NCT is nominated for Best Male Group, while MARK (NCT) is nominated for Best Rap Performance, and NCT DREAM and NCT DOJAEJUNG are nominated for Best Subunit (amongst other categories) in the 2023 KPOPREVIEWED Awards. Support NCT and their associated acts, songs and performances by clicking here to vote today.
NCT returned as a whole group in August this year with the studio album Golden Age. Leading the charge of that album are the title tracks Baggy Jeans (performed by TAEYONG, DOYOUNG, JAEHYUN, TEN and MARK) and Golden Age (performed by all 20 active members). Alongside the title tracks, NCT also released 4 “archiving videos” (whatever they are) for an additional four side tracks from the album. Over the next few weeks, in the lead up to the album review for Golden Age, I will be reviewing those tracks in separate song reviews. First up is the 3rd song on the album – PADO.
Performed by a lineup of 7 members (JOHNNY, TAEYONG, JAEHYUN, MARK, XIAOJUN, HENDERY, HAECHAN), PADO is quite the melodic track. The entire track felt classy from start to end, and this consistent vibe held me over to the end. I just cannot bring myself to skip PADO every time it comes up. I really like the vocal focus of the track, which all comes to a head during the song’s “You got me confused, You got me satisfied” hook line (delivered by Xiaojun and Haechan). And boy, was that line super memorable and catchy. While the song’s vocals are the more showcased element of the song, PADO does feature rap-centric verses that plays with the song’s texture a bit. Not too much, as PADO does remain easy on the ears, stays true to that classiness I already mentioned and never overwhelms us. The instrumentation of PADO was very clean and sleek, with the added brass and jazzy elements in the verses and choruses being the prime suspect for why PADO has such a classy vibe. The flute-like sound that comes into play after the choruses concentrates all the adjectives that I have used in this portion of the review into a common point. And all of that works exceptionally well with PADO’s beats, maintaining the tracks’ upbeat nature. Overall, a strong side track from NCT that I can definitely see being promoted into ‘title track’ status.
The archiving video places PADO into a bar setting, which makes perfect sense for such a classy song. The colour palette that the video does go for steers us down a refreshing vibe, with the simple screen of waves in the background over a white background being the big focal point of the video. The white is further seen in the bar and other props present in the video, while the blue is also seen in the background of the queue outside said bar and the signage of the bar. I like that as it feels modern and trendy, whereas the usual red colour that I would have immediately associated with the song and bar concept to be typical and bland. I also like the additional splash of colour the members have via their outfits, which give the video a bit depth and variety.
To match up with those classy vibes, this unit of NCT members bring a sensual tone to the choreography, which feels appropriate and brings out an engaging energy. The coloured outfits in the music video does detract from that unfortunately. But the performance they gave (whilst dressed in black outfits) at the recent NCT concert definitely showcases the sensual energy a lot better.
Song – 10/10 Music Video (or “Archiving Video”, in this case) – 9/10 Performance – 9/10 Overall Rating – 9.5/10
(G)I-DLE, Jung Kook (and his fellow BTS members), JENNIE’s groupmate JISOO and NCT (and its units) are nominated in the 2023 KPOPREVIEWED Awards. Support your favourite acts byclicking here to vote today.
It has been a couple of weeks since the last International Song Review post, so it is time for another. Last time, I focused on songs releases by Anne Marie and Minnie ((G)I-DLE), LE SSERAFIM, ITZY & CHEN (EXO). This time, I will focusing on (G)I-DLE’s I Want That, Jung Kook’s Standing Next To You, JENNIE’s You & Me and NCT NEW TEAM’s Hands Up.
I Want That – (G)I-DLE
Language: English Release Date: 5 October 2023 Release Type: Heat (1st English Mini-Album)
(G)I-DLE made their official Western debut with the single I Want That, following from their I DO pre-release earlier this year. I don’t have too much to say about the track. I do like what they have offered to us, but I think more could have been added to I WANT THAT to really enhance it. The club style and heavy bass gives this dance track some sassy and powerful energy, which is backed up by their lyrics. The chorus is super addictive, thanks to the combination of the beat drop and repetitive hook. Personally, I would have liked more character from each member, as I WANT THAT does get monotonous at certain points. A bit more sassiness and attitude from the members in I WANT THAT would have taken it to the next level
The music video begins with the members on the boat, which I presume is the aftermath of the events in the video. We are then shown the toxic relationships between the members and this guy. At points, it is sweet and romantic. Other times, he is abusive and a horrible human. In particular, we see Minnie walking down the aisle as a bride to marry this guy. But when she turns back, she only see a dark church (which alludes to her future with him). She runs away from the wedding before it gets any further. In the end, she takes matters into her own hands by walking into the guy’s workplace and points a gun to his head. We see glimpses of the other members pointing guns at the same guy, which represents the anger from his past partners and revenge they want. He taunts her, but he doesn’t realize that she was determined and shoots him point blank. To finish the job, she also brought a bomb, which causes chaos with the other workers. In the end, Minnie and the rest of the members walk out and get on the boat we see them on at the start of the video. As for the choreography, we don’t get too see much of it. But it looks okay. I just wished the choreography scenes were better incorporated into the video and featured better styling.
Overall Rating – 7.9/10
Standing Next To You – Jung Kook (BTS)
Language: English Release Date: 3 November 2023 Release Type: Golden (1st Studio Album)
Following the success of his other singles (Seven and 3D) earlier this year, the announcement of Golden and Standing Next To You became highly anticipated releases. I will be making plans to review Golden, but that might not happen until next year. But for now, I can say that my thoughts on Standing Next To You are somewhat positive. When I really focus on Standing Next To You, I really find myself appreciating the sleek vibes, retro energy and funky tones this pop track offers. I like that the track doesn’t mess with such a formula, keeping the track consistent from start to end. In the context of Standing Next To You, this is a very positive aspect of the track. Jung Kook’s delivery is charismatic and sensual in this song, which I am sure fans are enjoying. His falsettos can become quite addictive, but I particularly like the shoutier style he gives the pre-chorus, which heightens the chorus that comes after. But reflecting on the track afterwards and when I don’t focus on Standing Next To You, the track is rather forgettable and doesn’t really hold me as much as Seven and 3D did. It might be the case of being too sleek, but I boil it down to a lack of memorable hooks to really get this song into my mind and make me want to return.
In addition to the song, the music video also shows off Jung Kook’s charismatic charms that fans consistently highlight. His good looks are definitely are also on full display, which again, I think fans would be loving. The video is descried as showing Jung Kook chasing after a mysterious femme fatale. We see him catching up to her at the “light at the end of the tunnel”, which is a nice way of showing us the positive effect this femme fatale might have on Jung Kook. I did also think Jung Kook dancing in front of the big hole in a way is his way of showing how he could potentially fill that void in the femme fatale. All of this (and I am presuming the dancing also had an effect) convinced her to approach Jung Kook at the end of the music video. Talking about dancing, it is no doubt that Jung Kook’s performance skills were on full display, which I personally really enjoyed each time I have seen the music video. The sleekness and sensual nature of the song comes through really well in the choreography, and I also like the more intense parts of the routine, as well (such as the pre-chorus and the end).
Overall Rating – 8.2/10
You & Me – JENNIE (BLACKPINK)
Language: English Release Date: 6 October 2023 Release Type: You & Me (Digital Single)
You & Me was released following the conclusion of BLACKPINK’s massive Born Pink world tour. Upon first listen, I was disappointed with the track for a number of reasons, including the lack of personality, the disconnect between the different parts (particularly the verses and choruses), the lack of any memorable melodies or hooks etc. There was a lot in You & Me that just did not sit right for me. But the more I continued to listen to You & Me, the more I grew to like You & Me. After all, I am all about giving second chances when it comes to the music I listen to. The problems are still there, but they are less jarring then before. The standout parts of the song, for me personally, are the verses and the instrumental outro. The verses had a nice pleasant pop vibe to them. Sure, it isn’t anything riveting, but I felt a sense of nostalgia to those sequences. The heftier beats and electronic instrumental outro felt like a decent conclusion to the song, which was all very synth forward from the get-go. Heck, even the squeaks became charming for me. But there are some stuff in You & Me that I still feel the same way about from day 1 – the chorus instrumentation and vocal work was bland, there isn’t memorable melodies or hooks in the song to make the track memorable, the post-chorus vocal tone was not appreciable, and the rap speak sequence reiterated the song’s blandness. Overall, the good aspects were balanced out by the bad aspects in You & Me, and so I am on the fence for this one.
As for the performance video released to accompany You & Me, it is your standard high quality video that you would expect from YG Entertainment. It is more on the simpler side of the spectrum of music videos, but it still features a memorable moment or two, such as the silhouette of JENNIE and the male dancer whilst the moon in the background was brightest. JENNIE’s red dress is also pretty memorable. Performance-wise, it looks good. Nothing stands out to me, but it was a good routine nonetheless.
Overall Rating – 7/10
Hands Up – NCT NEW TEAM
Language: Japanese Release Date: 8 October 2023 Release Type: Hands Up (Digital Single)
The final song in this post is for a future group. NCT NEW TEAM is the current temporary name for NCT’s Japanese (and final) unit, who will debut next year. Beats me to why we don’t have an official name when they are already putting out Japanese songs. Hands Up is what you expect with NCT title tracks – a very synth driven dance number. There is more to the synths, but my mind keeps on coming back to describing the synth selection as “tinny”, and this I find to be pretty standard. The drumming/percussion added to the song does infuse more energy and texture to Hands Up. But I would also describe this to be quite tinny, so it doesn’t really add anything new to the song. At least, the energy and texture does provide a fun vibe, which is backed by hooks like the “Ooh Ooh“. The vocal work is a bit standard, as well. A good showing of skills, but nothing worth discussing further. And with every other NCT (or SM song for that matter), the bridge is definitely on point. As a starting point, Hands Up does a decent job of introducing us to the new unit/group. However, as they begin to pump out more songs (which I hope will be the case) and finds an actual name, I hope they can also develop a sound for themselves that is within the realm of NCT’s music.
The music video sees NCT NEW TEAM’s world become overrun with these green blobs that keeps on self-generating. The group, whom are just high school students, use their skills as baseball players and the power of the baseball to smash these green blobs. Ultimately, they kill the biggest blob with a power pitch and hit by the members, which causes all of the others to die. At the end, we see one of the members back on a train with a glowing green baseball, suggesting we might not have seen the last of the green blob monster. Overall, I quite liked how the producers showed off the group’s youthfulness and the new energy they bring to the industry. The choreography looks good, matching their synchronisation with what the other NCT units are very much known for. The energy they bring via their performance and choreography is refreshing and fun, as well. The choruses’ routine is the best bit.
NCT LAB is a series of solo songs by the members of NCT that don’t necessarily fall under of the works of their entire group or units. The series began in 2022 under SM Station, but was confirmed earlier this year to run as its own project. The first single, Child, was by MARK. But I have not gone back to review another NCT LAB song since then. Today, I am picking up the NCT LAB releases once again, beginning with song reviews for the 2023 releases and then returning to the 2022 releases at a later date. And it all begins back with MARK and his solo track, Golden Hour.
Golden Hour sees MARK bring together hip-hop, grungy rock guitar, familiar drumming that reminds me of Diplomacy’s Silver Lake Queen, a hint of elevator music and Gordan Ramsay references? The first three goes hand-in-hand with another, and all five elements comes together to create an eventful track. Golden Hour starts off with the three elements (hip-hop via MARK’s rapping, which I will touch on later, grungy rock guitar and drumming). But mid-way, the track transforms briefly into punkish rock, before the bridge adds in elevator-esque piano riffs to the background, following which Golden Hour returns to the three elements it began with to complete the circle. This all made it a dynamic listen. MARK himself is super expressive throughout Golden Hour, delivering a range of styles – rapping, singing, a combination of both and speaking throughout the track to match the different moments in the instrumentation and show some range. His flow was very good throughout Golden Hour and the hooks were catchy. As mentioned earlier, Golden Hour also includes lyrics that appear to diss Gordan Ramsay. But prior to the song’s release, MARK himself confirmed that he only mentioned GR and that Golden Hour was not a diss track (though GR himself did respond to MARK in the most GR way possible). Rather, MARK drew upon the interaction between a fan of his and GR, who apparently told MARK’s fan to break up with her boyfriend for cooking eggs terribly. The funny twist is that the image GR reacted to was actually MARK’s cooking from a TV show. Apart from those moments, the lyrics also bring out a much more mature version and the adult in MARK. I will let you work out what that means. But overall, there is fair bit happening in Golden Hour and it amounted to something worthwhile.
Per the song’s influence being around MARK cooking eggs, the music video also revolves around eggs and cooking, as well. We see flashes of the cooking references, but a lot of egg imagery and smashes throughout the video. In addition to eggs, there is a real edgy vibe that MARK does a good job of showing in the music video. He shows it in a loose and freestyle manner, but still makes sure it fits the grungy style that the song aims for. The stylists did a really good job on their part as well, keeping the brown jacket constant throughout the video. The continuous presence of the brown jackets allows the viewers to keep a constant an image of MARK in their mind, even after the video has ended.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
I am moving some things around today as I am feeling a little unwell. So instead of posting tomorrow’s album review tomorrow, I will be posting it today. Song reviews will be posted tomorrow, instead. And as you can tell from the title of this post, the album review is for NCT DREAM’s ISTJ, their 3rd studio album. This album dropped in July of this year. Featured on this album is the title track ISTJ, the pre-release track Broken Melodies and an additional 8 tracks. For my thoughts on the tracks of this album, keep on reading below!
3. Yoghurt Shake – Adding some sweetness and youthful energy to the album is the single Yoghurt Shake, the track in which NCT DREAM followed up promotions of ISTJ with. It is a bright pop track, almost bubble gum-like thanks to the light and delightful instrumentation and melodies. This very much could have been a track from their early days. But there is a hint of maturity in Yoghurt Shake that makes it fit in with NCT DREAM discography today. Also, Yoghurt Shake also puts the vocalists in the forefront, with their vocals and harmonies being the main selling point of the track. (8/10)
4. Skateboard– EDM and hip-hop takes over in Skateboard. I really like the upbeat energy that this track exudes. I also like the 2000s flair the track brings. The hip-hop aspect of Skateboard, which comes through the beats and the members’ delivery, was very pronounced and the EDM was energetic but not overwhelming, which makes Skateboard so easy to get into. My pick for favourite track on this album. (10/10)
5. Blue Wave (파랑) – Blue Wave serves as the sequel to the single Dive Into You (which was featured on the group’s first studio album, Hot Sauce). It is also referenced during the outro of this track. Blue Wave is a very tropical sounding single, thanks to the pan flutes in the background that adds a level of freshness to the track. I really execution of the fast-paced lyrics/melodies in the pre-chorus, and the harmonies during the chorus of this track. A fun and pleasant track. (8/10)
6. Poison (모래성) – The sensual track video for Poison that was released in the lead up to the release of ISTJ shows a completely different side to the group, miles away from where they started off with. And those sensual vibes come through the entire R&B song. I like the groovy bass in the background, along with the body-wave vibe the chorus exudes. I also like the flirty rapping and the smooth vocals that feature in Poison. Whether this release alludes to even more mature sounds/concepts in the future is still to be seen, but I honestly wouldn’t mind seeing the group venture down this path at least once in the future. (9/10)
7. SOS – The group takes us down a more experimental direction with SOS. The track itself features hip-hop beats and the EDM creates suspense. The booming bass in SOS also gives the track a dynamic flair. I really like the very breathy whisper that kicks off the chorus. The rappers really have a strong hold in this track and nail their parts. I wish the vocalists had more presence in the track, as it felt like they were missing from SOS for the most part. (7.5/10)
8. Pretzel (♡) – Pretzel’ssynth line was very bold – it sounded very crunchy, but also spongy and dragged out a tiny bit. It makes for a very interesting backing to the track. Elsewhere in Pretzel, the members stay very much in hip-hop territory, which I think all members (vocalists and rappers alike) do an amazing job in embodying in this track. The bridge was also very delectable, just like the references to the baked good in the lyrics were. (9/10)
9. Starry Night (제자리걸음) – We enter mellow territory towards the end of the album, with the first of the last two tracks taking on a R&B pop sound. Starry Night also features bossa nova influences, which contributes to a softer direction in the verses and bridge. But Starry Night also features pop leaning choruses that takes things in a slightly bolder approach. Together, the two meld together quite cohesively to create a nice vocal-centric track. (8/10)
10. Like We Just Met – Written by all of the members, Like We Just Met features more of an acoustic R&B sound. The instrumentation was beautiful, from the acoustic guitar that starts and end the track to the orchestral peak. In addition to that, you can hear the sincerity behind the members, their vocals and lyrics. The all-in chorus was very fitting, especially following Jisung’s vocals (which is a moment I find myself returning to constantly). It is hard to fault song a like this. (10/10)
One of the group releasing new music at the end of the week (i.e., today) is NCT 127, who makes their second comeback of the year, following on from Ay-Yo in January 2023. This time, the group returns with their 5th studio album, Fact Check, and is lead the title track of the same name. This comeback also follows from NCT 127’s participation in NCT’s 4th full group studio album Golden Age which was released back in August of this year.
If I am basing Fact Check on my past experience with NCT 127 title tracks from the first release of an album, I am going to be disappointed by it. I much prefer the title track of the repackaged version one of their albums, which I have no clue is happening this time around. However, interestingly, I am not disappointed by Fact Check. I actually find the instrumentation to be quite rhythmic, especially during the chorus with the well-paced beat and percussive elements. And there is no obnoxious synth (looking at you, Sticker) to ruin the song for me. The post-chorus segment was also quite an entrancing listen, especially at the end of Fact Check. Elsewhere, I liked the suspense and tension created during the vocal-centric pre-choruses of Fact Check and its background. The vocal work in Fact Check‘s bridge was a standout moment and I liked the powerfulness it yielded from Doyoung, Jaehyun, Taeil and Haechan. The rapping that follows from Mark and Taeyong, along with the further dramatic drumming and orchestration, was quite cool, as well. There are still weak points to Fact Check. The rapping at the start of the song could have been a little less in your face and the chorus’ hook could have been more compelling (even though I do find it catchy). But overall, Fact Check is one of their better works in recent times.
Cool is the recurring word I would use to describe this music video. I am not a big fan of the initial look that Mark donned in the video. But elsewhere in the video, Mark and the other members all looked fine. My favourite set of outfits has to be the one that are more of a traditional colour that are worn at the traditional palace location. Talking about locations, I found the sets and locations throughout the video are all very stylish and cool in their own way. Even the post-production looks cool (but I question why it looks like Mark is holding a goat that has been CGI into the video – did they run out of budget for a real goat?).
From what I can see from the choreography aspect of this comeback is that it very much embraces the rhythmic aspect of the song. There is also a subtle bounce to the choreography, which keeps in line with the upbeatness of the track. The best bit, for me, however is the t-rex-like walk (sorry, I don’t know if there is a properly name for the walk, but the way their arms are reminds me of a t-rex’s short arms) during the final post-chorus.
Song – 8.5/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 8.4/10
NCT DOJAEJUNG is the latest unit to debut under the NCT group and consists of Doyoung, Jaehyun and Jungwoo. They released PERFUME back in April of this year, the shared title of both the title track and mini-album. Alongside the title track, the mini-album also features an additional five side tracks. Following this unit debut, the trio rejoined the rest of NCT for their 2023 full group comeback with Golden Age/Baggy Jeans (in the case of Doyoung) and the trio are also set to join the rest of NCT 127 in another comeback later this year.
PERFUME is a R&B centric mini-album, with the trio exploring the genre in all but one track. And their exploration of the genre is super engaging. I enjoyed all the tracks on this mini-album and each track got a high rating from me. This, overall, contributed to the higher end rating for an album release on my blog. I would recommend it to you if you are into the R&B genre or like the songs with the same effect or aspects of the R&B genre. Or if you are an NCT fan, especially if you find yourself overwhelmed with their more synth-heavy releases.
2. Kiss – The unit’s exploration of R&B continues in Kiss. This track has such a cool layered and rhythmic instrumentation that pulls you in. I liked the brass and jazzy elements that features in this song. The vocal work from the trio is on point and encapsulates what you expect from the R&B genre. The harmonies in the chorus also work extremely well. I particularly enjoyed the more jaggered approach Doyoung and Jaehyun took in the post-chorus sections that follows the first and last choruses. It was an interesting texture in this otherwise smooth number. (8/10)
3. Dive – Dive slows down the mini-album with a paced and atmospheric number. The instrumentation features short, sharp yet hefty beats, and a dotty but prevalent synth line. The trio takes a softer approach with their vocals, with Jungwoo and Doyoung really standing out in this song. Altogether, it is a very interesting mix. But it somehow works cohesively and is an extremely palatable track. (8/10)
4. Strawberry Sunday – Just as sweet as the title suggests, Strawberry Sunday is a sweet track. It is also the most upbeat number of the mini-album and I appreciate this infusion of energy. I really like the funkiness the instrumental had and the synthesizer was a really nice touch. The dreamy instrumentation to the bridge was also a highlight. The chanty moments in Strawberry Sunday gives some punch to the song. I also enjoyed Jungwoo’s part in the second chorus, where he breaks up the title (by syllables) between the beats. It made for a cool ad-lib in the track. Doyoung and Jaehyun also provide some ad-libs and these sounded amazing, as well. As you can tell by my long breakdown of Strawberry Sunday, there is a lot to like. And it all enough to earn it a 10/10 rating. (10/10)
5. Can We Go Back (후유증) – Signs of the trio forming a unit emerged many months ahead of this album release, with Can We Go Back being previously performed at the MBC Gayo Daejejeon. Can We Go Back features some smooth melodies, guitar riffs and rhythmic beat – all of which feels synonymous to the R&B genre. The vocal work from the trio is impeccable, especially in those memorable “Oooh, Oooh, Oooh” melodies. Each member had standout moments, with Jungwoo standing out in the second verse, and Doyoung and Jaehyun shining the most in the bridge of the song. (9/10)
6. Ordinary (안녕) – The final track on the mini-album is Ordinary and it departs from the R&B centric exploration. Instead, the final track is a ballad, which was expected somewhere along the way from the trio, given vocals is what comes to mind first when you put together the names Doyoung, Jaehyun, Jungwoo. The vocals are showcased well in the song, with the trio given another opportunity to convey emotions to the audience (which they do successfully). The piano centric instrumental does seem to have a tinge of R&B to it, which does help make it relevant and fit in with the rest of the mini-album. (8/10)
The release of Golden Age, the title of one of the two title tracks off the same-titled studio album of the NCT 2023 release, follows the news that NCT will no longer be an expansive group, with the lineup of NCT to be finalised following the the debut of the next unit (NCT Tokyo – the lineup of this unit has yet to be confirmed and any members debuting for the first time under this unit is not included in promotions for this NCT 2023 release). It is also follows the news that Sungchan and Shotaro are no longer part of the NCT lineup and have left the group to debut under RIIZE, and Lucas who departed from the group following controversy. We last saw NCT perform together as a group as part of their 2021 album release Universe with the single Beautiful.
I was surprised by both the teaser and start of the Golden Age, which alluded to a potential balladry direction of the lead single. Golden Age opens up with a soft piano melody of Beethoven’s Piano Sonata No. 8, “Pathétique” 2nd Movement and harmonies from Doyoung. But this allusion was brief. The song then launches into some heavy electronic synths and less than memorable rapping (from Mark, YangYang, WinWin, Jeno and Taeyong). We then re-enter softer territory with a vocal-focused pre-chorus featuring Xiaojun, Renjun, Haechan. The members of NCT then all join forces to deliver an equally soft chorus, which features some comforting harmonies and melodies from everyone, that soft piano from the start. Yuta and Ten also gets some solo moments during the first run of the chorus. I will admit that the chorus didn’t have the level of impact I hoped it would, with the reversion to soft pop makes the song too mellow and drifty in my opinion. The rapping/synths verse, followed by the vocal pre-chorus and whole-of-group chorus, repeats itself, with Jaemin, Hendery, Jisung, Johnny, Jungwoo, Jaehyun, Ten, Haechan and Kun getting their own moments during this repeat sequence. Finally, Taeil, Chenle and (more) Xiaojun, YangYang, Jeno, Doyoung and Haechan are featured in the bridge, which brings the two sides of the song together pretty nicely. Golden Age then ends with a couple more lines of comforting harmonies, rather than a repeat of the chorus. While I like the potential of another beautiful song, the idea behind Golden Age and understand the complexity of incorporating 20 members into the song in a way where each member is given a fair go, I found Golden Age doesn’t come off as well as their past whole-of-group singles have like Beautiful or Resonance. I wished there was more memorable zing to the song (without disrupting the softness and flow of the track, as I think Golden Age has that covered as it is), just to make it more appealing and compelling to return to listen to.
I did like the two sides of the group that is shown in this video. On one hand, we have a softer and golden tinge to one half of the video (which mainly consist of the vocalists). On the other hand, the rappers appear in the video with an edgier tinge of darkness and red lighting. I would have liked to send more intersection between the two sides, but we do get some through the very brief interaction between Jaehyun, Ten and Jungwoo. I do want to know more about the keys the members are holding in hand. Some of the members hold onto theirs (i.e. Mark), but other members throws theirs into the fire (i.e. Jungwoo). I presume it might relate to the idea of the group now ceasing their international expansion and that they are becoming a fixed group without the need to open more doors. But that is just speculation from me.
Song – 7/10 Music Video – 8/10 Overall Rating – 7.4/10
Welcome back to the Weekly KPOP Chart for the 3rd Week Of July 2023. This post is a bit later than usual, so I am going to speed through the introduction. Following this post will be an album review, so stick around for that. As for now, here is the Weekly KPOP Chart.
Recap of the past week
This past week, I posted:
song reviews for new releases, such as NCT DREAM’s ISTJ, NewJean’s Cool With You and ETA, and
This week’s throwback song is KARA’s Mister, one of the most iconic girl group songs from the late ’00s. Not just the song, but also the dance as well! Unfortunately, I can only find the Japanese version of the music video, so I have linked to that below.
Non-Korean Song of the Week
Each week, I feature the highest ranking non-Korean song by a Korean artist in this part of the Weekly KPOP Charts. For the 3rd Week of July 2023, that song is (G)I-DLE’s all English single I DO.
The Charts
Congratulations to NCT DREAM and ISTJ for debuting in the top spot on this week’s KPOPREVIEWED’s Weekly KPOP Chart. And also for surviving the NewJeans domination, whom ranks in the 2nd, 3rd and 4th positions this week! For more of the charts, keep on scrolling down below.
Pos.
Song
Artist
Change
1
ISTJ
NCT DREAM
(NEW)
2
ETA
NewJeans
(NEW)
3
Super Shy
NewJeans
(▲ 2)
4
Cool With You
NewJeans
(NEW)
5
BONVOYAGE
Dreamcatcher
(▲ 2)
6
Hear Me Out
EXO
(▲ 9)
7
HWEEK
TEEN TOP
(▲ 14)
8
Cream Soda
EXO
(▼ 7)
9
BOUNCY (K-HOT CHILLI PEPPERS)
ATEEZ
(▲ 10)
10
Who’s Next
LAPILLUS
(▲ 62)
11
Ready To Move
REN
(▲ 61)
12
Voyager
LUN8
(▲ 60)
13
HARD
SHINee
(▼ 2)
14
Small Talk
Kim Sung Kyu (INFINITE)
(▼ 11)
15
PARADISE
JAY (iKON)
(▲ 57)
16
Queen
We;na
(▲ 56)
17
But I Like You
BOYNEXTDOOR
(▲ 31)
18
One and Only
ENHYPEN
(▲ 54)
19
S-Class
Stray Kids
(▼ 11)
20
BITE ME
ENHYPEN
(▲ 5)
21
#menow
fromis_9
(▼ 8)
22
FNF
Stray Kids
(▲ 50)
23
Broken Melodies
NCT DREAM
(▼ 1)
24
I WANT
IVE
(▲ 48)
25
Die For Love
B.I ft. JESSI
(▼ 11)
26
SNAP
Athena/PICK-CAT (from Queendom Puzzle)
(▲ 46)
27
Roller Coaster
NMIXX
(▼ 9)
28
SHALALA
Taeyong (NCT)
(▲ 44)
29
I DO
(G)I-DLE
(▲ 43)
30
Wild Heart
LUN8
(▲ 37)
Songs leaving the charts
The following songs have wrapped up their nine week run in the charts system, and will no longer be on the charts from next week:
Making their explosive comeback yesterday was NCT DREAM, who returns with their 3rd studio album ISTJ. This new album is lead by the title track of the same name as the album and the pre-release singleBroken Melodies released a couple of weeks back. As mentioned in the pre-releases’ review, a fair bit has kept the subunit busy since their last Korean comeback with Candy, such as releasing their 1st original Japanese single Best Friend Ever (still yet to be reviewed) and the continuation of their first world tour.
I could potentially see ISTJ rivalling the likes of BOOM (which has grown and remained my pick for most favourite NCT DREAM track ever) had it not flip back and forth between melodic vocals and intense raps/hip-hop moments. I wished the sections were more cohesive and blended into one another, rather than be fragments (which is more or less the trend nowadays particularly with NCT to fit in multiple styles into one song). Such an example is the calmer and ‘introverted’ vocal focused pre-choruses. I personally felt this was too much of a slowdown and it really cut the amazing flow the verses/choruses had going on. That being said, however, ISTJ still manages to pack a massive punch in one way or another. The start of ISTJ‘s verses really kicks the song into gear, especially the starting combination of Mark and Jaemin’s rapping, and the instantaneous fast pace instrumentation that literally launchpads right into the song. As for the choruses, they can be described as ‘extroverted’ sections of the song. The choruses are very much the concentrated moments of intensity that makes ISTJ super memorable, with the rap-singing in first part, followed up by some powerful vocals from the vocalists and finally the ‘Let’s Get Down‘ refrain at the end of each chorus. The bridge mixes in a dreamy-like sequence that doesn’t really fit into the bigger picture of ISTJ, especially with the choruses serving as bookends on either side of the bridge. it does raise the same issue about cutting the flow of the song and needing to be more cohesive with the rest of the song. But I thought it was an impressive display of vocals from the entire vocal line, the rapping was a lot more soothing to a degree and I appreciated the dreamier instrumentation that accompanied it. In other words, I appreciated the blissful moment that was the bridge amongst the high-energy packed choruses. Overall, ISTJ is a strong track and it does work in terms of appeal. However, I wished the issues I touched on were improved upon to make ISTJ a better listening experience.
I am not entirely sure what is going on in this video. Supposedly, the lyrics depicts an ENFP type person trying to understand an ISTJ type person in their own way, thus breaking the stereotypes of the MBTI indicator personalities. And I think we see that in some capacity in the video, with the group hanging around ISTJ people, being conditioned to become ISTJ types after kidnapping a doctor, trying to teach themselves of the trait etc. But based on the scene in which the members are walking around the maze (which is later shown to be the brain), not all the members are ENFP types. Personality aside, the video had some really cool styling and sets, and I liked how the lighting made things chaotic and erratic during the more intense moments of the song.
With the calmer and more intense parts of the song, there is a good mix of moves to represent either side of the song. My favourite has to be the more intense parts, simply because NCT DREAM really thrives in these moments. And the synchronisation and execution are on point! I particularly enjoyed Renjun’s solo moves in the final chorus, which appear to be moonwalk-like.
Song – 8/10 Music Video – 7.5/10 Performance – 8/10 Overall Rating – 7.9/10
Ahead of their upcoming comeback ISTJ scheduled for release next month, NCT DREAM has released a pre-release single titled Broken Melodies. This is the group’s first release since their Korean comeback with their remake of the single Candy and their Japanese comeback Best Friend Ever (review to come). The group is also in the midst of their The Dream Show 2: In A Dream world tour.
Broken Melodies successfully eases us into their upcoming comeback and easily excites fans and casual listeners of the group for what is to come. Personally, the song is fairly simple with its straight forward pop rock influences. While the simplicity side of things can be problematic in some cases, that was not a concern for NCT DREAM here. The group managed to make Broken Melodies dynamic and stunning. The two main elements that really jumps out at me in Broken Melodies is actually the pop melodies of the song and the vocals that bring said melodies to life. We all know how capable the vocal line of NCT DREAM are their vocal abilities and they did not disappoint. But the rappers really surprised me with how stunning their vocals were during the solo moments in the verses and choruses. However, that doesn’t stop the rappers from being incorporated later on in the song, delivering a powerful rap line which hurls Broken Melodies upwards towards its peak. The pop rock instrumentation in Broken Melodies felt refreshing and nostalgic at the same time, reminding me of similar releases that I grew up on in the 00s. But the best parts of Broken Melodies has to be when the instrumental doubles down and intensifies via dynamic and cool drumming in the bridge. This adds to the memorable factor of Broken Melodies. I also like it was paired with the shouted “Broken Melodies” at the end of the choruses, which was a successful last ditched effort to get me back into the song right as it wraps up. As mentioned above, everything in Broken Melodies works wonderfully in setting us up to the next release from the group, which will come out mid-July (i.e. a little under a months time).
One of the vibes that I got from the song that I didn’t mention above was that there was a pleasant and warming tone to the vocals, which complements the song’s message of wanting to protect a love no matter what, expressing that they will overcome the numerous emotions they feel while being separated a great distance from the person they love (taken from Soompi). That’s why we see a bunch of scenes of the members talking on the phone with a smile, or sending messages to their partners with a smile. I also liked how the members were dressed up in school uniform and the location of the music video was predominately at a school or college field. I prefer to think of a college setting, which aligns with the group’s more mature image. But the potential to take us back to slightly younger years doesn’t hurt the group, and complements their youthful concept that they began and built their image with.
The choreography that we do see in the music video looks great. But I won’t factor it in the final rating until we get a live performance of Broken Melodies, as what we do see is quite limited.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
Making his solo return on Monday was TAEYONG from NCT, with the shared title single and mini-album, SHALALA. While this is promoted as his solo debut, this isn’t TAEYONG”s first solo single. We previously got singles from TAEYONG through the release from the SM Station series, with the last being Long Flight from 2019.
With hip-hop influences and a very synth heavy production, SHALALA definitely heads in the direction that I had expected for a TAEYONG solo release. But we aren’t talking about the same combination of the two that (majority of the time) works for NCT 127 or U’s releases. SHALALA ends up bring a lot weaker, with TAEYONG’s delivery failing to evoke much of a reaction from me. I find his delivery in SHALALA to be quite monotonous. He essentially keeps to a low tone throughout the song and he never really picks up from where he begins. His flow is good, but there was room for TAEYONG to potentially be more expressive and to have driven more energy into the song. This potentially could have made SHALALA more ‘dynamic’. It is a pity that we never get there. Subsequently, this causes other parts of SHALALA to fall short, such as the lack of a memorable hook. Energy would have gone a long way, and this was a department of the song that would have benefited from this. If I had to point out a positive, I would say there were some decent vocal moments during the choruses (i.e., the “Shalala Lala“) and the second verses. They were brief and had a decent ring. But nothing long-lasting. As for the instrumentation and production, I am on the fence. There is a fair bit going on, but I liked the focus on percussive elements to give SHALALA a unique tinge. I think it does complement TAEYONG’s good flow in the song, but it definitely felt grating at certain moments. Overall, SHALALA is not a song that I would be going back to that much.
I can definitely say that the music video faired much better than the song. I really liked the idea of a God controlling everything (as you would expect), but on a computer system. But he ended up being hacked (how modern), resulting in a number of characters (all played by TAEYONG) being placed into different and incorrect metaverses (how trendy). Despite being misplaced, each character somehow excelled, reflecting the song’s message of shining wherever you are. We see Gamerboy TAEYONG introduce gaming to other yetis during the Ice Age, Knight TAEYONG from the 1800s excelling in a 1980s office job and yeti TAEYONG excel at bowling in 2023. In the end, God ends up resetting everything, by deleting all the metaverses (and effectively the world) but dragging all of it to the recycle bin on his computer. At the end, we see God close the clapperboard, effectively restarting life again. It is a weird concept, but funny and made for a good viewing.
Like the music video, the performance for this comeback also fairs better than the song. His moves were super clean, he had really great command of his body (which makes complete sense, given that he is known for his choreography skills) and that he shows off his personality and sense of style in the hip-hop centric performance. I also like the playful side to the choreography, which he pulls off effortlessly.
Song – 5/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 6.7/10
NCT DREAM’s Candy (the mini-album) was one of the last major releases of 2022. Featuring the remake of H.O.T’s Candy as the title track, Candy also featured 5 additional side tracks for the festive season. For me, this mini-album never had a dull moment and rounded out their super successful and massive year which featured the releases of Glitch Mode and Beatbox. Due to my personal lag with publishing album reviews in 2022, I ended up posting a singular album review for the entire album featuring both title tracks.
As a quick side note, despite how I started off this review above, this is not the final album review for a 2022 release which I will be posting. The final three album reviews for 2022 releases will be posted next weekend and into next week. This will mean that I will be starting album reviews for 2023 releases some time later this month.
2. Graduation – Graduation sparked concerns of the group disbanding, as the song is all about graduating to the next stage of one’s life. And I can completely understand where the concerns were coming when I read the English translation of the lyrics. However, there is no disbandment news in sight and I think NCT DREAM was gearing up for a comeback later this year. Anyhow, Graduation is a beautiful song of lovely vocals and nice rapping to express the message aforementioned. I liked how it wasn’t strictly a ballad (instead, it falls into the R&B genre), with the rapping taking over a decent portion of the song. But it doesn’t undermine the vocals, which each member contributed towards. Even some of the rappers dabbled with falsettos in the song. Overall, Graduation is the song that sticks in your mind thanks to its message and is hard to get out thanks to its execution. (10/10)
3. Tangerine Love (Favorite) – Tangerine Love (Favorite) returns to upbeat and funky vibes with its retro synthpop sound. I really like the super catchy chorus in this song, and the rapping was definitely a highlight. But again, the vocals excelled, with Haechan to member that we need to commend thanks to his high note. The synthesizer at the end was a really cool touch. (9/10)
4. Take My Breath (입김) – The choruses for Take My Breath were super striking thanks to the pounding effect of the instrumental. Similarly, I thought the way the rapping started off the song and how cool the rapping was throughout the song was another striking element of the song. Other than that, the other parts of Take My Breath made for a standard yet pleasant pop track. (8/10)
5. Moon (문) – We arrive at the ballad of this mini-album. Given that this is a Christmas theme album, this ballad is the first song to truly elicit the dreamy side of the festive scene through its instrumentation. The piano melody makes for a stunning background, while the vocals are both superb and captivating (as expected). The harmonies are amazing, as are the ad-libs. (8/10)
6. Walk With You (발자국) – We end the special mini-album on a very upbeat note. I liked the textures in this dance track and the brightness that the members bring to the song. I like how the production stayed fun and enjoyable. NCT DREAM nails the song with their usual high-quality delivery in both the vocal/rapping styles. (8/10)
Yesterday, NCT unveiled their newest unit, NCT DOJUNGJAE, which consists of members Doyoung, Jaehyun and Jungwoo. While the focus of the units in the past has been on global expansion (i.e. the debut of WayV and the upcoming debut of NCT Tokyo), age (i.e., the basis of NCT Dream’s debut in 2016), and genre (i.e., NCT 127, who has a hold on experimental hip-hop), I am not entirely sure of the basis of NCT DOJAEJUNG’s debut just yet. Kicking off this new unit’s discography is the shared titled mini-album and title track, Perfume. In other relevant news, SM Entertainment has announced that with the debut of NCT Tokyo this year, the lineup of NCT will become fixed and no further units will debut to expand the group. However, I don’t think we will stop seeing units being formed from the final lineup of the group, such as NCT DOJAEJUNG. Of course, time will tell if that is the case. But for now, let’s focus on NCT DOJAEJUNG and Perfume.
When I first heard Doyoung, Jaehyun and Jungwoo were joining forces in this unit, I honestly thought the unit will be geared towards ballads (as is the case with most vocally geared tracks). But consider me genuinely surprised with the more upbeat and groovy nature of Perfume. And this unexpected twist in sound has me coming back for more. Perfume‘s combination of the R&B influences and funky electro groove calls back to the 90s, which is an era in which KPOP does not seem to get enough of. The trio steps the song up with a more sensual vibe coming from their vocals, which I vote as Perfume‘s best aspect. While all the members do shine in this department, I must commend Doyoung in particular, who effortlessly brings a consistent level of smoothness to the song. The bridge does make make me go ‘Ooh~’, which is the best reaction you can get from me. I also enjoy the harmonised shoutier approach the second half of the choruses takes, which gives Perfume a bit of oomph that pays off tremendously. While the smoothness is also another strong aspect of Perfume, I did feel the same element may have hurled Perfume forward to make it feel like it ends quite soon after it starts. I wish there was something to ground Perfume just a bit. Also, the “Woo” and whistle in the second verse was a tad cringy for my liking. But these are honestly minor criticisms from me. Apart from them, Perfume is such a strong showing from the three members and is super well-done.
Based on the opening of the music video and the loose clothing that the trio don throughout the music video, it is clear to me that the concept is of a sensual nature. And I find this super fitting for a song title Perfume, given that scent can be a turn on for many people and the message behind the lyrics of the song. The members were flirty throughout the video, which speaks to their chemistry with the camera. I also enjoyed the fact the members got to film outside in the open for once. I know we have seen some NCT music videos in an outside location before (i.e. NCT Dream’s Beatbox as an example). But more often then not, we see NCT music videos filmed in the confines of a studio.
Complementing the strong song is an equally strong performance. I really liked the combination of sensual and powerful moments in the routine. Sensual during the slower moments where smoothness prevails. Powerful in the choruses, when the song is at its peak with the beat and chest pumps are the main move. I also like the incorporation of pulse points in the choreography for the first half of the choruses, which is where you are supposed to apply perfume and cologne to ensure you exude the strongest scent.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
Kicking things off this week is NCT 127, who returns with Ay-Yo – the title of both the group’s newest title track and the repackaged version of their fourth studio album. Ay-Yo follows the group’s 2022 comeback with 2 Baddies, which was the title track to NCT 127’s fourth studio album when it was released in September 2022. You may notice that I have yet to review 2 Baddies (the album). The plan was to review it at the end of last year, but I sidelined the album review upon hearing a potential repackaged version was coming out. With the rumors officially true and the album dropping today, I will be fast-tracking an album review for 2 Baddies/Ay-Yo this coming weekend. In the meanwhile, here are my thoughts on Ay-Yo.
I found Ay-Yo to be an intriguing song. It is in the standard realm of hip-hop dance, which is where most of NCT 127’s songs do find themselves in nowadays. Personally, nothing too interesting from this department within Ay-Yo. However, instead of the usually loud, sometimes obnoxious, bold synths; an undeniable powerful energy from the instrumentation; heavy reliance on rapping; and strong hooks, Ay-Yo takes on a different form of power. The new song opts for powerful vocals, which is a slight change to how NCT 127 usually presents their song. This is the first time that I have heard a title track from the group that is so vocally driven, yet still consistent with their current output. As a result, Ay-Yo feels more subdued and ‘held back’ than usual. And I quite liked it. I also feel like the scales between rapping and vocals are more balanced in the song. We do still get the usual dose of powerful rapping from the rappers. Nothing feels in your face with Ay-Yo, with some of the rapping feeling quite sleek as some members opted for lower registers and it allowed them to come off as ‘mature’ sounding. But at the end of the day, it is the vocals that steal my attention in Ay-Yo, and I happy NCT 127’s vocal line is getting their moment to shine. Hook wise, the “Ay-Yo” we get at the start of the chorus does have its impact. On the melodies front, I feel that Ay-Yo has a nice ring to it, particularly Taeyong, Mark and Yuta’s respective opening lines in the choruses. But while the intriguingness and different take does win me over, Ay-Yo does have issues. My biggest one with Ay-Yo is the abrupt ending. Maybe an attempt to keep the song within their usual territory, but it just makesAy-Yo feel unfinished – not exactly the feeling I want to finish a song on.
I am not entirely sure if there is a concept with this music video. I kind of wished there was more to it. Everything feel quite urban and there are some strong and stunning visual solo shots (i.e. Jaehyun and Doyoung) in this video. In addition to that, Taeyong’s super spikey hair-do is probably one of the boldest looks I have seen in KPOP for a very long time. However, I did get dizzy watching spinning tunnel and I wish the lighting was better during some parts.
From what I can see in the music video, the group still maintains a strong performance piece even for a subdued song. The moves are less punchy, but that is expected with a song like Ay-Yo. I liked the slow movements during the verses that we saw in the video. I also liked the synchronization the members pulled off during the slightly more intense moments from the chorus.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
As you may be already aware, I am currently on a break from the blog to spend some time with family and friends this Christmas. But this does not mean I can’t celebrate the holidays with you, as well. And I do this by sharing a whole bunch of festive themed songs that our favourite and beloved KPOP artists (and companies) have released this year.
Again, I wish you all a Merry Christmas/Happy Holidays full of joy, laughter and the company of family and friends. If today is business as usual for you or you don’t celebrate the festive season, then I hope today goes seamlessly for you.
And given that from tomorrow we are in an awkward limbo state between Christmas and New Years (honestly, what do we do in during this period?), I will also wish everyone a happy new year.
NCT DREAM is nominated for Best Sub-Unit and Best Male Group in the 2022 KPOPREVIEWED Awards. Glitch Mode is nominated for Best Concept and Best Music Video, while Beatbox is nominated for Best Pop Song, Best Male Group (Choreography). Definitely an all-rounder group. Supper NCT DREAM, their songs, and all your other favourite artists, songs and performances by clicking here to vote today.
NCT DREAM officially makes their comeback today with a special Winter mini-album, titled Candy. The same-titled single (the focus of this review) leads the mini-album. The single is also a remake of H.O.T’s Candy, which was released way back in 1996. This is the group’s first comeback since their Glitch Mode and Beatbox comebacks from earlier in the year.
Given that Candy (NCT DREAM’s version) is a re-recording of the original (cue the comparison), the newer version is fairly same as the older version. The melodies haven’t changed and NCT Dream retains the upbeatness of the original song. However, there are some distinct differences with the newer version that I actually liked more so than in the original. The main difference I could hear instantly is how much more modern the instrumental is. While it is similar enough for listeners to gain a bit of familiarity and nostalgia from NCT DREAM’s version, I enjoyed the extra intensity that the producers had put into NCT DREAM’s version. This definitely helps modernise the 1996 hit to current times and gives Candy a lot more oomph, which in turn makes way for some awesome execution from NCT DREAM. Talking about execution, I also find NCT DREAM’s vocals and raps to be a lot more polished than the original. I guess we can attribute that to advances in technology since 1996 – a lot has happened since then. The second verse gets an extra (super intense) rap sequence and I liked that NCT DREAM did not opt for as much overlap between vocals and raps as H.O.T had incorporated. They do bring that overlap into play later on in the song, but it is a lot cleaner and more refined than the original. Maybe it is a generational thing as I didn’t grow up during that era (I was born a few months after the song’s original release) and I am used to the modern style of KPOP, but I definitely prefer NCT DREAM’s version of Candy by a long mile.
When you think of H.O.T’s Candy, the group’s terrible outfits come to mind. Or at least, I thought they were terrible. It is the main thing that I still cannot wrap my head around until this day – how the colourful overalls and massive oven mitts got approved. I guess it was to fit the more vibrant and upbeat style of Candy, but boy do they look awful. I am glad that NCT DREAM’s stylist did not opt for the same style choices. However, H.O.T’s outfits were iconic in the end, and so NCT DREAM’s outfits were influenced by the look from 1996. Jeno’s massive trapper hat looks like it could have been lifted from that era. But as it is just an influence and their outfits do look fairly tame, I am fine with that. Other than that relief, the music video’s candy manufacturing set reminded me of Glitch Mode‘s technology set. And per usual, I really liked the colours. Some parts however were cringy to me.
At the time of writing, there was no official stage for NCT DREAM’s version of Candy. They are however confirmed to perform the single at the 2022 KBS Music Festival, which is being held today. But from what I can see, the choreography retains some of the key moves from the original version, but also intensifies the moves to match the intensified music we get in the newer version.
Song – 9/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.5/10
KPOPREVIEWED 