Tag: MAMAMOO

[Review] But I – Solar (MAMAMOO)

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Also making her solo comeback on Tuesday this week was Solar from MAMAMOO. We last saw her promote on stage two years ago via her HONEY comeback and her first mini-album, 容 : Face. Tuesday saw her release her second mini-album COLOURS and the title track But I.

Despite the music video teasers released in the lead up to But I hinting at the two very different sound profiles, But I still managed to surprise me upon release. The song starts off soft as a ballad, with beautiful vocals from Solar herself, and a delicate and stilling piano backdrop. But that balladry motif quickly changes once we reach the choruses. The drumming and guitar work morphs But I into a rock track. It blasts us with some strong energy and Solar really kicks it up a few notches with her passionate and intense delivery. The melodies and hooks here are quite easy to get into. I particularly cannot get the “Your body, your money, your face, your vibe” out of my head. Following the first chorus, But I keeps the rock presence in the second verse, but tones it down considerably from the chorus. So, once the chorus returns for the final time, the strong energy still feels like a blast. The outro of But I does returns the song to its balladry beginnings and it drew the song to a wonderful end, as if she is now at peace with the hatred that she sings passionately about in But I. No doubt, But I is surprising. But it does so in a balanced and captivating manner that I personally enjoyed very much.

The lyrics of But I depicts one’s hatred for their a bad ex, which comes off crystal clear in the lyrics. But I (ha!) found it interesting that the pre-chorus for the song includes a line of what people external to the relationship had expected of Solar when she was part of the dead relationship (“Everybody thinks I was happy, happy but I I I I“) vs. when she was supposed to be heartbroken post-relationship (“Everybody thinks I’m not happy, happy but I I I“). I bring these two lines up in question for a particular reason. While not directly linked to what I am saying next, the two lines shows a contrasting expectation on Solar, and the video depicts a different two contrasting sides to Solar related to this post-breakup. On one hand, she is seen to be in mourning and is heartbroken following her failed relationship. And on the other hand, we see how vivid and freeing she truly feels after leaving the bad ex.

Song – 9/10
Music Video – 8/10
Overall Rating – 8.6/10

[Review] TOUCHIN&MOVIN – Moon Byul (MAMAMOO)

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Moon Byul from MAMAMOO makes her return today as a solo artist after a year with her first studio album Starlit of Muse and the title track TOUCHIN&MOVIN. Ahead of the new single release, Moon Byul did pre-release the music video for Think About, which I have yet to review (and will get back to it at a later date). While she has not promoted as a solo artist in the last year since her 2022 Christmas promotions with PRESENT and CHEMISTRY, Moon Byul has been active as part of the MAMAMOO+ subunit alongside Solar.

Moon Byul delves right back into the funky and groovy with TOUCHIN&MOVIN. While the track is somewhat unexpected for MAMAMOO’s resident rapper (if that is where you are most familiar with Moon Byul), it isn’t anything foreign to Moon Byul – the solo artist, who has released something similar in the past in the form of LUNATIC (as an example – more upbeat than retro, but TOUCHIN&MOVIN is definitely a different sound that she continues on from the former release). Back to TOUCHIN&MOVIN, I really like the feel-good vibes and animated energy that the track effortlessly delivers in its instrumentation. Added to the funky guitar and groovy beats are brass and synths elements which does a whole lot, such as infusing even more energy, adds a cool edge and introduces punch into the song. Altogether, it was very hard not to feel all of the energy in its first release. I also like how Moon Byul doesn’t shy away from channeling the same energy through her vocals, which were quite consistent and grounded throughout TOUCHIN&MOVIN. It was definitely an engaging piece. The melodies had a nice ring and hook to them, which helps boost the memorable aspects of the song. There is only one thing I think could have potentially enhanced TOUCHIN&MOVIN and taken it to another level – a more substantial hook with more bite to it (to drive up the memorable factor even more).

If the brief was to keep it fun, light-hearted and simple, then this video takes the cake. Keeping to that is definitely on point for this song, and so it accompanies TOUCHIN&MOVIN well. For the entirety of the video, we see Moon Byul casually dancing to the song with her dancers, performing the track in some standard places like a restaurant and on a train. Personally, I wished there was a bit more to the video to make this aspect of the comeback more visually memorable.

Based on what I can see in the music video, the choreography looks fine. I do like how expressive the routine was. A more dynamic and longer instrumental break could have given Moon Byul and the dancers more material to work with in the routine, but what we got also looked quite good.

Song – 9/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 8.2/10

[Review] I Love My Body – HWASA (MAMAMOO)

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Following the expiration of her contract with RBW Entertainment earlier this year, HWASA went on to sign with P NATION (live on stage as a matter of fact!)- the company founded by PSY and houses Crush, Heize, TNX, Penomeco & Swings. She appears to still remain as part of MAMAMOO, however. And yesterday, she released her first solo single under the new company – I Love My Body. Her last solo single was I’m a B in 2021.

I Love My Body has a lot of potential, but unfortunately is let down by the song’s most vital sequence – it’s chorus. More on the latter in a moment. I Love My Body takes on a retro pop, very much Megan Trainor style. The very start of I Love My Body, the brass and retro-prevalent instrumental and vocals throughout its verses and the backing vocals in the chorus pretty much embodies this style quite well. And we are lead to believe the chorus would follow suit with I Love My Body‘s incline towards the central piece and the classic piano that is synonymous with retro-pop numbers. But then the chorus takes an unexpected turn, with the retro instrumentation being substituted out for a bubble-synth backing piece and HWASA delivering the chorus in a monotonous spoken (almost mumbling-like) manner with a descending melody. I am not too bothered by the bubble-synth backing (I actually liked it as part of the backing for the instrumental/dance break I Love My Body ended with), but it does make for an odd drop in terms of I Love My Body‘s trajectory. With the spoken delivery, I am not a fan, even though I do find it memorable, unique and somewhat catchy retrospectively (just not for the right reasons). The combination of both terminally disrupts the flow of the song, making I Love My Body restart its momentum and appeal from scratch. It is a pity, because we do get a few good moments of vocal work from HWASA in I Love My Body, particularly the second half of the second chorus (or is it the bridge?). That sequence blew me away, but it (and the song’s verses) did not compensate for the chorus we got. I Love My Body and HWASA unfortunately disappoints.

From the music video and the title of the song alone, you can tell that this song is about self-confidence. And in this video, HWASA shows off her body throughout the video with no hesitations. The ending of the video with the dance break between the two police cars felt like a homage to the classic KPOP hit Bubble Pop, which was released back in 2011 by HyunA (a former P Nation artist). And I thought that was a fitting video to pay homage to in the summery period that is just ending. I also enjoyed the choreography scenes with the many dancers (definitely a 2023 trend to me) in the car park. It looked cool and epic without doing too much.

I actually quite enjoyed the choreography. It actually looks like a refined routine that show confidence in those who perform without needlessly flaunting their body and doing too much in the routine. It also fits the retro-pop song well. I don’t think I would ever associate retro pop with a flaunting performance. Per usual with HWASA’s performance style, she and the dancers do give bit more intensity to make the routine a bit more enticing.

Song – 6.5/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.4/10

[Review] GGBB – MAMAMOO+

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Congratulation to MAMAMOO+ for being voted ‘Best Subunit of 2022’ in the 2022 KPOPREVIEWED Awards. Click here to find out which other artists, songs and performances you voted as winners for the 2022 KPOPREVIEWED Awards.

MAMAMOO unveiled their first subunit, MAMAMOO+ consisting of Solar and Moonbyul, last year in August through the release of Better (ft. BIG Naughty). Unfortunately, I didn’t get around to reviewing it for a few reasons. But never say never, as I might go back to review it once I get some free time, especially since MAMAMOO+ was selected as the Best Subunit of 2022 in the 2022 KPOPREVIEWED Awards. But today instead, I will be reviewing MAMAMOO+’s comeback single from their first single-album release, Act 1, Scene 1, which dropped last week.

GGBB (Good Girl Bad Boy) is the title of the single in question. GGBB is a doo-wop retro song that has a mild cutesy tinge. The retro influence is reminiscent of their original group’s early work that they persisted and succeeded with when they first started out. I did feel the cutesy charm of the song made it feel slightly childish, but it also enabled a decent elements to come to life in GGBB. One of these is the very light chorus melody. At first, I thought it was weak and it would have helped if the chorus had some backing. But multiple listens since its release, and GGBB has managed to turn that thought upside down. Now, I appreciate the lightness and drifty nature of the melody. It feels fitting and comes off as catchy. Both Solar and Moonbyul do a nice job in the song. Solar definitely has the vocal appeal to pull this sound off. I had concerns for Moonbyul initially, given how high and light the chorus went. But she does fits into the song and her huskier tone gave GGBB an interesting appeal. The only thing that really irks me about GGBB is the electronic/autotuned dance break. I will admit it was a good beat. But in the grand context of GGBB, it is more of an experiment to incorporate something different into the song, per current trends. But this particular dance break just didn’t work and ruined the flow that GGBB had created itself. I honestly don’t understand the need to do this. I am sure if the producers selected a bridge or instrumental break that aligns itself with the retro influence of the song, GGBB would have been a solid release through and through. But unfortunately, the dance break we did leaves GGBB disrupted and potentially broken.

The music video is set up like a musical show/concept. It is a fitting concept for a retro based song. It isn’t an innovative idea, but it was well executed. The dance break tries to incorporate a modern element to the musical stage concept. And just like the song, the hip-hop direction it went in was quite ill-fitting. Minus that, and I think the video would have been a decent one. I quite liked the final chorus and ending, where the producers made it feel like a finale. Once again, well-executed.

I found the routine for this comeback to be a fun one. I liked the bright and cutesy tinge it had, which works hand-in-hand with the sound of GGBB. While their dance break was performed on stage as well, I did like the KBS Music Bank version of GGBB, which incorporated Chico Malo (MAMAMOO+’s pre-release, which I am hoping to also review sometime in the near future) into the performance in place of the dance break. The issue of not fitting in still stands, but I find it much better than the dance/instrumental break we get part of the original song.

Song – 7/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] PRESENT – Moonbyul (MAMAMOO)

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Another KPOP act to make her comeback towards the end of the year is Moonbyul. For some odd reason, Moonbyul’s comeback with PRESENT felt out of the blue. But I cannot pinpoint why I feel that is the case. It might be due to the fact that she has been quite busy in 2022, with a fairly active start to the year with solo releases LUNATIC and C.I.T.T, participated in MAMAMOO’s first subunit with SOLAR, and she just returned with the rest of MAMAMOO for ILLELLA. Anyhow, Moonbyul’s comeback is titled PRESENT (as already mentioned) and its release coincides with her 30th birthday. Happy belated birthday Moonbyul!

Just listening to the song alone, PRESENT is, put simply, a pleasant song about Moonbyul’s wishes for her birthday. Nothing more, nothing less. The track falls into the R&B realm, but it does features a bit of funk through some brass elements in the chorus, which helps liven up the song a bit and give it some groovy energy. It isn’t anything major or show-stopping. Rather, it just invokes a happy and gleeful tone that contributes to the pleasant nature of the song. Whilst PRESENT is primarily about her birthday, Moonbyul also adds a bit of holiday flair with the addition of sleigh bells to the song each time Christmas is mentioned in the lyrics, as she makes references to the fact her birthday is just three days out from Christmas. And you cannot really celebrate a birthday that close without acknowledging the upcoming holiday in some manner. Melody and hook-wise, nothing stands really stands out. But I did feel Moonbyul’s nasally tone was quite comforting in the song, and I enjoyed her weaving in and out of vocals and rapping throughout the song. PRESENT isn’t anything spectacular, but it is a nice listen nonetheless.

Just how I mentioned how it is hard to celebrate a birthday just a couple of days out from Christmas without making reference of some kind to the holiday, this video references both birthday and holiday. In addition to seeing Moonbyul set up and celebrate her own birthday, there are also Christmas/holiday references throughout the video. Overall, it is a cute video to watch and there was a nice warm tone to it. In particular, I quite liked the whole montage during the bridge that brings Moonbyul to the cake. There was something with the spotlight and the idea behind the montage that made it a memorable scene/shot for me.

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

[Review] ILLELLA – MAMAMOO

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Let’s knock out some reviews for some new and recent releases. And there is a lot of them this week. First up, I am covering MAMAMOO, one of my favourite KPOP of all times. So far this year, it has been fairly quiet on the group front with all members focusing on their solo careers via solo comebacks and collaborations. Slowly, the group turned towards group activities, beginning with the Mamamoo+ subunit consisting of Solar and Moonbyul, whom collaborated with Big Naughty with Better (yet to be reviewed). Now, the group has returned to group promotions as a full group with the release of ILLELLA and their 12th mini-album, Mic On.

For me, ILLELLA feels like a return to form for the group. Since the release of AYA in 2020, I felt the group hasn’t really been showing themselves off as much in their title tracks. While each song did have their individual charm (even though I didn’t realize it at the time of review), I do miss the days when MAMAMOO performed a meaty song with thanks to their vocals. With ILLELLA, the group definitely delivered strong vocals that had bite to them. And with a song that has some nice percussive bass, I feel that ILLELLA has proved itself to be what I have been craving for. Sure, ILLELLA is still a length away from being the group’s best track. But it still does a decent job of throwing itself up there. The biggest charm of ILLELLA alongside the vocals is that it features a dose of reggae influence, which adds some zing to the pop that features as an underlay in the song’s instrumentation. The biggest flaw, on the other hand, is the fact that the song sounds repetitive, which is probably thanks to that guitar riff and the way the hooks were looped. It dries up the song, which is disappointing. I wished the song had done something more to dispel this repetitiveness. Potentially, having an instrumental piece of song kind earlier in the song and that dance break we got as part of the music video but not the official audio would have been great addition to ILLELLA. It was quite unique and the broke the song up decently. The way it used the ILLELLA hook and glitched it was rather intriguing. This would also been quite an addition to help prove to others that MAMAMOO can indeed perform a more complicated routine. But overall, ILLELLA hits the spot.

I quite enjoyed most of the music video. It is one of those videos that makes the members look good, with the standard formula of closeups and choreography shots. The outdoor scenes with the colourful outfits, the more brown and earthy tones brought forward through their fitness wear choreography scenes, the different solo shots we got of the members, the black leather outfits (Solar looked so good in that dress!) – there were definitely many scenes where the group looked amazing. The biggest no-no for me was when the members were on top of the car, driving down that city-pop highway. It just felt so cheesy and forced. The truck dance break was also pretty bad conceptually, but it was bearable (as the video reverts to that proper dance set).

The song definitely had rhythm, and you can feel it in the accompanying choreography for this comeback. I liked how the members also really embraced the reggae and used it to their full advantage to give us a sensual performance piece. I also really liked how the dancers added to the stage performance, allowing the group to focus on their live aspect of their performance.

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

[Review] C.I.T.T (Cheese In The Trap) – Moonbyul (Mamamoo)

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I am jumping around today with my reviews this weekend to focus on solo artists who have released songs over the last few weeks that I have yet to cover on my blog. First up is actually a release from this week. Moonbyul is back with a new single, C.I.T.T (Cheese In The Trap). This is a pretty quick comeback for the solo artist, given that Moonbyul just release a mini-album earlier this year, headlined by the title track LUNATIC. But I am not complaining!

C.I.T.T doesn’t give me much to complain about, anyway. I am a big fan of upbeat tracks, in general. Extra points are given if the song makes me smile. And C.I.T.T fits the bill perfectly, fulfilling both criteria that I had outlined just now. C.I.T.T has this strong and satisfying pop rock sound that energises you as you listen to the song. Its undoubtedly fun, playful, bright and catchy. I am of the opinion that more could have been done to make the instrumental a bit more exciting and unique, but it works extremely well as it is presented to us. What makes C.I.T.T even more enjoyable is Moonbyul herself. The song plays towards her strengths in both the vocals and rapping departments, My favourite part of the song is the pre-chorus, with the raspy nature of her vocals perfectly highlighted for the ramping up sequence of the song. Her vocals in the chorus and second half of the bridge are also great moments. The melodies and hooks were catchy enough to make the song memorable and addictive. I can definitely see myself returning to C.I.T.T, which is the highest compliment that anyone can pay a song.

In this video, Moonbyul is a student who wants to experience love. Everyone around her is getting confessions, flowers or are in a relationship. She turns to a tape that teaches her how to put the ‘cheese in the trap’, which in this case is code for ‘make someone fall in love with her’ (i.e. trap them). But instead of following the tape itself, Moonbyul decides to embrace her true self to find that someone, instead of following some cheesy instructions from a tape. She would be more comfortable and this will be attractive to many people! Aside from the cute storyline, I really liked all the different looks that Moonbyul donned throughout the video. From the typical school student look to the punkish rock star at the end, she definitely showcased multiple sides of herself, which is fun and appealing.

I liked how the choreography embodied the fun side of the song. Nothing stood out, but it was a great routine that matched the energy of the song well.

Song – 9/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.8/10

[Album Review] 6equence (2nd Mini Album) – Moonbyul (Mamamoo)

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The final album review for this weekend is for Moonbyul. Mamamoo’s rapper returned as a solo artist back in January with the title track LUNATIC. This follows two pre-releases in December 2021, G999 (ft. Mirani) and Shutdown (ft. Seori), both of which are featured on the 6equence mini-album as well. In addition to the title track and pre-releases (per usual, you can find the links to their respective reviews in the body of the album review), there are two more side tracks, an introductory track and the English version of her title track (not factored into the final album rating).

6equence definitely shows Moonbyul’s range. She goes from a fun title track to very emotional and heavy ballads. I would love to hear Moonbyul explore more and attempt different styles, given that her parts in Mamamoo’s songs tend to be quite limited (however, that has changed more over time after she gained more confidence in her vocals). Continue reading to find out my thoughts on her side tracks and more!

6equence Album Cover

1. Intro: Synopsis – Starting off the mini-album is an intro track titled Synopsis. It is a smooth R&B track that exudes a sensual and alluring atmosphere. The long instrumental segments of this song tell me that Synopsis would be more of a performance piece (Spoiler: it definitely was a captivating one, based on a performance I found at her solo concert from earlier in the year, capturing the smooth and sensual descriptions I just mentioned). We do get some vocals, and they work well with the instrumentation. (8/10)

2. G999 (ft. Mirani) – Click here for the full review for G999. (8.5/10)

3. Shutdown (머리에서 발끝까지) (ft. Seori) – Click here for the full review for Shutdown. (9/10)

4. LUNATIC (Title Track) – Click here for the full review for LUNATIC. (8/10)

5. For Me (너만 들었으면 좋겠다) – For Me enters R&B ballad territory. The instrumental features straight forward acoustic guitar and simple percussion. Sometimes simplicity is just enough, and this song proves just that. The simple nature of For Me also allows the focus to be placed squarely on Moonbyul’s vocals. You can tell just from her tone (and of the instrumentation) that For Me is an emotionally loaded song, and the melodies make For Me quite riveting. A strong song, ‘for me’. (8/10)

6. Ddu Ddu Ddu (내가 뭘 어쩌겠니?) – Ddu Ddu Ddu adds a slight kick to it that puts the song into mid-tempo waters, thanks to its band instrumentation. But that doesn’t really change much else, as Ddu Ddu Ddu continues the emotionally loaded direction of the album. And Moonbyul’s vocals a definitely top notch here. I find the band instrumental to be more up Moonbyul’s alley, as it enables for a smoother transition into rapping and Ddu Ddu Ddu’s style definitely fits her vocal tones. (9/10)

7. LUNATIC (English Version) – Refer to my full review of LUNATIC linked above.

Overall Album Rating – 8.4/10

6equence / LUNATIC Teaser Image

[Review] HONEY – Solar (MAMAMOO)

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Solar also made her comeback this past week with the title track HONEY and first mini-album, 容: Face. HONEY follows MAMAMOO’s main vocalist’s solo debut from two years ago, Spit It Out.

Like the other solo acts who returned last week, Solar’s return is also of the upbeat variety. This didn’t come as much surprise to me however, given the likes of Spit It Out. HONEY jumps out at me thanks to its dynamic house instrumental. In addition to this, HONEY also thrived on different textures. One segment was minimal, another was smooth, and then really heavy on the thumps. This, to me, made it appealing and striking to listen to. The brass following the chorus was a nice addition, adding a fun vibe to the song. Of course, Solar also plays a big part in making HONEY appealing. Aside from co-penning and co-producing song (obviously a big player in the existence of this song), Solar’s vocals were pretty neat throughout HONEY. I personally thought she did a good job of reflecting that dynamic nature and energy of HONEY through her mixed deliveries and vocal colours. Sure, it might not yet be the showcase of powerhouse vocals that I am sure many of us are waiting from Solar, but it worked well with the instrumental. The hooks and melodies we get helps make HONEY one of the catchiest and memorable songs from the past week, and they work extremely well in tandem with the instrumental. However, I am of the opinion that HONEY did not need rapping, however. The rap sequence in the second verse was probably the dullest segment of the song for me. But apart from that, HONEY was fun, likeable and one of my personal favourite releases of the week.

Another really great aspect of this comeback is the music video. The use of one colour for each shot made the video extremely visually appealing, striking and loud, just like the song. Solar’s visuals throughout the video was top notch, and her stylists put her in some really great outfits that really emphasis the colours that was the theme of the shot. Unfortunately, it isn’t an innovative idea. But Solar and the production team pulled it off, nonetheless.

For the performance, nothing really stood out on its own. But the entire routine was vibrant, which helped make the choreography worth watching. Listening to Solar sing live is always amazing, as well, given how stable she sounds on stage.

Song – 8.5/10
Music Video – 8/10
Performance – 7.5/10
Overall Rating – 8.1/10

[Review] Shutdown – Moonbyul (Mamamoo) ft. Seori

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Like my last post, there is another track that fits the brief (solo artist, song released in the last few months, and should have been covered before I reviewed the main title track) from last year. That track is titled Shutdown, a collaborative single from Mamamoo member Moonbyul and Seori, released at the end of last year as well. Shutdown is one of two pre-release singles (the other being G999) that is featured on Moonbyul’s latest mini-album, 6equence, which is lead by the single LUNATIC.

Shutdown is a smooth mid-tempo R&B track with one of those swayable melodies that I love. One of the things that stuck out at me (and to a lot of listeners as well) were the lyrics, which had two key chrematistics – they promoted inclusivity and were a bit erotic as well. Essentially, Shutdown is a song about a relationship between two women and Moonbyul has been receiving praise for this. Moonbyul has also confirmed the erotic nature behind the lyrics. Good on Moonbyul for breaking boundaries with this song, as it is pretty rare sight in KPOP. Aside from lyrics, we also have the amazing vocals of both Moonbyul and featuring artist Seori in Shutdown. Moonbyul’s natural lower tone is well utilised in Shutdown, keeping the song grounded. As for her rapping, I kind of understand its presence in this song to make the song a bit more interesting and not as repetitive. But I felt it was a bit too heavy, and should have adopted a softer approach to compliment the rest of the song. Seori brings a higher and lighter tone. I really enjoyed the airness that her vocals brought to Shutdown, and helped made the chorus more prominent. This is also why I feel Moonbyul purposely used her lower tone to ensure Shutdown isn’t too light and airy. Both artists balance each other and creates such a good track. The best part of Shutdown definitely has to be when the two vocalists alternate with each other the lines of the pre-chorus. Definitely the most memorable part of Shutdown. I also found the bridge to be stunning. A beautifully pre-release overall.

The music video is pretty nice looking as well, which compliments the song well. The golden hue we get from the lighting and colours is very warming and comforting. The video depicts the relationship between two females as mentioned in lyrics/song portion of the review. But instead of being erotic like in the lyrics, the music video shows a sweeter side of the relationship. At first, it appears like Moonbyul is alone and Seori is like a ghost. But at the end, I liked how they transitioned it so that Moonbyul and Seori are seen interacting with one another (whilst also lip-syncing to the song).

Song – 9/10
Music Video – 8.5/10
Overall Rating – 8.8/10

[Review] LUNATIC – Moonbyul (Mamamoo)

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Moonbyul made her solo comeback with the new single LUNATIC and mini-album, 6equence. This comes almost a year after the release of her Eclipse / Absence and Dark Side of the Moon mini-album, with the latter scoring the ‘Most Viewed Album Review of Year‘ award, as announced in the recently published 2021 KPOPREVIEWED Awards Winners post. Congratulations Moonbyul! This isn’t the most recent sighting of Moonbyu on this blog, however, as she has been busy teasing us with some pre-releases, including the December releases of G999 (ft Minari) and Shutdown (ft. Seori). Fellow member Wheein also made her own solo comeback earlier in the same week with Make Me Happy.

LUNATIC is a complete change in character for Moonbyul, who made her comeback last year (Eclipse) with a much darker and sinister vibe. Even her repackaged single (Absence) that she promoted was very mature sounding. On the other hand, LUNATIC is a much more fun and upbeat track. It isn’t exactly the most infectiously catchy track of that week, but there is some charm to LUNATIC. I really liked the chorus of this song, simply because the energy of the entire track is well concentrated in the choruses of LUNATIC. This track embodies a funky vibe, which is no doubt on trend with the funky pop instrumentals. I quite enjoyed the ‘Lu-Lu-Na-Na-Na-Lunatic‘ hook and the melodies around it that Moonbyul delivers. It is catchy enough and gave me an impression of a great time. Like in her other solo tracks, we get to hear more of Moonbyul’s vocals and rapping abilities. It is amazing to think that a few years back Moonbyul was shy about her vocals, and that she has come very far to bring us multiple solo tracks that are vocal-centric. Now and in LUNATIC, she is hitting high notes and gives us pleasant vocals that encapsulates that already mentioned fun vibe. When it comes to her rapping, Moonbyul did well (as expected, given this is her expertise). In the first verse, I liked how her rapping sequence blended in with the verse, while in the second verse, her rapping was bold and a bit crazier, showing us a slightly edgier and crazier side to her in this song. Overall, LUNATIC delivered well on the other elements and this made the song great!

In this music video, Moonbyul plays the role of a suspected killer, who is committed to a hospital and later escapes. I like how she used this concept to relay her feelings of falling in love, taking the idea of falling crazily in love with someone to an extreme. It does tether on a fine line in some regards, but I think it worked extremely well in showing off that fun energy that the song has. Moonbyul was extremely charmful and funny throughout the video.

I enjoyed the performance, simply due to the fact that Moonbyul looked she was having a blast on stage each time I watched a performance for this comeback. For the most part, everything felt standard and there wasn’t anything really that impressive. But I did like the chorus routine and thought the performance as a whole took on that fun energy well.

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

[Review] Make Me Happy – Wheein (Mamamoo)

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My next review is for Wheein’s solo comeback, which was dropped on the Sunday that had just past! Leading her latest mini-album, Whee, is the title track Make Me Happy, which music video also dropped on the same day. Both Make Me Happy and Whee is also her first release as a solo artist outside of RBW, which is still managing her Mamamoo activities. In June of last year, Wheein had chosen not to renew her personal contract with RBW, but did sign another contract to stay on as a Mamamoo member so that the quartet would continue on for the next while Her lost solo release under RBW last year’s water color. A few months later, it was announced that Wheein had signed on with THEL1VE, which is a label founded by Ravi (VIXX member), and is also home to Ailee.

Right from the get-go, Make Me Happy is such a pleasant and soothing track. There is a lot of enjoy in the song. To me, Make Me Happy comes off as an upbeat R&B track that has a tinge of retro flair to the song. Not really the most mind-blowing combination, but it is still appreciable and stunning at times. The bass line gives the song a nice oomph, which prevents it from dulling and increases the appeal of the song by many folds as opposed to the track going down the standard R&B sound. Wheein’s vocals bring a delicate touch to the song. Her vocals are whispery and light, while the melodies were smooth and flowy. I liked the pairing of the upbeat instrumentation with Wheein’s vocals. They offset the flaws of each other and creates a harmonious track that I find is very pretty, beautiful and an enjoyable track to relax or chill to. However, I do feel like my opening statement is a bit of a double edge sword to the song. While being pleasant and soothing is a great thing at times, I do think this is Make My Happy‘s biggest issue. And it is simply due to the competition that both the song and Wheein faces. In the midst of releases that have dropped this week so far, I don’t know if ‘pleasant and soothing’ is the right way to go. It is quite a crowd to navigate in. For example, if I wasn’t writing a review blog, I think I would have missed the release despite being a fan of Mamamoo, due to the fact that it is a Sunday release and that I tend to steer towards more lively and dynamic tracks (which yesterday and today is in abundance of).

To compliment the pretty song is an equally as pretty music video. There was such a heavy presence of flowers and butterflies throughout the video, and Wheein’s visuals got more and more breathtaking as the video went on. The purple dress and the flower head piece, as she walked down that hall, was definitely the money shot for me in this video. The visual work at the start and the post-production throughout the video (such as that beautiful hole in the wall and Wheein bursting into butterflies) definitely took the video to the next level. I also like the overall colour palette of the video. There were a mixture of pastels and stronger tones throughout the video, which helps makes this music video look less muted.

Song – 7.5/10
Music Video – 10/10
Overall Rating – 8.5/10

[Album Review] Guilty Pleasure (1st Single Album) – Hwasa (Mamamoo)

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Kicking off the new year is an album review for Hwasa’s latest single album release, Guilty Pleasure, which dropped at the end of November of last year (kind of weird saying that when last year was only two days ago). The single album features the title track I’m a B and two other new tracks from the Mamamoo member. Guilty Pleasure and I’m a B follows Hwasa’s 2020 comeback, Maria, which I reviewed both the mini-album and title track for.

Guilty Pleasure Album Cover

1. FOMO – FOMO is an all-English track that starts off with R&B sound. It is a sound that suits Hwasa and the song had a good beat and rhythm. I quite enjoyed her vocals, especially when it was strengthen by the backing vocals. Striking would be the word I use to describe her. But I note that FOMO wasn’t going anywhere, and I didn’t think I would like the entire song if it were just like this repetitively. That mentality was thrown out the door up when we approached the 1:20 minute mark, where FOMO breaks down and Hwasa brings in this soft, moody and ambient piano ripple. Her voice goes soft and whisper-like, and this really extremely bone-chilling. That change was an extremely bold, and worked a treat as it pays off in making the song memorable and unique. (9/10)

2. I’m a B (Title Track) – Click here for I’m a B full review. (7.5/10)

3. Bless U – Hwasa wows me in Bless U with her vocals. Hwasa already has unique vocals in general and the huskiness and raspiness helps Hwasa stand out from afar. But in Bless U, she builds up her vocals and soars to make this a showstopping track. I cannot help but close my eyes to take it all in. The instrumental was a bit plain for the most part, but I liked how it kept a minimalist vibe so that the focus is purely on Hwasa’s vocals. Despite that, there is still a bit of build within the instrumental of Bless U, and I did like how the song ended with electric guitars. (8.5/10)

Overall Album Rating – 8.3/10

Guilty Pleasure Teaser Image

[Review] G999 – Moonbyul (Mamamoo) ft. Mirani

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Mamamoo is nominated for Best Vocals for Where We Are Now in the 2021 KPOPREVIEWED Awards. Support Mamamoo by clicking here to vote now!

Moonbyul, Mamamoo’s resident rapper, is gearing up for a solo comeback in 2022. But while that is the formal comeback timeframe, Moonbyul will be teasing her return with a few pre-release singles. The first is G999, which dropped earlier today. It features Mirani, who is an independent South Korean rapper who debuted last year. This is the first solo release from Moonbyul since her solo debut with Eclipse at the start of last year.

G999 tackles retro hip-hop, with a newtro background and old school vibes that takes you back to the 90s. G999 comes off as fun and vibrant, which is pretty typical for the influences in this day and age. However, the typicalness in this song is not an issue, as I find myself grooving along to G999 since the very first listen. I also find the song to be quite light despite being heavy on those retro synths. The lightness helps make it sound pleasant, but also aids in the fun side of the song as well. I like how it doesn’t mess with the sound, staying consistently retro hip-hop 90s throughout. As they are rappers, both Moonbyul and Mirani fits in very well into the track. Their rap sequences definitely had nice flow and their delivery was pretty good. Nothing mind-blowing at all, but that doesn’t upset G999. Moonbyul also throws in vocals for the chorus and she sounds really good. I am glad that she has found her confidence to sing, as it pays off each time she does! The lacking element of G999 are the hooks. I would have liked to have heard something more punchy and memorable. That would have made G999 even more powerful and impactful. Melody-wise, I think that pleasant description I used comes back to me. Overall, G999 is a pretty nice break from the heavy synths of today’s electronic music or the classical instrumentation that comes in ballads and Christmas songs typical of this time of the year, and you thank that to the G999’s retro instrumentation and well-executed vocals/raps.

As expected, the video also takes a page out of 90s hio-hop era with video that would fit right into that era. The camera shots, lighting, post-production and even their white outfits are all a callback to that era. I like the splash of colour they added to the video via the random paint on the plastic curtains and lime colour lighting as well. My only gripe about the music video is how empty it felt. While the pair look like they are enjoying their time, I wished there was more people in the background to make the video a bit more exciting. Maybe COVID-19 prevented them from getting background people in, but I feel that would have made this video better.

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

[Review] I’m a B – Hwasa (Mamamoo)

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Mamamoo is nominated for Best Vocals for Where Are We Now? in the 2021 KPOPREVIEWED Awards. Support Mamamoo and your other favourite artists, songs and performances by clicking here.

Making her return to the stage yesterday was Hwasa, with I’m a B (I’m a 빛). This new song is the title track off Hwasa’s second single album, Guilty Pleasure, which also dropped yesterday. This is Hwasa’s first solo comeback since Maria last year, and the first time we have seen her since Mamamoo’s return with mumumumuch earlier this year.

With a title like I’m a B, I’m a B is pitched to us initially as a bold track. But interestingly, the song isn’t that bold. The only boldness I really get from the song is when Hwasa exclaims ‘I’m a 빛‘ at she exclaims during the chorus. As an English speaker, that is pretty gutsy, but very clever when you factor in the Korean pronunciation of the Hangul there. But apart from that, I’m a B is a pretty tame song that sits in very subdued territory. I wished the official song featured the traditionally instrumented dance break in its entirety from the music video. Hwasa and her producers were on to something! It really pulled me in, and felt bold in a sophisticated manner. Its omission from the official audio felt like a missed opportunity. But while that is the case, I’m a B still manages to appeal with its nice melodies and the fact that Hwasa can captivate in such constricted territory. For I’m a B, the melodies felt simple. But they were also highly effective. In conjunction with Hwasa’s raspy vocals, I’m a B is charming and exudes a lot of charisma and confidence. All of which is a constant factor that Hwasa has managed to bring to us in her title tracks thus far. Also adding to the appeal of the song was the mature-sounding instrumental. While it played a heavy role in that tame/subdued nature, I also think it also brought out additional charm. Nothing really stands out in it, but I do find that it keeps true to the current trends of heavy bass and snappy percussions. It also felt a bit like a blank canvas, enabling Hwasa to do her thing. Overall, I’m a B plays towards Hwasa’s strengths, though I wished that it was bolder like how its title suggests.

What a stunning video. The visuals throughout this music video were on point, and amazed me. Underneath the visuals are some meaningful scenes/details. I stumbled across this one tweet (see below) while search for hashtags that I thought was very interesting. I liked how it explains the start of the video (i.e. Hwasa was in a crate full of water) and I believe the start also ties into the Maria music video. Aside from that, I also wanted to mention the epicness of the dance break that features in the music video. I was in awe and stunned at the beauty of that section. Not just at Hwasa’s presence, but also the instrument player and the dancers. Also when the instrument crumbles, that was a really strong and impact shot. Definitely a video to watch!

Once again the confidence that Hwasa exudes in the performance/choreography has to be mention. It make the rest of this component even better. More sensual and mature. I really liked the elegance of the dance break, and its contrast with the following part of the song where she does some tutting. A few different influences that somehow blends into one stunning performance.

Song – 7.5/10
Music Video – 10/10
Performance – 8.5/10
Overall Rating – 8.5/10

[Review] mumumumuch – Mamamoo

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Mamamoo probably had their least memorable comeback in their entire career earlier this year with Where Are We Now. I personally thought it was decent comeback for the group. But promotions for the track didn’t last long and there wasn’t much hype for the comeback with pre-releases and other promotional material. I guess this was partly due to the limbo the group had faced at the time of release (Wheein was still negotiating her contract with RBW). Well, the good news is that Mamamoo is here to stay after Wheein resigned with RBW for group promotions, but will be managed as a solo artist under AOMG. I guess with that confirmation and a seven year career to look back on makes way for a compilation album, I Say Mamamoo: The Best, which they dropped yesterday. It features a lot of new versions of their past hits and the latest single, mumumumuch.

mumumumuch is another light and pleasant song to come out this week. It takes on a retro funky pop sound, which gives the song a bit of life. But like yesterday’s review, I felt that mumumumuch was far too light in all regards, and hence the song didn’t hold or captivate me. Honestly, I delayed the review of this song by a day in hopes that my initial thoughts on the song would change, but the lightness was just too prevalent. It was okay at the start, given the opening sequence felt more so like it was in ballad territory. To go on a funk spree right after would feel a bit overwhelming. But as the song progressed, I wished it had picked up more and became more substantial and fulfilling. The chorus does seem to go in that direction, but unfortunately not as much as I had hoped for. And the rest of the song then just carried on then exactly how it started, There was a bit going on the percussion side of the song, which helped keep the song a bit interesting. But it just weren’t enough to keep me interested. The vocals were nice throughout mumumumuch, breathy and breezy. Wheein’s ‘Beast‘ was a cute (but terrifying at first) addition to the song. There were also some nice melodies. But with the instrumental, the vocals were just too lightweight for my liking. I wished the vocals had a bit more heft. I felt mumumumuch was an excellent opportunity for Moonbyul to rap in a more powerful manner, and I felt that Mamamoo could have granted some of that ‘heft’ wish via this element. I also thought it was odd that mumumumuch lacked a substantial hook. I didn’t find anything within mumumumuch that was worthy of being labelled as a hook, as anything that could have had potential was whisked away by the lightness of the song. Overall, mumumumuch is a decent song. But it also falls in some areas, thanks to the lightweight of the track.

To match the light energy of mumumumuch, the music video was quite pleasant. Nothing really special happened in the music video, just we saw the members have a bit of fun and enjoy each other company’s. I get the impression that the group went on a road trip and their company decided to film a music video then and there. It doesn’t really trouble me, but it isn’t the most exciting idea in the world. I am also not a fan of that light hazy filter they put on the video. It was subtle, but it felt like it dulled the video a tad too much for me.

My understanding is that the group performed this track for the first time at their recent online concert. It featured a pleasant and fitting routine. I don’t think anything else can be or needs to be said about the routine.

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