Tag: ONEUS

ONEUS made their comeback last week with their new mini-album 5x, which features the title track X. This mini-album is their 11th Korean mini-album to date since their debut in 2019. It is also the first release the group has made as four members, following SEOHO’s enlistment in the military earlier this year. It also follows the special album Dear.M that ONEUS released earlier this year, which was led by the single IKUK, and a string of solo releases from each member (including SEOHO).

X is good. ONEUS gets right to business, opening the song directly with the track’s primary hook and delivering a fun centrepiece. The track revisits this hook a couple more times throughout its run, searing it into my mind. As a result, I find myself humming along to X‘s hook without even knowing. However, this hook isn’t the only memorable aspect of X. The bass guitar plays a dominant role in the instrumental, and this is quite refreshing. It gives X an underlying funkiness and grooviness that helps boost up its addictiveness and feels very current with today’s trend. The rest of the song, including vocals and rapping, was nice. I do think X could have done better with a little more grit and texture, just to give it some edge. There was an overwhelming polished feeling that just made everything in X (including ONEUS themselves) glide along too smoothly, and the song needed something to cut right through that. But not in a disruptive or distracting manner that detracts from the fresh and cool groove that X is built on.

I really liked the retro vibes that the start of the music video gave, with the interchanging members, the four-member framing, and the layering of the various shots of the members and choreography scenes. Their black and white outfits over the white background also definitely helped. From there, we see ONEUS in an industrial setting and then on the moon. Unsure of the relevance of these to the song, but it looks good nonetheless.

The choreography for this comeback is okay. Not ONEUS’ most impressive work, but it does the job. I did like the chorus routine, especially when it comes to LEEDO’s part. But again, not exactly amazing from ONEUS, who has had some great choreography in the past.

Song – 8.5/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 8.1/10

It is time to review a release from earlier in the year – ONEUS’s IKUK. You may recognise IKUK, as it is a rearranged version of their I KNOW YOU KNOW single that they performed as part of the Road To Kingdom: Ace of Ace series from 2024. IKUK was re-released in mid-January as part of their special Dear. M album. As I had never reviewed that series, I thought I would pick up IKUK for a review. Since the release, SEOHO has enlisted into the military and ONEUS is currently promoting as a quartet.

Unfortunately, I didn’t pay much attention to the release of IKUK as I was on holiday then. Listening back for this review, it is a pity that I didn’t pay attention, as it is a strong showing from the group. I like the funky and groovy nature of the song, which feels quite refreshing coming from ONEUS. I enjoyed the punchiness of the beat in this version and the subtle hip-hop presence behind the rap sequence in the second verse. I wish the bass was more profound, particularly during the hooks when the rest of the instrumentation was stripped away. Bass is present in IKUK in its current form, but I think more could have made IKUK uber funky. I also enjoyed the crispness of their vocals and rapping, which made IKUK stronger and more alluring. And the song’s primary hook, the ‘I know, you know, I love you‘, was catchy. However, IKUK is far from perfect. More could have been done to make IKUK feel less repetitive than it was. I also want various parts of IKUK, such as LEEDO’s rap in the outro and the chorus around it, to not feel as abrupt as they did. It felt like they were slapped in, hindering IKUK from feeling cohesive. Perhaps constraining IKUK to be as short as possible was not ideal, as a few extra seconds to facilitate proper transitions and additional segments to relieve IKUK from its repetitiveness would have boosted it in my books.

I really enjoyed how theatrical the music video felt. When ONEUS goes down that path, you know the music video will be top-notch. While the regal look was very cool (both members and dancers looked awesome throughout the video) and gave off vampire vibes, I wish they explored the theme a little more, mainly since the music video supposedly explored the “deadly allure of vampires” (taken from Soompi). I also wish they had chosen a better location to shoot the video (or designed a whole castle-like set). Exposed air vents detracted slightly from the potential of the regal and vampire vibes. However, these flaws are made up by retaining the wowing elements from the Road To Kingdom: ACE OF ACE stage, such as the KEONHEE emerging from the tables and SEOHO hanging upside down.

The accompanying routine that ONEUS performed on the weekly shows was an adaptation of the routine from the original stage and music video, without some of those aforementioned wow moments. It probably doesn’t sound as exciting anymore, but they retained enough to make it a performance that is still worth watching. I liked how the routine continued to feature a sophisticated and elegant side, which they emphasised during the dance break (and was my favourite part of the routine).

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

ONEUS is back? I missed the news of their return with the digital single, Rupert’s Drop, which dropped last Monday. It’s not surprising though, since the official announcement of the release didn’t happen until mid-way last week. Still, keep your eyes out for the special album release dropping early next year. We last saw ONEUS through their Now comeback earlier this year and on Road to Kingdom: Ace of Ace.

Compared to their earlier releases (which have been of the dance variety), Rupert’s Drop is a change of pace for ONEUS. It is a mellow and soothing ballad track, with an acoustic-like pop-leaning instrumental and pleasant, straightfoward and easy-going melodies. It isn’t the most mind-blowing track ever, but it is still a really nice listen. The guitars riff in Rupert’s Drop reminds me of the guitar riffs in IU’s Blueming. This evokes a nostalgic feeling for me, which works in Rupert’s Drop‘s favour. I like how the instrumental builds as it progresses, peaking when the electric guitar comes into play in the bridge. Mellow material like Rupert’s Drop allows the song to focus on the vocals. And in Rupert’s Drop, ONEUS executes the track quite well. All the members sound so good in Rupert’s Drop and I particularly like the oomph they give during the choruses. ONEUS also bring a comforting tone to Rupert’s Drop. This makes the track feel warmer and fitting for the colder season in Korea. Overall, a hearty and likable song from ONEUS.

I am unsure if the music video is relevant to the song. The video only features the members singing amongst some flowers. Aesthetic-wise, it is pretty and works well with the likableness of the song. But my understanding of Rupert’s Drop lyrics is it depicts the idea that a connection is formed between two people when they cry. The tears and associated feelings are likened to Rupert Drop’s, the tadpole-like shaped drop that dripped molten glass solidifieds into when its cooled. Apart from falling snowflakes, which is the closest thing in the video we get to ‘drops’ in this video, I can’t see how else the video is relevant to the song.

Song – 8/10
Music Video – 7/10
Overall Rating – 7.6/10

ONEUS makes their return this week with a remake of an old KPOP classic originally by Fin.K.L, who was a female group active back in the late 90s and early 00s. The song in question is titled Now, which was released back in 2000. We last saw ONEUS through their album release La Dolce Vita and promotions of Baila Conmigo. The group has also been on their 2nd world tour, visiting countries in Europe, Japan and the USA.

ONEUS’s take on Now feels pretty expected. And I am not entirely sure if that is a good thing or not. Part of me wants ONEUS to have gone outside of the box. But the risk of that, especially with such an iconic song like Now, is that you do it an injustice. Hence, keeping to the familiar melodies, hooks and arrangement of the original version of Now makes sense. That being said, ONEUS does manage to give Now some it their own flair. This newer version of Now is lot more loaded thanks to 90s pop influence, the presence of EDM elements, as well as the group’s rougher vocals. I also enjoyed the addition of the funky guitar in the interlude following the first chorus, as well as the trap based instrumental break. I do wish the brassy element in the background of the chorus was more prominent and prevalent. That could have really given this version of Now more individuality had it been done right. Overall, it is a good remake of the original song. It keeps it true to the song’s roots, but ONEUS does give it a modern flair. If you thought the remake was a little plain, I don’t blame you. But I hope you managed to hear what the first generation of KPOP had to offer.

ONEUS pulls of a heist, with a bit of a comedic flair to it. Leedo assembles a team to conduct the heist, with himself being the mastermind, Hwanwoong being the gadgets guy, Keonhee being the outfit/costume/disguise guy, Seoho being the decoy and Xion being the tech guy. The comedy comes through various means such as Xion taking a selfie of the group whilst they are planning the heist, Hwanwoong having a little much fun, Seoho actually think he makes for a good janitor and Keonhee with his fake moustache. Leedo manages to break through the security systems to get into the vault with the help of Xion. They pick up a small metallic box. But as they open it to see what is inside, the alarm goes off. They rush out to escape, but can’t see to get past the door in the hallway. But Xion had planned for this earlier and blows up the building… with them still inside…. Somehow, it looks like they managed to escape (or are they in the afterlife?). And the box they were looking for was empty the whole time. The video closes out with two ants bopping away on one of the members’ shoulders. A comment on YouTube explains the significance as the English lyrics “Came into my life” sounds like ‘2 ants’ in Korean. Overall, the video seems to be intended as lighthearted and funny, and it does so quite well.

Just like how the song keeps some of the original, the choreography does the same. The original performance’s key move for the post-chorus sequence is retained. But again, ONEUS manages to bring their own style to the performance. I am particularly impressed with the dance break, with Hwanwoong, Leedo and Xion doing a body twist mid-air. It looked very cool and intense.

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

Making their comeback last week was ONEUS, who returns with their 10th mini-album La Dolce Vita, which is Spanish for ‘The Sweet Life‘. The title of the title track (and focus of this review post) is also titled in Spanish, Baila Conmigo, which is Spanish for ‘Dance With Me‘. The new release follows on from the group’s ERASE ME and PYGMALION promotions from earlier in May of this year.

With no surprise, the Spanish titled Baila Conmigo also features Latin influences in its mix. But for the main backbone of the track, Baila Conmigo sees a contemporary pop dance sound and reggaeton beats. All of these come together to create a decent and surprisingly balanced instrumental backing. However, I do feel like the instrumental lacked an exciting element to take it to the next level. Everything in the instrumentation felt firmly in the background of the background, and I wished there was more to the forefront of the instrumentation (i.e. those exciting elements I was just talking about). The added oomph via those more defined percussion and beats was an interesting element to give Baila Conmigo a bombastic end and to fill out the instrumental so it can be more fulfilling. It serves its purpose and also surprised me, given the subdued nature of the rest of the song. But it did feel a tad late. The vocal work from ONEUS was solid, per usual. But the lack of a memorable hook or melody does make Baila Conmigo less interesting to return to. The Spanish second verse was a big surprise, but I don’t think it was as big of a weapon as ONEUS and their producers had hoped for. I wished there was much for to Baila Conmigo. But it was still a decent listen, nonetheless.

The music video for Baila Conmigo was okay, but also lacked that memorable aspect, in my opinion. The video goes down the aesthetic route with a sensual and mature concept. I did like the different sets, some of which looks to be Latin influenced and how the colours choices either gave the sets a warm or cool tone. The choreography in the pool of shallow water and glittered covered floor also felt refreshing. And adding to the aesthetics of the video, I believe the people in the background/drummers were wearing a Vejigante mask to fit in with the Latin concept influence. It all looks very pretty and neat. But asides from choreography and closeups, there wasn’t much else to the video.

The choreography for this comeback isn’t as bold as their previous works. This makes way for a sensual routine, which works well with the song. I do like the end where the beats become more dramatic and the song takes that bombastic turn. The members traditioned over without it being jarring or disruptive to the flow of the routine.

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

ONEUS made their comeback last Monday with their 9th mini-album PYGALMON and their latest lead single, ERASE ME. This is the male group’s first release since September’s 2022 MALUS and Same Scent. It is also the group’s first official comeback as a five member group, following Ravn’s hiatus and subsequent departure during and after Same Scent/MALUS‘ promotion. As part of the promotions of new mini-album, ONEUS did pre-release a side track, titled UNFORGETTABLE. I have yet to review that single, but will definitely do so in the future ahead of PYGALMON‘s album review.

There is a fair lot going on in ERASE ME and I will admit that it was quite overwhelming the first couple of listens. But a week on from ERASE ME‘s release, the track has definitely grown on me a fair bit. The idea with having a strong and dramatic orchestral influence in combination with the synths was a really amazing idea. The intensity was definitely gripping and made for a unique listening experience. The jerkiness of instrumental, especially around the choruses, might be a bit unlikeable to some (and I can completely understand why!). But I personally thought the jerkiness nature of ERASE ME was a charming aspect of the song. The boldness of the synths used in the chorus probably contributed that overwhelming impression I mentioned at the start of the review, but it does now leave a more memorable impression now. As for the members, they did a decent job. Seoho with his piercing high note at the start of the final chorus and Xion’s lower and huskier tone that opened up the second chorus were probably my favourite aspects of ERASE ME. On the other hand, Leedo and Hwanwoong’s rapping was underbaked for such an intense song and their rapping segments could have used some oomph to bring to the same level of boldness as the instrumentation. ERASE ME also lacked a strong melody and hook, but I think the instrumental just took away any opportunity for something strong to develop in these departments. We do have a “Da Da Da” hook and some pop melodies that were promising, but something more striking could have been delivered in this song. Overall, I like the direction taken by, and the final product that is, ERASE ME. But I think improvements to the song could have made it even better.

To say the music video was stunning would be a complete understatement. While it is just choreography and closeup shots, every single shot and scene just leaves such a strong visual impression on you. The quality was so crisp and the members looked so good because of this. The clever cinematography and lighting definitely emphasised the boldness of the music and made me go wow on so many occasions. The concrete stairs and the dance break sequence of the song/music video were prime examples of these moments. The colour palette was rather limited, but the producers did an amazing job of ensuring that those colours look so fresh and stimulating. Whatever RBW is doing here needs to be replicated across all of their music videos in the future because it makes the entire video dynamic.

It should come as no surprise that such a song like ERASE ME would lend towards a very strong performance. ONEUS definitely delivers this and shows off their performance skills with such an intense and complex routine, as a whole. However, I just cannot commit to saying that this is their most impressive effort to date. But don’t get me wrong, the choreography for ERASE ME is definitely up there.

Song – 8.5/`10
Music Video – 10/10
Performance – 9/10
Overall Rating – 9.1/10

The other comeback to start of this week is ONEUS’ newest single Same Scent and the group’s eighth mini-album, Malus. This release follows the group’s last comeback from earlier in the year, Bring It On, which was released back in May. I very recently reviewed that release’s mini-album (TRICKSTER) which proved to be a big hit in my books. It won’t be a while before I find time to review Malus. So for now, here is my review for Same Scent.

ONEUS goes for more of a restrained dance track in Same Scent. They are probably more well known for releasing songs, at the moment, that are more ‘in-your-face’ (i.e. Bring It On). But their own repertoire also includes singles that feel more held back (i.e. A Song Written Easily from 2019), and it is this style which Same Scent would fall under. There isn’t anything wrong with this style of music, especially since Same Scent feels aesthetic in its own way and brings out a refined maturity. This alone makes the song quite attractive to me. There is an airiness to the pre-chorus that I quite liked, and the contrast between airiness and Same Scent‘s choruses was quite profound. The vocal work feels smooth and I really liked how the lyrics just glide along during certain parts of Same Scent. The ad-libs were also quite cool. My only concern about Same Scent is that it doesn’t feel like ONEUS did much in it. The chorus is largely empty, with Same Scent relying on the tropical synths to do most of the talking (again nothing wrong with this, especially since I enjoyed the way Same Scent sounded – I am just more concerned that ONEUS didn’t really get a chance to showcase more of their talents in the song compared to previously). We do get a bit of lyrics in the choruses towards the end of the sections, but they aren’t exactly the most memorable hooks. The first verse was also largely unmemorable, as well. But at least the second verse had some strong rapping, particularly Leedo who starts off soft but builds his sequence as it goes on. Ravn’s autotuned follow up and bridge sequence was probably the song’s most textural component. Overall, a pleasing song. But I would have liked ONEUS to have been a bit more robust (in a fitting way) in this song.

The music video doesn’t really add much to this comeback, if I am being honest. It captures of some that aesthetic that I mentioned in the song, with smoother and slowed down choreography shots. And you could argue that some of the solo close ups might also capture some of the aesthetic. But I felt the choreography sets were confined or too dark. Sure, they give off some mature vibes. But not enough for me to really say much about it. The scenes where the members are dancing in a shallow pool of water was probably the coolest aspect of the music video. And while it did have a refreshing vibe as we haven’t seen this recently, it isn’t innovative nor groundbreaking.

With a mature sound like Same Scent, I am glad their performance stage picks up on this. There is a subtle sensual vibe to the choreography that works well with the song and even their attire at their showcase stage brings more of that sensual energy. There was also a subtle intensity in the chorus routine, which I found to be quite satsifying to watch.

Song – 8/10
Music Video – 6/10
Performance – 8/10
Overall Rating – 7.4/10

Earlier this week, ONEUS also joined the growing list of May comebacks with their seventh mini-album, Trickster, and the title track Bring It On. This is the group’s first comeback since LUNA from November of last year. It also comes after the group embarked on their second U.S. tour, which occurred earlier this year.

Bring It On returns ONEUS to their more powerful and boisterous side that the group has previously done in past singles such as No Diggity and TO BE OR NOT TO BE. I quite like it that Bring It On hits hard in the second half of the choruses and doesn’t hold back. The first run of the second half of the choruses was made more satisfying following what I would describe as a fine first verse and first half of chorus. Leedo’s deep and aggressive rapping style is so fitting for their powerful sound and the vocals that followed were pretty solid. But the instrumental in the verses and first half of the chorus of Bring It On held itself back a bit too much for my liking and felt tamer than what it potentially could have been. I felt that it could have been a bit harder hitting, but still manage to deliver the same satisfying blastful effect once the second half of the chorus came around. Following the first chorus, I was a bit let down with Seoho’s autotuned rap lines. The autotune sequence weakened the structure of Bring It On and felt unnecessary in this already aggressive song. It should have skipped right into Ravn’s solo rap sequence instead, which picked the song back up for me. Bring It On then repeats the pre-chorus of solid vocals and the chorus as it was the first time around. As for the bridge of Bring It On, the producers opted for a touch of smoothness, before amping the song back up with some rock influences (loved it), and then redelivering the second half of the chorus as above twice in a row to close out Bring It On. I did wish Bring It On had some stronger hooks and the melodies were more memorable. But the booming second half of the chorus definitely helps make Bring It On memorable.

The music video did a great job of encapsulating that aggressive and powerful nature of the song, translating it into an edgy and somewhat dark concept. Plot-wise, I have no clue with what is going on, especially with all the games of choice. The trailers before this music video do feature them and appears more thriller-like, tense and suspenseful (highly recommend you watch them), which is totally my jam. I just cannot decipher the plot or the message behind the video. I am also unsure whether the actual music video continues the story or not. But still a cool standalone music video to watch.

The stronger moments within the choreography come naturally during the song’s most intense moments (i.e. the second half of the choruses, the rock sequences in the bridge and the final chorus sequence of Bring It On). The chemistry with the camera and the footwork stands out for me during these parts, and the helps makes the entire performance worthwhile to watch.

Song – 8.5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.5/10

There will always be a bit of time jumping for me, with the next release on the reviewing block coming out a month after BDC’s MOON WALKER (which I just reviewed). But there is another reason why I want to cover ONEUS’ Life Is Beautiful over many others today. For those who may not be aware, ONEUS is making a comeback (tomorrow in fact), and I wanted to review this particular release before their next comeback. So essentially, the deadline for this review is tonight. Life Is Beautiful is the second release in the ONEUS Theatre series, following Shut Up 받고 Crazy Hot!.

Add why I hadn’t reviewed Life Is Beautiful sooner to the list of world mysteries out there because even I cannot figure out why I completed passed over the opportunity to review this amazing release much closer to its original release date. I freaking enjoyed Life Is Beautiful‘s refreshing tone and its breeziness, which doubles as a great Summer release. It is also a very soothing and calming pop track that I just want to continually go back to. Just listening to the song brings a smile to my face, and I quite liked that in a song. Compared to what ONEUS usually puts out, Life Is Beautiful is very different. Not only does this release steer away from the group’s heavy dependence on synths in their title tracks, but the pop song is also light, extremely pleasant and quite upbeat. It is pretty much a straightforward song in retrospect, staying quite consistent from one end to the next. But is that an issue in Life Is Beautiful? I don’t think so. There are a few standout moments in the instrumental. The guitars in the second verse felt so right and the flutes used in the song’s post-chorus instrumental hook were fun and added so much colour to the song. Otherwise, all the descriptors that I started off within this paragraph can be applied to the rest of the song’s backing. When it comes to the chorus, I loved the melodically driven approach that the pop sound enables. The melody is charming and exudes that happy feeling that the song is effortlessly conveying to the listener. Their vocals bring this to life and they sound so good, highlighting their vocal versatility. The English lines in the chorus were very catchy and addictive to listen to. Even the rapping we get in Life Is Beautiful works really well. I do wish there was some sort of peak in the song. I felt like that was the only thing that was missing and would have made the song less consistent (not that was an issue in this particular track). Overall, Life Is Beautiful is almost a perfect song that I want to continually listen to.

As mentioned previously, the music videos released as part of ONEUS Theatre are based on movies. For Life Is Beautiful, the inspiration for this video was the movie Dead Poet’s Society. I personally haven’t watched the movie, but upon some reading of its themes (you can get a sense of those themes by reading the plotline of the movie on Wikipedia), you can definitely tell that they were carried throughout the lyrics and scenes of the video. The members played students in what seems to be an uptight school. They are taught the exact same thing as the movie’s main character had taught his students – ”Carpe diem”, which is Latin for ‘seize the day’ (i.e. make the most of present-day). And we see that when the members enjoy their time with one another on the beach and by the sea. I liked the camera work for most of the video (sans the shaky camera work for the indoor choreography scenes), especially the drone used to capture footage as the members dance. It made the video seem more epic and amazing.

From what I can see from the music video, the choreography looks pretty good. I liked the way it captured the energy of the song, along with the song’s breeziness. It might not be as complex as their other tracks but I think the group managed to find an amazing balance of their skills for this song.

Song – 9.5/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 9.1/10

For me, the next release came out of the blue. I was not aware of that ONEUS would be returning to us with a new series, ONEUS Theatre. From what I can gather, this isn’t a formal comeback. Rather ONEUS will be release some old songs that the group that the group have not formally released yet, and will be seeking influences from famous movies for the music video. The first song in the ONEUS Theatre series is Shut Up 받고 Crazy Hot!. This new release comes after two comebacks from the group, No Diggity and BLACK MIRROR from earlier in the year.

Shut Up 받고 Crazy Hot! is quite a robust and hefty release. And it is releases like this that feels quite satisfying to listen to. Compared to the original (performed at their debut concert in 2019), this newer version of the song is more amplified and I find that it uplifts the song to be more energetic and aligned with ONEUS’ recent comebacks. It starts off with a playful vibe brought to us via some piano, which is over the top of some intense underlay. The piano is maintained in chorus, which showcases both intensity and that same playful vibe. The chorus is also chanty, and the combination of instrumentation and chanty style chorus produced a really fun and addictive centre piece for the song. I really liked how the blended in the chorus outro into the actual body of the chorus. It was an awkward segment in the original version, for me at least. For the verses, Shut Up 받고 Crazy Hot! diverts into two directions. The rappers maintain that intensity I mentioned before, allowing them to showcase a tough and edgy vibe via their deeper tones. The vocalists bring more of that lightheartedness to the song, via the pop tunes that form the background of their segments. It is interesting because I never find the two segments of the song too conflicting. And as the chorus of Shut Up 받고 Crazy Hot! shows, the two directions can be merged together very well. I also like how the bridge goes from being slowed down into a very bold and theatrical instrumental piece that concentrates the entirety of Shut Up 받고 Crazy Hot! with a few seconds. Overall, Shut Up 받고 Crazy Hot! is a great release in addition to their main title tracks.

The music video for this release is actually a performance video, rather than your standard music video. So the choreography would be the main focus. But I will talk about that in the next paragraph. As mentioned at the start of this review, ONEUS Theatre video’s will be based on famous movies. Shut Up 받고 Crazy Hot!‘s video is based on the Mad Max series. The video’s location (sandy desert) was great choice and I liked how the props and outfit did give off the Mad Max vibes. I also felt that it also really highlighted an edgy vibe for the group. I do wish they didn’t use the tan coloured add-ons. It doesn’t look good and felt tacky. I also wished the male dancers were not in such ripped shirts. It looked terrible and felt out of placed in this video, considering ONEUS and the female dancers wore outfits that were not ripped to shreds to the extent of male dancers. I also don’t like the use of the drones in this music video. Those shots were too fast and extreme for my liking. This might just be me nitpicking, but these were thoughts that I had while watching the video for the first time last night.

Choreography-wise, I think Shut Up 받고 Crazy Hot! had a great routine. It is a completely different routine to what they previously performed with. And I find this new version of the choreography does a good job of matching the energy of the song. The previous version felt dulled and lacked energy.

Song – 9/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 8.5/10