Tag: Mark Tuan (GOT7)

[International Song Reviews] ITZY, Mark Tuan (GOT7), Jackson Wang (GOT7), CIX, Golden Child, Woosung (THE ROSE)

Posted in KPOPTagged , , , , , , 1 Comment

As promised in the previous International Song Review post to increase the frequency of these reviews, I am back with a new International Song Review post for another six releases by our beloved KPOP artists. In that previous post, I reviewed non-Korean songs released by Momoland, BM (from KARD), Mark Tuan (from GOT7), THE8 (from SEVENTEEN), JAMIE and SEVENTEEN. In this post, I will be focusing on releases from ITZY, Mark Tuan, Jackson Wang, CIX, Golden Child and WOOSUNG. Let’s go!

Voltage – ITZY

Back in April of this year, ITZY released their first original Japanese single, Voltage. One of the aspects of Voltage that I really enjoyed was the electrifying energy that came from the song for me. It isn’t as in your face as it could have been, but holding it back definitely helped make it more impactful from how I see the song. The pop rock influence was very cool and fulfilling. The brassy synths were cool, as well. The vocals and rapping were substantial and definitely added bit of attitude and sass to the song, which took Voltage to a different level for me. I have no qualms with the eventuating girl-crush vibe that comes from Voltage, mainly because it is was well executed. My only criticism I personally have is that Voltage lacked a centric hook – one that usually makes their Korean releases more memorable and addictive. Had Voltage found a centric hook like that, this would have been a 10/10 song for me.

There were some good editing and post-production throughout the video. You might even call it seamless. It, combined with the motorcycle rider concept, helped create an edgy and cool vibe, as well. However, there were some questionable examples of post-production, as well. Namely Lia’s solo scenes with that glassy and snowy background was pretty awful. I don’t know what was the purpose of her scenes, given that the other scenes involved the night time or some sort of darkness in the background. The choreography was pretty cool and definitely worked well with the energy coming off from Voltage. I wished there was a more angsty vibe from the choreography and stage performances, just to give Voltage more oomph.

Overall Rating – 8.5/10

lonely – Mark Tuan (GOT7)

Mark Tuan is going to be a recurring artist in this segment over the next few posts, as he has been quite busy with his solo releases. lonely was released back in March of this year. It too jumps on board with the rock trend, though it steers away from the current pop rock trend of KPOP. However, I am not talking about an electrifying form of rock with headbanging potential. Instead, lonely is quite an emotional song, where the singer realizes his true feelings for his lover following their breakup. You can definitely feel the emotions from his vocals as well. There is still a degree of charge from the rock influence, which helped made lonely quite impactful, particularly since since it emerged out of nowhere. Usually you can tell from the pre-choruses of emerging influence, but Mark Tuan just skips the pre-choruses altogether. The combination with the synths and bass gives off more of a trendy vibe. Altogether, lonely is a strong solo track without the need of using a powerful backing.

The music video is quite simple, with a white backing, some fog, some black paint marks (couldn’t tell what the paint marks were trying to show/say), a black couch and Mark Tuan dressed in a black outfit. The video itself was almost a one-shot video, but there was some editing part way and in the bridge. But with such a video, the focus is on Mark Tuan and the passion he puts behind the delivery of the song within the music video. This, along with the fact that I am a sucker for simplicity, makes the music video for lonely very appealing to watch.

Overall Rating – 9/10

Blow – Jackson Wang

Fellow GOT7 member Jackson Wang has also been busy this 2022 with a few new solo singles under his wing. Today, I am reviewing Blow, which was released at the end of March. Blow is an example of my personal favourite style of pop rock genre combination that I am into. The beat is just so stompy, while the actual rock components of the song give off a grungy vibe. The pre-chorus has that head-banging potential, while the chorus really concentrates that stompy factor that I already mentioned with everything else instrumentally. And this is on top of being memorable with the background ‘Oh-Oohs‘. The bridge featuring Jackson’s falsetto was very sleek, while the follow-up autotuned ‘Twinkle Twinkle Little Star‘ provided a different colour yet familiar atmosphere that came about from the preceding sections of the song. I think it is safe to say that I am still digging Blow, after all these months.

Blow is about being addicted to and unable to escape from a toxic partner. And I feel we get an abstract showing of this idea. The music video depicts an old style roadshow (maybe of the circus variety, and thus The Greatest Showman vibes). Jackson, along with the dancers, are performers of the show. The conditions are quite dusty and old looking, suggesting these are the victims of the toxic partner (which I am assuming the grand show person of the roadshow). It is one massive interpretative dance party, before Jackson leaving, suggesting that he realizes and leaves the grip of the toxic partner. I found the use of smoke to depict the ‘blowing’ to be quite clever and fits in with the rest of the video’s concept. I also like how the choreography within the music video really picked up on the energy of the song and how the space was used.

Overall Rating – 9.6/10

Pinky Swear – CIX

Also at the end of March, CIX released their third official Japanese single. Titled Pinky Swear, it is a pop track that is a completely different offering to what CIX puts out in Korea (see the recent 458 for an example of CIX’s Korean work, if you are unfamiliar with the group). Pinky Swear is a lot brighter as a song and falls on the pleasant side of pop music. It is fun and upbeat, but a lot more traditional and typical. Decent melodies, vocals and rapping are also a feature in Pinky Swear. I do like the sweetness the vocal brings to the song, which helps add a cheerful factor to the song. It does lack a memorable hook, relying on a smooth melody to really key the song into my memory bank. As a result, Pinky Swear does slip away from me (and I nearly forgot about it when I was planning the segment). I much prefer their pre-release, Wondering, which I felt would have been a better fit as a promotional track for CIX when you consider their Korean work, as it potentially could have been aesthetic.

Pinky Swear‘s music video is quite colourful and plays well into the pop side of the song. The colourfulness adds a level of sweetness to the visuals of the song. Plus with the presence of sugary visuals (i.e. donuts and candy), I feel like the video almost teethers into the saccharine territory. Thank god, we aren’t seeing sets made out of candy and sugary treats. The members show off cute and loveable visuals, which I am sure fans would enjoy. Though, I do find it amazing that in a matter of five months, the members are seducing with a more sensual and masculine appeal in their recent Korean comeback. The choreography was quite nice and enjoyable. I love the smiles they all bring to the performance, which adds to the song just as well.

Overall Rating – 7.9/10

RATA-TAT-TAT – Golden Child

RATA-TAT-TATA is a more recent release (relative to the other releases in this post). It dropped as Golden Child’s second official Japanese single in May. It is a definite improvement from their debut Japanese single, which was quite cringy when I think back to it. The title of this song also hints at a similar potential for this song, but I am thankful that was not the case. RATA-TAT-TAT is a fast paced dance track, especially as the chorus hits. The instrumental for RATA-TAT-TAT definitely has an oomph factor and feels meatier, which boosts the song and makes it quite badass. But it is still not at the same caliber as their Korean releases. There was a strong showing from the members. The rapping showed a slightly more aggressive side. The vocals were well incorporated into the song but I wished there was more of a wow factor to the vocal line. Joochan’s high note was pretty impressive, though. RATA-TAT-TAT‘s hook was catchy. Overall, I had fun listening to RATA-TAT-TAT.

The music video for RATA-TAT-TAT goes for an edgy concept, but fails to really hit the mark. Shot in an industrial setting and with an underground race car theme, it feels all pretty cliché and ‘done before’ for a male group. I feel like keeping the video simple with the members in leather jackets and dark lit rooms would have done the job fine. I wished there was more to the video. The choreography is a much better fit for the song. While I really did like the fast pace of the movements (which goes well with the fast pace nature of the song), I also commend Golden Child on their sharpness and synchronisation. The fast pace also brings about some aggression, which is a pretty decent addition to the routine.

Overall Rating – 7.6/10

Phase Me – WOOSUNG (THE ROSE)

Another May release, but this time it is WOOSUNG’s Phase Me. Like the song’s at the start of this post, Phase Me finds it squarely in the rock genre as well. But Phase Me‘s instrumental also has a groovy vibe to it, particularly in the chorus. Part of me really enjoys the groovy nature of the song as it brings a uniqueness to the music scene, but a part of me felt the song could have gone with a completely stronger rock sound had it continued the momentum of the rock in the first verse (and not met with an anti-drop). WOOSUNG’s vocals are very clear and crisp throughout Phase Me, which I appreciate. He brings out the husky and raspy nature of his vocals in this song, which felt so alluring and captivating. I also liked how the song is short but sweet. While it does feel like a blur, Phase Me felt very satisfying, fulfilling and complete.

The moth concept was very interesting, but it makes sense. Moths are insects that are unphased when there is light around. In the music video, Woosung plays two roles. One is an actual moth. In the darkness and during the sunset, he emerges to sing the song. When there is light (i.e. that ending), he is attracted to it and just stares at it. I do find the eyes a bit freaky, but Woosung plays a moth well. The second role is where he plays the light, which attract the dancers in a similar fashion to how moths are attracted to light. This section was a lot more sensual. To add to the sensual themes of the video, Woosung spends a lot of time shirtless, but I think it works with the themes of the video.

Overall Rating – 8/10

[International Song Reviews] Momoland, BM (KARD), Mark Tuan, THE8 (SEVENTEEN), Jamie & SEVENTEEN

Posted in International Song Review, JPOP, MPOP, Western POPTagged , , , , , Leave a comment

Time for another International Song Reviews post. It appears with my attempts to focus on catching up with KPOP song and album reviews, I have neglected the other releases our beloved Korean artists have also been releasing in international industries. But don’t you worry, I have forgotten these tracks just yet. Last time I did an International Song Review post, it was back at the end of July and covered releases from YUNHO, SORN, Red Velvet, T1419 and TVXQ.

Over the next few weeks, I will be posting more International Song Reviews posts on a fortnightly basis and I will be increasing the number of reviews to 6 per post to help me catch up. As a result, the reviews will be shorter to compensate for this change. Today’s post will cover songs from Momoland, BM (from KARD), Mark Tuan (from GOT7), THE8 (from SEVENTEEN), JAMIE and SEVENTEEN.

Yummy Yummy Love – Momoland & Natti Natasha

Yummy Yummy Love was a collaboration between Momoland and Natti Natasha that released way back in January of this year. At the time of release, I remember thinking Yummy Yummy Love was a pretty mediocre song and the hooks that the pop song had felt very childish and elementary. Months on, and I can report that Yummy Yummy Love has been upgraded to a pleasant status. And it is thanks to those hooks that I thought were chidlish. They ended up catching on for me, making the song fun in its own way. The high pitched delivery of the chorus also works well with the pop instrumentation (which to be fair, I thought was a little too typical). Part of me still thinks that certain parts of Yummy Yummy Love (namely the ‘Ski-pi-di-bap, bi-pap, bi-pap, boo‘ first pre-chorus and the JooE’s rap-sing lines) could have been removed and replaced with something more aligned with the rest of the song. But overall, Yummy Yummy Love is a decent track to me now.

The music video was quite plain. I wished the video focused a little more on the fun aspects of the song, rather than the visuals of the members. I have nothing against the Momoland members and Natti Natasha’s visuals, as they do have a place in this video. But the video is supposedly set in a skating rink and I think only one person ended up skating (and it was an extra). The choreography, especially the chorus routine, is another memorable aspect of the release. I found it to be both fun and sexy, which worked well with the song and the collaborators, as well.

Overall Rating – 6.5/10

LIE (LOST IN EUPHORIA)- BM (KARD)

Also returning back in January of this year is BM (from KARD). His solo comeback was titled LIE, which stands for LOST IN EUPHORIA. There is a bit of Korean in this song (which technically would have LIE able to get a full review). But since it was predominately in English, I had put it aside for this segment instead.

With BM’s repertoire of rap/hip-hop tracks, it comes as no surprise that LIE falls into this category as well. But keeping in trend and changing up the dynamic slightly was a slow rock alternative instrumental, which I quite liked. There is a bit of melody that helps make LIE appealing to my personal taste. While it does look good for LIE and the fact that I don’t mind it, I did think LIE was lacking in some regards, especially as we reached the end of the track, The entire song sounds quite linear. And so by the time the song reaches the end, I was already tuned out as everything felt the same. I think BM could have gone harder in some parts and this may have helped kept the appeal of LIE going.

The music video for LIE was pretty much how I had expected it. It was moody and heavy, as the song’s atmosphere suggests. I liked how the video portrayed his struggles throughout the video, with the editing making it look a lot harder and darker. BM’s acting is also another aspect of this, and I commend the way he also contributed that portrayal (and the music video’s atmosphere). The green screen scenes could have been a bit cleaner in my opinion, just to bring it up to par with the quality of the rest of the video.

Overall Rating – 8/10

My Life – Mark Tuan (GOT7)

Another January release. This time, it is Mark Tuan’s solo release My Life. From all the solo songs Mark Tuan has put out this year (there has been a lot, and I will be reviewing a few of them in the forthcoming International Song Review segments), My Life has been one of the more memorable ones. For me, it is Mark’s vocals that steal the show. I don’t think we have heard Mark give us a ballad before (at least, a substantial one), and so to hear him in such a delicate, fragile and emotive state is quite something. My Life‘s melodies were stunning. The instrumental, for the most part was atmospheric piano and synths (the latter only appeared in the choruses). However, to close out the song, Mark brings in strings that just ends My Life in an impeccable manner. He doesn’t sing once the strings were brought into play, allowing them to do the speaking on his behalf and carry on the momentum that he had created with the piano earlier on in the song.

Given that this is a ballad, the music video doesn’t opt for anything flashy or dynamic. Instead, the video features Mark Tuan in quite still settings. He is either lying on the floor or table, draped across on the piano, and standing in the darkness. All of these shots were shot aesthetically to match the balladry nature of the song. I also really liked the slow pans of the camera, which match the slow nature of the song.

Overall Rating – 10/10

海城 (Hai Cheng) – THE8 (SEVENTEEN)

Released back in March is THE8’s solo comeback with Hai Cheng, a song titled after the singer’s birthplace. Hai Cheng is a fairly simple song when you describe it in words. One half is the piano instrumental. The entire song, from start to end, was beautifully instrumented with said piano. There is something so stilling about a song instrumented by only one instrument. The other half of the track is THE8 himself, who sings so sentimentally and emotively throughout Hai Cheng. Those who know THE8 for his works as part of SEVENTEEN might be surprised with the balladry sound that he had opted for in Hai Cheng. The melodies were so good, and had that swaying effect that I love when it comes to ballads.

The music video is equally as good as the song. The music video for Hai Cheng features THE8, who appears to revisiting home in this video. At the beginning of the video, he enters his home, puts a bag down and turn on the light as if he hasn’t been there for a while. After some reminiscing in the home, he revisits some of the sites that has been to in the past. We are then shown memories of THE8 with a female character in those exact same locations having fun as a couple and even dancing on the streets. The final shot of the girl leaving THE8 on the beach, and then we see a bird’s eye view of the tide engulfing him, was definitely heart breaking to watch.

Overall Rating – 9/10

Pity Party – JAMIE

JAMIE (formerly known as Park Jimin)’s solo comeback, Pity Party, was released back in February of this year. And since its release, the song was featured fairly often on my Weekly KPOP Chart’s International Song by a Korean artist segment. Hence, I am excited to actually review the track. Pity Party is a pop track, but has this subtle groove to it, which really made the song quite appealing to me. The guitar in the chorus was probably the most memorable aspect of Pity Party‘s background. A bit typical, but still brought a whole heap of vibrancy to the song and disco synths. JAMIE showcased strong vocals at certain points of the song (i.e. pre-choruses and the bridge), and I quite enjoyed her during these moments. The chorus hook was a bit plain and repetitive in hindsight, but I think I can still described them as catchy, as like how they appeared me when I first heard Pity Party.

Something I hadn’t mentioned above is that Pity Party went for a completely different sound profile when compared to her previous comebacks, And to match this change in sound, JAMIE has opted for a more mature visual as well. I liked this more sassy and attitude heavy look that JAMIE went with, which works well with the story and lyrics of the song. Essentially, JAMIE is holding a pity party for herself and some guests. She lures her ex to the party, drugs him and then proceeds to get revenge by burning him alive (off screen). Maybe not the pity party most of us had in mind, but definitely one that she wants. Like the video and song, JAMIE also opts for a mature vibe from the choreography. Its simple, but it still manages to look on par with the rest of the comeback.

Overall Rating – 8.3/10

Darl+ing – SEVENTEEN

Darl+ing was released in April, earning the title of SEVENTEEN’s first English language track and pre-release of their (at the time) upcoming fourth studio album FACE THE SUN. It was quite surprising to me at the time of release that SEVENTEEN opted for a soft sound for their first English language. I always thought that they would have made their English debut with a bolder sound. But Darl+ing was warming and soothing to listen to, nonetheless (despite the heavy thumping in the pre-choruses). The melodies were pretty and actually ended up bring memorable in its own way. The vocal work was weak in my opinion, but I think that was the result of the softer sounds and pretty melodies. The instrumental aligns with pop and the atmosphere as result of the background reminds me of their 2019 release HOME.

From what I could understand, the music video shows a ‘loss of innocence’ concept. The world was once happy, cheerful, bright and colourful. But upon Vernon’s discovery that there is more to the world than what they know (i.e. their shadows), the once perfect world starts unraveling around them. Each member soon becomes aware of this other world in their own way, like becoming aware of the darker reflection of themselves and watching the world around them change in different manners. In the end, all them fall to the other world, which is all dark and looks abandoned. The members are bruised and have cuts across their faces, suggesting that they now understand pain and hurt. It also probably sets up for their HOT music video, given that was a bit dark and mature. The choreography matches up with the bright and happy world, with the members displaying smiles and the moves were all soft and small.

Overall Rating – 8.3/10

[International Song Reviews] MONSTA X, NCT 127, TREASURE, Mark Tuan, Jackson Wang

Posted in JPOP, MPOP, Western POPTagged , , , , 2 Comments

BTS’ Dynamite was voted by you to be the Best International Song By a Korean Artist. All songs in this review will be eligble for the 2021 KPOPREVIEWED Awards. Check them out and remember to vote for your favourite at the end of the year. In the meanwhile, check out the winners for the 2020 KPOPREVIEWED Awards.

Last week, I covered some 2020 international releases that occurred in November through to January of this year. This included Chungha’s Dream of You, Baekhyun’s Get You Alone, Dream Catcher’s No More, Jung Daehyun’s Amazing and TWICE’s Better. This week, I will be covering another five releases including Japanese songs from MONSTA X, NCT 127 and TREASURE, and Western songs from Mark Tuan and Jackson Wang. For those who are wondering, I will be covering The Boyz’s Breaking Dawn in the next edition of this International Song Review segment, which will be whenever I can fill up the next post with five songs. Let me know of any comebacks by KPOP artists in international markets, so that post can be published sooner! (However exclude songs that already have a Korean version).

Wanted – MONSTA X

I personally didn’t enjoy this latest release from MONSTA X the first time I heard it. It felt like it was missing the surface of the instrumentation because nothing really stuck out at me. However, listening to the song a couple of more times really helped the song grow on me (which is the usual case for me) and that initial thought has left my mind. The song pretty much fits in with MONSTA X’s works. The verses actually felt very typical for the group, though I must say everything had a melodic tinge to it and is not as aggressive (but it was getting there). Even the rapping had that tinge. The chorus is where Wanted becomes quite dynamic and more interesting, thanks to its impactful bass and heavy synth usage. I really like the consistent thumping and the vocal work from Shownu and Kihyun throughout the section. Joohoney and I.M follows up with a bit of their usual rapping abrasiveness, before the focus moves onto Minhyuk and Hyungwon, and then it moves back to the already mentioned members. I do wish there was a bit more heft, especially when it came to the verses to make the song even more appealing and bring it up to par with their Korean releases. But overall, Wanted was a decent song to add to their choreography. The music video for Wanted was quite simple but cool at the same time. I really like how the video embraced an industrial look for the first part when the members are dressed in black outfits. The video becomes a little more sleek with their outfits infusing a little more colour that really stands out amongst the flashing lights and black outfits. The camera work is also commendable. The choreography looks good, but I didn’t see anything new or dynamic within it. (8.1/10)

Gimme Gimme – NCT 127

Gimme Gimme taps into what seems like a more intensified version of the EDM that NCT 127 is known for through their Korean songs. Just this version mixes in a more prevalent form of hip-hop, but also feels a little annoying thanks to that one whiny squealy synth that just sticks around for what pretty much felt like the entire song’s length. There was just so much of this synth throughout the song, it was pretty to not to notice it. In some of the parts that didn’t have the squeaky synth, the rest of the instrumentation made up for it by reincorporating the same sound just with different synths. If we were to take away the EDM and squealing synth, the members sound pretty good. They had to do a lot of competing to be heard over Gimme Gimme‘s instrumentation, but they handled it just fine. The rappers were super aggressive, but this worked out well as it gave the some some additional edge. Taeil, in particular, stood out with his vocals from the rest of the members, especially with that high note that just took the song to a new level. As for the music video, I felt it was pretty plain. SM Entertainment’s music videos have been quite top notch lately. But this felt like a let down. I am not keen on their outfits as it doesn’t feel as cohesive as it could have been with the warehouse like setting they are in. They do like stylish, but they just stick out. I did like the solo shots of the members and the various transitions between them. As for the choreography, Gimme Gimme lives up to the expectation that NCT 127 had set for themselves. It is very impactful, intense and powerful all at the same time. The dance break is definitely the peak of it, showing us exactly what we hoped to see from this high-octane song. (7.1/10)

Beautiful – TREASURE

This release caught me out of the blue. At the time when I discovered the song, I only found out that this was a soundtrack for the anime, Black Clover. Upon some further research, I found out today that TREASURE will be making their official debut in Japan at the end of March with Japanese versions of their title tracks and Beautiful. Beautiful taps into a more refreshing side of EDM, opting for lightness and pop, rather than going heavy handed with the synths and other instrumentation. In many ways, Beautiful aesthetically feels like an extension of TREASURE’s more pop centric Korean releases. The vocal work and rapping sounds pretty good. Nothing impressive from the group this time, but it works really well with the pop sound. There is no official music video or choreography for Beautiful that features the members (though this might change with an unannounced release of a music video between now and the end of March). Instead, the music video that was released was a little over a one and a half minute long video of the anime. So I don’t have much else to say about the video. Because of this, I have only decided to give a song rating for Beautiful. (8.5/10)

One in a Million – Mark Tuan & Sanjoy

We move away from JPOP for the remainder of this post, with the next artist is someone whom I haven’t actually reviewed any solo work for yet. I am talking about Mark Tuan, who has previously dabbled in solo work through a Chinese single (Never Told You, 2020). The song I am focusing on today is his most recent release, One in a Million, which features Sanjoy. It is also his first release since leaving JYP Entertainment. One in a Million delves into R&B, mixing up the genre with a bit of dance electronica. Together, the two genres combines to make the new song feel quite sleek and subtly upbeat. It is quite a pleasant combination and outcome for the two genres. I find Mark’s vocals to be quite interesting. He draws out his lines, giving the song a slow pace. That on its own isn’t my cup of tea. But in combination with the subtle upbeat touch, the vocal work surprisingly comes off as quite hypnotic and drives me to wanting to replay the song as there is an alluring charm to it. The music video that is released alongside One in a Million is a cute animation that fits well with the song’s lyrics and features two people who some might say are fated for each other. The video shows the girl leaving behind an umbrella behind at a convenience store. The guy recognizes the umbrella as hers (as it was the one that was opened in his face) and rushes to the station to return it to its owner. But unfortunately, fate at this instant does not want them to be together. When he arrives at the platform, she has already boarded the train. They get off at the same station and recognize one another. But this time, the rest of the city’s population doesn’t want them to be together. They both then run into each other a bar, with a happy relationship blooming from that point I presume. Mark and Sanjoy also feature in the video as the artists playing in the bar, and they seem happy to the new couple they are witnessing. (8.4/10)

Alone – Jackson Wang

Shortly after his departure from JYP Entertainment, Jackson Wang made the announcement of a single release unexpectedly. The single was titled Alone and is actually a Mandarin pop single. Based on the tone of the song, along with his vocals, you can tell that this is a hefty song. Alone lyrically shows his feelings about his life and journey thus far. Musically, it shows off Jackson’s versatility. Most of this songs thus far (that I can remember) have been dance centric songs. His works as a GOT7 member has been primarily in the hip-hop or pop domains. Alone is more so a ballad, mixed with some synths to give it is a modern and trendy feel. It remains consistently paced and neutral for the entirety of the song. The momentum comes through his vocals, which sounds really emotive. The raspy nature of his voice really shines and this just elevates the song to a whole new level. is also quite easy to get lost in this song, especially since it gets me swaying along quite early on (swaying is my self-made indicator of a good ballad for those who don’t know). The music video reflects the tone and lyrics of the song quite well. For the entirety of the video, he is alone. This makes perfect senses, especially as he sings about being alone on this journey. I am not completely familiar with Jackson’s life story. But it seems like there are references to a warming family (the table with an abundancy of food) and his time has a fencer (the Olympic rings), to which he left behind to pursue music and his career as a singer. His face is scarred and bruised, testament to the hard journey he had to endure along the way, as it isn’t an easy path. The end of the music video gives a little bit of advice to never give up on our own journey. It will be lonely and it will be hard. But if you enjoy what you are doing, it will turn out fine. (9.6/10)