same name and the pre-release single CHEESE.
Who Are You is another pop-rock single. While this one is quite a decent listen, I found the instrumental to be the more engaging part of the new single. In particular, the electric guitar riff that recurs in the background of the chorus and during the instrumental breaks. I liked the way it was layered over the basic foundations of Who Are You‘s background and how it gives the song a bit of a dynamic flair. As for SUHO, he sounds pleasant and familiar throughout the song. But the melodies and delivery were just too wispy, and so his vocals just don’t stick. And since Who Are You is shorter than usual, there just isn’t much to really remember the song by. Overall, a decent listen is the best way I can find to describe SUHO’s new single.
I am not entirely sure what is going on in the music video, but it looks like SUHO is hanging out with some friends. These friends are masked, which I assume is related to the fact that he likens them to strangers in the song’s lyrics. The video does depict them fighting at one point, so perhaps they feel like different people to SUHO when they fight, which he was in the middle of at one point. However, that is resolved relatively quickly, and the rest of the video shows SUHO embarking on a road trip in regional areas of Australia with these friends. I recognise the driver’s seat on the right-hand side of the car and the license plates. We do see SUHO attempt to remove their mask at the end, but the video ends there.
Song – 7/10 Music Video – 8/10 Overall Rating – 7.4/10
2024’s Hello, World was BAEKHYUN’s first solo release since completing his military enlistment in 2023 and creating his own label INB100 for solo promotions. It is also his fourth mini-album, featuring a total of 6 songs, one of which is the title track, Pineapple Slice. The mini-album itself sees BAEKHYUN return with another R&B-centric release, following on from his highly successful 2021 Bambi mini-album and single. It is familiar territory for BAEKHYUN, as he knows what he does best and excels at.
Hello, World Album Cover
1. Good Morning – Starting off the mini-album is the R&B Good Morning. It eases us into the mini-album, exactly how the phrase ‘Good morning’ is intended to greet you. I really enjoyed the soft and mellowness of Good Morning, though there is some deep bass in the instrumental that contrasts so well with that soft/mellow descriptor and give a subtle grooviness to the song. BAEKHYUN’s vocals are so rich and decadent in this song, making Good Morning so good. (8.5/10)
3. Rendez-Vous – Rendez-Vous was first performed at the encore concerts for BAEKHYUN’s first Asia tour last year, ahead of this mini-album’s release. The track is described as a bossa-nova inspired single. I enjoyed the influence in the instrumentation, as well as the jazzy elements in the background. BAEKHYUN’s stunning falsettos amongst his signature R&B vocals are a definite highlight of Rendez-Vous. (8/10)
4. Cold Heart – For me, it is the instrumental of Cold Heart that grabs my attention. BAEKHYUN does so well in the song (as expected), but the instrumental’s dramatic and haunting vibe just speaks volumes to me. The soft pronounced beats, the trap elements and the electric guitar come together to create a very fulfilling backdrop. As for the soloist’s vocals, I really liked the emotion you can feel from him, as well as the slight autotune that makes the instrumental and vocals come together so nicely. (10/10)
5. Woo – My first impression of Woo was that the song was glitchy (I keep notes, in case you are wondering how I can remember my first impressions to a song released almost a year ago), particularly at the onset. The trap elements in the R&B instrumental help aid this. But I have since learn that this was just how Woo is presented to us. Woo’s development was something I enjoyed, particular how the song changes slightly after a little while. His vocals here are just as good as on the other songs on the mini-album, though I did think the autotune for his background vocals were a bit of a miss here. (8/10)
6. Truth Be Told – The final song on the mini-album sees BAEKHYUN leans into the sensual side of R&B. The synths in the instrumental makes Truth Be Told feel intimate and atmospheric. It is quite a combination and it works beautifully in this song. BAEKHYUN’s vocals make Truth Be Told feel smooth and sensual. I enjoyed the fact that he plays around with different textures and deliveries in the song, but never compromising on the quality of his vocals and their fit for the genre. (9/10)
Look, when I said ‘in a couple of days’ regarding CHANYEOL’s Back Again in the review for Black Out, I clearly meant ‘in a couple of weeks’. Time is clearly not my friend. However, as promised, here is my review of Back Again, the single selected from CHANYEOL’s debut mini-album, to follow the promotions of Black Out.
Back Again sees CHANYEOL return to a more powerful sound (relative to Black Out). The verses feature CHANYEOL rapping candidly, accompanied by a folksy, percussive instrumental in the background, which lends a unique and distinct quality. For the choruses, CHANYEOL ventures into ’90s punk rock territory. This brings flair, personality and intensity that takes full advantage of CHANYEOL’s husky tone in an impactful manner. I quite liked the resultant head-banging energy that the choruses provide, which helps it stand out. Bridging the second and final choruses was some cool guitar shredding that just heightens the energy and allows CHANYEOL to close Back Again on a bolstered note. But it is how CHANYEOL brings together the rapping verses and punk-rock chorus that I am fascinated by. Simple soft vocals, then an escalation into slight shouty territory and a choir backing – an interesting yet effective combo.
We see CHANYEOL getting chased and beaten up in the music video. After his initial fight, CHANYEOL starts to box, so that he can confront those who beat him up. This storyline aligns with the lyrics, which convey the message of getting back up again and returning stronger, regardless of the setback or failure. And we see that, as he gets quite serious about boxing, going to the point of staying at the gym for long periods of time. In the end, his second encounter with those who chased/beat him up at the start of the video became electrifying (literally sparks flying around them). It showed him knocking down one of the assailants. Perhaps the sparks reveal his newfound strength and energy, which would enable CHANYEOL to convey the message of persistence and self-empowerment successfully.
Song – 8.5/10 Music Video – 9/10 Overall Rating – 8.7/10 (Rating updated in post on 23 September 2025 due to calculation error.)
Doh Kyung Soo made his comeback last week with his first-ever studio album, Bliss, and the title track SING ALONG!. It is his first release since last year’s BLOSSOM mini-album and singles Popcorn and Mars.
SING ALONG! gives us a different side to Doh Kyung Soo through a fun, summery pop song. I like it because of that. The upbeat instrumental is relatively simple, with tropical elements throughout the backing and featuring Afrobeat percussion during the bridge. It isn’t the most groundbreaking instrumental piece out there, but I think it does the job appealingly. Doh Kyung Soo’s vocals bring a familiar warmth and tone to the SING ALONG!, which helps enhance its appeal. The biggest problem I found with SING ALONG! is that it feels too consistent throughout, which holds the song back from reaching its full potential. Whilst already on the shorter side of song lengths (though 2:40 could very well be the average these days), I’ve found it to be one of those songs where, after just a couple of listens, it feels like you’ve heard it so many times already. However, in its first instance, I did appreciate the novelty of SING ALONG! in Doh Kyung Soo’s discography.
The music video for SING ALONG! brings a smile to my face. The main reason was Doh Kyung Soo’s bubbly and charming nature. Then, there were also the awkward moments that make the music video memorable, such as seeing him sprint down the soccer field while a game was being played, or when he was introverted at the club. Now, the entire song was about seizing the moment and making the most of the present. Doh Kyung Soo running down the soccer field was his response to a disappointing game, while the introverted club scene was the lead-in to Doh Kyung Soo enjoying the club a little while later. We also see a little homage to The Truman Show with the set of stairs along the skywall, which serves as a flashback to when Truman ‘seizes the moment’ and leaves the dome that he had called home for his entire life.
Song – 8/10 Music Video – 9/10 Overall Rating – 8.4/10
It has been almost a year since CHANYEOL made his official solo comeback with his debut mini-album, BLACK OUT. Featured on the mini-album are the singles Black Out and Back Again. Today, I am finally getting around to reviewing Black Out, with the review for Back Again to follow soon in the next couple of days.
In Black Out, we get to hear CHANYEOL in a subdued pop-rock environment, with the instrumental leaning more towards an acoustic palette. Though the drumming did add a bit of energy. CHANYEOL’s husky tone is quite soothing throughout the song, and the melodies lend Black Out a mellow exterior. I also liked it when his vocals became emotive, such as during the pre-choruses, which gave the song depth. Overall, Black Out sounds nice and has all the ingredients for a solid song, but it doesn’t really stick. It’s pleasant in the moment, but it didn’t leave a lasting impression, which is a bit disappointing. I think with a bit more growth or variation in the track, Black Out could’ve been more engaging, and perhaps prompted me to write this review sooner.
The lyrics of Black Out depict the aftermath of heartbreak, with some lines and phrases describing feelings of being lost, lonely, despair, and longing. In the music video, we see CHANYEOL wandering and travelling around a city, experiencing those same emotions expressed in the lyrics. At a certain point in the music video, we see him holding onto the tape in the cassette player for dear life, as if he is holding onto the last remnants of his memories of life before the heartbreak. You can feel his desperation during these moments, which is a testament to his acting throughout the video. I also liked the dark and moody atmosphere of the video, which just sets the tone and some of the emotions of the music video.
Song – 7/10 Music Video – 9/10 Overall Rating – 7.8/10
Monday was a big day of releases, with BAEKHYUN also returning to the music scene with his 5th mini-album, Essence of Reverie. The single Elevator is the mini-album’s title track, following the pre-release Chocolate released last week. His previous comeback was Pineapple Slicein September 2024, featuring on his fourth mini-album Hello, World, which I have yet to review (but can confirm it’s coming).
I can hear what people mean when they describe Elevator as another version of Candy (a single BAEKHYUN previously promoted in 2020). Like that song, BAEKHYUN leans into his genre of choice (R&B) and keeps it simple. Elevator features likeable grooviness and a decent pop beat that moves the song along. I did enjoy the subdued percussion and atmospheric touches of the instrumental. BAEKHYUN’s vocals are definitely Elevator‘s highlight. It was nice to hear his vocals again after so long, and the ad-libs at the end came off quite smoothly. But I wish the melodies were more riveting. There was some sleekness and vibrancy to Elevator‘s melodies, but I put this down to BAEKHYUN’s vocals and delivery. Instead, I got a standard and safe feeling that doesn’t scream excitement. Overall, I would describe Elevator as ‘simply pleasant’. As said previously on the blog, pleasantness can be a double-edged sword as it could be code for boring. And I felt like Elevator had fallen victim to just that on this occasion. Plus, knowing that the same artist pulled off a similar song in the past (i.e., Candy – as established at the start of this paragraph) doesn’t bode too well for the new song.
The lyrics liken the desire for someone to fall in love with you to an elevator going up, with the lover at the destination floor. The only problem is that you have no idea what that floor is, which forms the basis of the music video. In the video, BAEKHYUN notices a mysterious lady in the elevator. He doesn’t make a move, but is drawn to her. From then on, he has consistently been thinking of and looking for her. Eventually, he reaches her and successfully moves to be with her, as shown at the end of the video. I like how his shirt says ‘I DID WHAT LAST NIGHT?’, implying other things happened overnight. I liked the animation that is interwoven throughout the video, as well as how great BAEKHYUN continues to look in his 30s.
Like the song, the choreography fits in well with the music. Based on what I can see in the music video, the routine embraces the beat well and showcases BAEKHYUN’s charismatic energy, which he carries over from previous dance performances. While I am not sold on the song, I think I can be on the dance for this comeback.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
After teasing us with Adult Swim and Walls Don’t Talk, KAI (from EXO) has officially made his first solo comeback since his military enlistment in 2023. The new single, titled Wait On Me, is from his 4th mini-album of the same name. As mentioned previously, his last solo comeback was withRover in 2023.
Wait On Me continues the subdued nature of the tracks from the mini-album that KAI has unveiled so far. But one of the biggest changes he makes to this sound profile with Wait On Me is his (usual) sexy motif, which makes the new single more alluring. ‘Alluring’ is the exact word I would use to describe his delivery throughout the song. His vocals sound so airy and dreamy throughout Wait On Me, especially as we get to the choruses. This is Wait On Me‘s stand-out element in my mind. His rapping adds some oomph and intensity to the song, giving it some much-needed variety. Otherwise, Wait On Me would have slipped into that neutral gear. Instrumentally, Wait On Me contains a mix of atmospheric synth work and heavy Afrobeats with some groove on the side. They blend together in the bridge to create a really cool instrumental break that doesn’t break the flow or disrupt the song. And like the rapping, I appreciated the intensity this part gives to the song. Unfortunately, Wait On Me falters when it comes to the hooks and melodies department. I think there is a melody in there, but the delivery was so wispy that it was hard to really detect and hear. But the hook was nowhere near strong enough for my liking.
Just like the song, the music video for Wait On Me is just as alluring, and KAI is absolutely sexy throughout the video, just like always. After all, is it a KAI music video without his abs making an appearance? Also (since I am already asking questions), did anyone feel like the silver top he wore at the start reminded them of EXO’s debut era? Anyhow, I liked the use of depth throughout the video, with KAI standing/dancing in the foreground and the dancers in the background. It is a different type of framing that looks cool. The hazy brown colour palette was an interesting choice, but it works well overall.
Choreography-wise, KAI impresses once again with the artistic flair the routine had. It made for a very captivating experience and is easily one of the best solo routines of the year thus far. He pulls it all off so well and charismatically, as well. I really liked the sharp movements that make up the chorus section of the routine. He and the dancers also put so much oomph into the dance break – that was by far the performance’s best section.
Song – 8/10 Music Video – 8/10 Performance – 10/10 Overall Rating – 8.4/10
A couple of weeks ago, KAI teased his long-awaited return to the stage since Rover and his military enlistment with the single Adult Swim. There are only a couple more sleeps until KAI releases his 4th mini-album, Wait On Me. But ahead of that, KAI unexpectedly dropped another music video for another side track, Walls Don’t Talk, from the new mini-album on Tuesday.
Similar comments regarding Adult Swim can be transferred to Walls Don’t Talk. But I think Walls Don’t Talk has a slight edge over the former song. The minimalistic sound profile that Walls Don’t Talk goes for creates a seamless number. The song’s more consistent and tighter beats made it feel punchy, but I would have loved to hear more in the instrumentation. Repeat listens of Walls Don’t Talk have made, once again, the song’s instrumental feel very linear and neutral. Actually, I might even go to the extent of saying repeated listens have been ‘drying out’ the song for me. There have been a lot of songs with similar effectsrecently, so Walls Don’t Talk needed something fresh and different for it to stand out. The variety in Walls Don’t Talk actually comes through KAI’s delivery. He showcases nice vocals throughout Walls Don’t Talk, but I liked his rapping and spoken moments more in this song. It added a different tone to the song, which helped it feel a little more engaging.
For a while, I thought Walls Don’t Talk was the actual title track from the upcoming mini-album. I have since realised I was wrong, but this misinformed thought has influenced my perception of the music video. Essentially, I am trying to soften the fact that I still find the home video style the music video goes for disappointing. I have praised this motif previously, but it didn’t feel appropriate for a title track, as that is what I thought Walls Don’t Talk was at the time. It also generally looked incredibly low-budget for SM Entertainment standards. The only element that impressed me was KAI himself, who looked amazingly sexy in a tropical place in Japan.
Song – 7.5/10 Music Video – 6/10 Overall Rating – 6.9/10
Just over a month after his discharge from the Korean military, KAI is back on the music scene. He is due to release his fourth mini-album, Wait On Me, later this month. But ahead of the mini-album, he is teasing us with a pre-release single, Adult Swim. We last saw KAI through his Rover comeback.
My comments about minimalism have been recurring recently. If you have not been tuning in or are visiting the blog for the first time, here is my recent hot take — a minimalistic sound can be a double-edged sword. On one hand, it can be a vibe. In KAI’s Adult Swim, the minimalistic sound comes off as both suspenseful and sensual. KAI follows this vibe with a deep, monotonous repetition of the song title in the chorus that some could describe as alluring. For me, this was the most memorable part of Adult Swim. On the other hand, a minimalistic sound can also draw out an empty and lacking feeling. And honestly, that is what I feel and think the most about Adult Swim. The minimalistic sound makes the song feel plain and uneventful. This had implications, such as that I don’t remember much from Adult Swim besides the chorus. A few repeats tonight did help bring the ending of Adult Swim to the forefront, where more drumming percussion and a melody come into play. But while conceptually, it was a good addition to help make the song more interesting, it didn’t work out that way. Both kept in line with the rest of the song’s plainness and didn’t do much to make Adult Swim exciting. It also doesn’t help that it was very brief.
Firstly, it is great to see KAI back on our screens. He is an excellent performer, and his presence was missed over the last year or so while he was in the military. In the music video, we see KAI hanging out with his friends by the pool, which continues throughout the video. A bit standard, though. KAI looks great in the video, but I wished he had a wider variety of outfits besides the blue and grey crop tops. We saw glimpses of other outfits (and him being shirtless), but they were brief. Instead, the blue and grey crop tops looked very similar, so I thought he wore the same crop top for the entire video.
Based on what I saw in the video, I have a similar comment to the one I made above—it is great to see KAI back on stage. His moves in this routine find a really nice balance between sharp and fluid motions. It also feels a lot freer and less of a routine. The moves accompanying the ‘Shake, shake it for me‘ part in the bridge look fun and will probably be my pick for my favourite moment in the choreography.
Song – 7/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.7/10
SUHO’s 1 to 3 is nominated for Best Music Video in the 2024 KPOPREVIEWED Awards. Support SUHO’s 1 to 3 music video in the 2024 KPOPREVIEWED Awards by clicking here to vote today!
SUHO’s 1 to 3 is the next album on the reviewing block. He returned with the mini-album in May this year with the title track of the same name. It also features the pre-release of Cheese (which featured label mate WENDY from Red Velvet) and 5 other side tracks.
One of the things I realised upon reviewing SUHO’s album is how rock-focused it is. We are not just speaking of the more traditional forms of rock we often hear in KPOP, like pop rock. Instead, SUHO ventures into alternative and indie territory throughout the album, which is always intriguing and exciting. SUHO does such a good job that I recommended 1 to 3 to those looking to satisfy their rock cravings.
1 to 3 Album Cover
1. Mayday – Mayday softly opens the mini-album, speaking to the idea of looking for someone you thought was on the same path as you. The song taps into the alternative rock genre, with the official description describing it as a ‘dreamy psychedelic’. I liked how approachable Mayday is with its soft aesthetic, easing us into the mini-album. The song’s soft nature also applies to SUHO’s vocals, which are so delicate. But this delicateness gives us that emotion the song’s message wants to convey. (8/10)
4. Wishful Thinking – Wishful Thinking is an intriguing song. The verses feature some groovy yet hushed vocals that appeal to me instantly. But then comes brief and harsh guitar work that shocks the system and breaks up those hushed vocals. The second time it shows up, it generates momentum towards the chorus. But when the choruses comes, SUHO returns to hushed vocals but also makes sure to give it a beautiful twist by smoothing out the melodies. The song doesn’t maintain any particular momentum until after the second chorus, where Wishful Thinking starts to wrap up and ends abruptly (which you may know is not my ideal way to finish a song). (9/10)
5. Moonlight – SUHO continues his exploration of rock with an indie number. Moonlight is a refreshing song for a few reasons. His vocal delivery is very different yet fun, compared to the other songs. The melodies and energy are more cheerful, which had me vibing along. He opts for a ukulele as the primary instrument, which is a unique choice. Moonlight isn’t my usual cup of tea, but I liked it nonetheless. (8/10)
6. Alright Alright (ft. Giriboy) – Alright Alright brings funky rock to the mini-album. And the funkiness and catchiness of Alright Alright makes it a hard song to turn away from. The instrumental gives me surfer vibes, ideal for someone looking to kick it back at a beach this Summer (like me). SUHO’s light yet fulfilling vocals are amazing, and GIRIBOY’s rap fits in perfectly. (10/10)
7. Zero Gravity (무중력) – Wrapping up this seven-song mini-album is Zero Gravity, another alternative rock song. The first verse had me thinking the song was leaning into the balladry side. Beautiful instrumentation and vocal work here. But Zero Gravity picks itself up once it gets to the chorus and maintains that energy into the second verse. Both the instrumentation and SUHO’s vocals remain beautiful and approachable. I really liked the flow of the chorus, which felt like an OST to me, and the passion the bridge exudes. (10/10)
Just months after it was confirmed that Doh Kyung Soo (otherwise known as D.O from EXO) was leaving SM Entertainment to open his own entertainment company for his solo work (he will still be represented by SM Entertainment for EXO activities), the artist dropped his third mini-album, BLOSSOM or 성장. The mini-album features the pre-release single Popcorn, the title track Mars and four additional side tracks to enjoy. Honestly, there is no bad song on this mini-album, which reconfirms his status and potential to me as a solo artist beyond his group activities with EXO. At the time of BLOSSOM‘s release (May 2024), it was less than a year since Doh Kyung Soo released his second mini-album, Expectation, led by the single Somebody.
This is the final album review I have lined up for my ongoing break (one more pre-planned song review before I am officially back on Wednesday to post the next Weekly KPOP Charts and plenty more reviews coming your way after that!).
2. Simple Joys (우리가 몰랐던 것들) – Simple Joys is a fairly simple song. Doh Kyung Soo delivers easy-on-the-ear melodies, and I enjoyed the upward inflection he uses when he ends some of the words in the lyrics during the verses. The acoustic instrumental features a light Latin influence to them. It follows the same idea of being simple, keeping it subtle yet just noticeable. The flute was also a nice touch and helped tie together the song as a whole piece. (8/10)
3. Popcorn (Pre-Release Track) – Popcorn is a catchy pop track from Doh Kyung Soo. It is a light-hearted track with a memorable ring to it, thanks to the simple melodies, upbeat acoustic instrumentals and the simple utterance of the song’s title, Popcorn, in Doh Kyung Soo’s voice. His vocals are prominently featured in Popcorn and I loved how pronounced they felt in the track. I also highly recommend you watch the music video (see below), as Doh Kyung Soo is playfully cute and embraces himself in the video as he likens his feelings of love to the idea of popcorn. (9/10)
4. Good Night (오늘에게) – Good Night takes the form of a pop ballad. It starts off like a lullaby, complete with a rainy backdrop to make you feel sleepy. But as Good Night progresses, it introduces a heavy beat in the background; the other parts of the instrumentation begin building, and Doh Kyung Soo’s vocals soar. However, that being said, Doh Kyung Soo’s vocals are still soothing and warming throughout the song, and the melodies are still paced enough to get you drifting off to sleep whilst listening to Good Night. (8/10)
5. My Dear (매일의 고백) – My Dear is another acoustically instrumented track, this time with just an acoustic guitar. Doh Kyung Soo’s vocals are charming and warm in My Dear. Just the way he expresses himself, you can tell that he sings about love, and you can feel the giddiness that he feels whilst singing the song. (8/10)
6. About Time (어제의 너, 오늘의 나) – The final track on this mini-album is About Time. It is another pop ballad. You can feel the passion and emotions he puts behind his vocals in this song. The moment he launches into this passionate delivery is breathtaking and captivating. It is the moment I find myself returning to quite a bit, which elicits a listen out of me each time. An easy 10/10 track, in my opinion. (10/10)
Returning for the first time in over three years is BAEKHYUN (from EXO). We last heard a solo release from the EXO member in 2021, when he released Bambi – the title of his lead single and third mini-album. Yesterday, BAEKHYUN returned with his fourth mini-album, Hello, World! and the lead single Pineapple Slice.
If Bambi confirmed anything, R&B is definitely BAEKHYUN’s forte. So, it is no surprise that the new song Pineapple Slice (which has a very intriguing title) ventures into that domain again. And BAEKHYUN pulls it off, as expected. What sets Pineapple Slice apart from his past ventures into the genre is the groovy and textural synthwave instrumental in the background. It is a pretty satisfying piece to listen to, especially when it comes to the bassline, which makes the song pop out even more. BAEKHYUN does amazingly in the vocal department, infusing that sensual vibe associated with the R&B genre effortlessly with the grooviness of the instrumental. It is exciting to hear BAEKHYUN again, especially with his falsetto and charismatic vocals in the choruses. The melodies and hooks ring in my mind even after the song wraps up. Because of these (and practically the entire track), falling asleep last night was challenging. Does anyone have that problem when you listen to BAEKHYUN? No? Just me? Anyway, the music and BAKEHYUN himself slow things down in the pre-chorus. It is well appreciated after it makes the launch back into the chorus and the succeeding sequence much more impactful. I also liked how atmospheric the instrumental got for the bridge, and BAEKHYUN sounds the best in this part of Pineapple Slice. Overall, Pineapple Slice is a robust and solid comeback for BAEKHYUN, and I can’t wait to hit replay to listen to it again.
In the music video, BAEKHYUN plays a vampire who uses his ‘sweet like a pineapple slice’ charms to get with the person he is interested in. He is highly charismatic and flirty in the first montage of scenes. He shows off a more mysterious vibe when he is on the train. The video’s main scenes are the party scenes, demonstrating his control and power. At the start of the video, we see him (or rather, his bats) ravaging the other partygoers and putting them under his spell. Later, he revives them, just moments before he makes his move towards the lady who catches his attention and bites her neck. These scenes, as well as the choreography scenes, have a hint of sensual tension to re-emphasise BAEKHYUN’s charms.
Performance-wise, BAEKHYUN really shows his passion with this routine. He puts a lot of effort into his movements while also effortlessly executing the live vocals. This is what makes BAEKHYUN such a great performer. The routine complemented Pineapple Slice‘s upbeat nature and teased out that sensual tone within the track. BAEKHYUN and his dancers did a great job executing it all.
Song – 9/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.9/10
Also ending the week is SUHO, who makes his official solo comeback with the mini-album 1 to 3 and the title track of the same name. This follows on from the pre-release single Cheese that SUHO released a couple of weeks back, which features WENDY from Red Velvet.
SUHO takes us back to the 70s with 1 to 3, a rock track that features disco and funk influences. The funky guitar work and bass riff makes 1 to 3 quite a unique and exciting track. So does the synth organ that forms part of the backing. Altogether, we have another fun track in 1 to 3, with an instrumental that grabs your attention alone. SUHO’s vocals glides along the instrumentation quite nicely, and I find his delivery and melodies heightens the energy that comes off the instrumentation of 1 to 3. The chorus is definitely testament to the latter. It is also extremely upbeat and catchy, as a result, and this has me tapping alongside the music as I listen to the song. I also love how dreamy the bridge got, which helps give 1 to 3 some variety within its mix. If I could ask for more out of 1 to 3, I would have liked a bit more range from SUHO, as I felt a ‘holding back’ presence from the soloist. I also wished the instrumental had a chance to really rip and go wild, via an instrumentation break. I think that would have taken the song to ‘home run’ territory. Overall, 1 to 3 is a really great, funky and unique track from SUHO.
SUHO sings about breaking free from social norms and going on his own individual path in 1 to 3. And that is exactly what we see in the music video. At the start of the video, we see SUHO aboard a spaceship that is flying in the same path as everyone else. But soon after starting the video, SUHO takes control of the ship and breaks away from the same path as everyone else. Whilst away from everyone else, he is able to explore and discovers that there is much more to the world via that alien or robot mask he finds on a planet. I think he dons that mask at a later point in the video, which coincides with the animations that feature throughout the video, signifying the birth or creation of something new. The video ends with SUHO flying away and all the other spaceships following behind him. I really like the space theme that is happening in the music video. The song also calls for something a little dynamic, and we get that via the unsteady and rough camera shots of SUHO and the band scenes throughout the video.
Song – 9/10 Music Video – 10/10 Overall Rating – 9.4/10
I somehow missed the news that SUHO (from EXO) will be making his solo comeback at the end of this month with his third mini-album, 1 to 3. But luckily, he pre-released the single Cheese this week in preparation, so I am now caught up with the news of the comeback. This comeback is SUHO’s first in since 2022’s Grey Suit (which also doubled as the title for his second mini-album) and Hurdle. Cheese features WENDY from Red Velvet, who made her solo comeback earlier this year with Wish You Hell.
Cheese goes down a soft rock instrumental. I like the funky bass and the piano that leads the background. It feels striking, but melds well with the soft rock side of the instrumentation. I do like the retro 70s groovy energy that comes off the instrumental, which makes Cheese feel so good. The instrumental break with was dominated by the electric guitar solo was a nice concentration of the soft rock energy that forms around it. I also like the little bit of intensity it gives off, which adds a little something different to Cheese, compared to the rest of the song. The way the song likens a relationship to cheese was intriguing – if both become warm, the cheese becomes stretchy and a relationship can become longer, and if the cheese is cold, the cheese and relationship will fall apart. As for the vocals. I like how well-built SUHO’s vocals are for a soft rock song like Cheese. I also liked how light his vocals are throughout the song, particularly in the choruses and the ad-libs we get from the EXO leader at the end of the song. WENDY’s usual stunning and clear vocals comes into play during the second verse and is quickly joined by SUHO, who are both a formidable force in Cheese. Their pairing in the second chorus gave some nice oomph to the song and allowed to build the song up without much else to it. The melodies of Cheese were comforting to listen to. But in the long run, I am not entirely sure if they (or the rest of Cheese) would keep me coming back for more.
It should come as no surprise that the music video is full of cheese. Literally. I really liked the montage of cheese related art in the video, as well as the cheese visuals. We also see SUHO steal a big hunk of cheese that is on display at an art gallery. Little did he know that WENDY was watching him as he prepared to steal for the cheese. She goes after him and catches him in the act. There is a bit of a chase, which I assume represents the blossoming of their love (i.e., their relationship became stretchy). In the end, they decide to steal the cheese together (as seen in the 8-bit shot that finished off the video). But during their heist, the security came in (probably heard all of the ruckus of the two chasing each other and throwing cheese at one another) and they pretended to be an art installation, fooling the security guard and allowing them to get away with their heist. Overall, it is a cute and fun video, complementing the funky and groovy vibes of Cheese.
Song – 8/10 Music Video – 8.5/10 Overall Rating – 8.2/10
I am a bit late to start the new week. But as the saying goes, better late than never. Doh Kyung Soo (otherwise known as D.O from EXO) made his solo comeback today with a new single titled Mars and his 3rd mini-album Blossom. This follows his pre-release single Popcorn (which I will return to review in the future) last week, and his 2nd mini-album Expectation from last year (led by the single Somebody).
Mars is a song about loving someone so different to you, it is as if you and that someone are from two different planets. From that little reflection on the song, you can imagine how heartfelt and comforting the track is. I felt that Doh Kyung Soo portrays that messaging and tone very well in Mars, through all aspects of the track. I enjoyed the simplicity and straightforwardness of the medium-tempo pop track from the very first listen. The acoustic and band instrumentation was profound, with the guitar work being a big driver towards Mars‘ bright and meaningful outlook. Similarly, I felt the sincerity and affection behind Doh Kyung Soo’s vocals. The melodies were great. And altogether, Mars does bring a smile to my face when I listen to the track. I think a slight challenge to the song are the hooks. And this challenge isn’t necessarily unique to Mars, but more so to all ‘simple and ‘straight forward’ songs. To ensure longevity of a song like Mars, the song itself needs to be memorable and the melodies/hooks play a big part in this. Personally, I find Mars‘ hooks to be okay, but I think this aspect of Mars is also a little lacking. I am not too sure how Mars can hold its ground amongst the stiff competition. But as it stands, the song is still a great listen.
I found the music video to be a very cute watch and works well with the simple nature of the song. We see Doh Kyung Soo in his own little world throughout the video as he attempts to communicate with his special someone who is on a completely different planet to his. We see him get ready for the day ahead and ride his bike to the primary site in which he has set up to communicate with the world beyond his. On his bike are all the flowers he could find, which he later uses to write ‘I Miss You‘ on the ground in a bold colour for the other someone to see. In the end, his attempts to communicate work, with the special someone leaving simple and literally small messages for him. At the very end of the video, we see the different messages left behind for Doh Kyung Soo, that he has kept as little momentos. The outro sees him do it all again the next day (the presence of the rain helps us differentiate it is a new day), excited to extend the communications even further.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
We continue to bounce around the past year through the album review segment. Today, I am reviewing D.O’s 2nd mini-album, Expectation – his first solo release since finishing his military enlistment and solo debut back in 2021. It also follows on from D.O’s participation in EXO’s long awaited comeback with Cream Soda earlier on in the last year. Expectation features a total 7 tracks – the title track Somebody, the pre-release track I Do and five additional tracks.
Just some overall impressions on this mini-album to hope entice you to check out the mini-album if you haven’t yet – it is a highly recommended one from me. In hindsight, it should have been nominated for Best Album of 2023. But as I reviewed it way too late, I missed that opportunity and have robbed D.O of a potential win in that category. Massive apologies! But do check out the mini-album and let me know which is your favourite track as I have a few on here.
2. Wonder (기적) – I quite liked the upbeatness that Wonder featured. The indie pop sound came through so nicely, with the acoustic guitar being a really nice constant to keep the song grounded. The beat to Wonder is also definitely foot-tapping worthy. D.O’s vocals brings so much sweetness and cheerfulness to the table, and the melodies were just so captivating. I like the additions to the instrumental as Wonder went on, such as the claps we hear towards the end. These additions enhanced the cheerfulness and happy vibes that comes off the song, and made the indie track a little punchier so it wasn’t too consistent from start to end. Overall, a very easy-going and easy-on-the-ears listen that I personally enjoyed very much on this mini-album. (9/10)
3. I Do (별 떨어진다) (Pre-Release Track) – I Do was released back in early September, around two weeks before the official release of Expectation. My thoughts on Wonder can be reflected on I Do just as well, but there are some minute differences that does set it apart from the latter song. Firstly, I Do feels a lot more simplistic thanks to its instrumentation. I felt we steered towards more straight-forward pop in I Do and the only main instrument that makes up the backing is an acoustic guitar (with some bass). Simplicity can be said about the melodies as well, which I felt became even more attractive and addictive the more I listened to the song. And finally, D.O vocals were just stunningly effortless in I Do. (10/10)
4. Lost – Packing a punch is Lost, which is probably my ultimate favourite on this mini-album. Lost conveys a much heavier dose of emotions given the lyrics focus on a breakup. But we are not talking ballads here. Lost is a pop track, with the chorus featuring thumping beats that drive the song forwards and a darker pop-rock-like motif that adds complexity to this mini-album. I feel like this could be his answer to a dance track and would love to see how he would present this to us on a stage. With his vocals, you can hear how he ups the ante with more passion and power when it matters the most to make this an impactful and unforgettable song. (10/10)
5. Ordinary Days (내일의 우리) – Every time Ordinary Days plays, I get lost in it. I just find myself getting whisked away with the paced nature of the instrumental, and D.O’s vocals serves as the perfect vehicle to take me away. Everything is definitely a lot more delicate in Ordinary Days, compared to the other songs, but this shouldn’t scare you away from thinking it is just another ballad or is too slow-paced for you. (9/10)
6. The View – The View was the song that spoke to me the least on this mini-album. But I still find it to be quite pleasant one. D.O’s vocals are still captivating enough to fall into, and I liked the indie coffee shop inspiration behind the instrumental outro that closes out the song. I just wished there was a bit more to the song, such as a more memorable melody. (8/10)
7. Lost (Acoustic Version) – While I don’t tend to make comments on alternate versions of a song in my album review, the acoustic version of Lost felt like needed to be spoken about. Even without the oomph from the instrumentation of the original, this version still manages to come off as stilling. And I love the raw and unprocessed nature of his vocals in this version. I won’t include a rating for it, but it is definitely on par with the original.
KPOPREVIEWED 