Tag: OnlyOneOf

[Album Review] Things I Can’t Say LOve (6th Mini Album) – OnlyOneOf

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OnlyOneOf’s 6th mini-album, Things I Can’t Say LOve, is the next mini-album to be reviewed on this blog. This was released way back in January of this year alongside the title track dOpamine. Said title track earned a high rating from me in the song department, so it become the primary reason as to why I have picked up this mini-album for review. Things I Can’t Say LOve also follows from 2023’s seOul cOllectiOn mini-album.

things i can’t say lOve Album Cover

1. things i can’t say lOve (Instrumental) – While things i can’t say lOve is labelled as an instrumental track (implying that it the instrumental version of another track on this mini-album), it actually serves more as an intro track for this mini-album. And this intro track deserves to be a full-length track. The EDM and atmospheric vibe that comes from the presence of the piano feels very fulfilling. But like all instrumental tracks I have reviewed in the past on my blog, I can’t give it a rating.

2. dOpamine (Title Track) – Click here for the full review for dOpamine. (9/10)

3. give me the lOve, bitxx – give me the lOve, bitxx falls into the R&B genre. The track full embodies R&B with a smooth yet typical instrumental and breathy vocals from the members to elicit a more sensual direction. I do question the need for the final part of the song’s title (i.e., ‘bitxx’). I am presuming it is the non-explicit representation of the curse word. But I don’t get that energy or tone from the song, nor am I sure if it was ever reflected in the Korean lyrics – it wasn’t reflected in the English translations that I could find. Disappointed with the track from that aspect, as the title does appear to promise some aggression, but that was not delivered whatsoever. (7/10)

4. O – The fourth track of the mini-album, O, brings a darker tone to the mini-album. While the instrumental felt very consistent and relatively minimalistic for the length of the track, I found the piece to be quite rhythmic. And with the relative minimalistic nature of the background makes the beat to be quite prolific. With such an arrangement, the focus would be squarely on vocals. And I feel the members nailed this aspect of the song, with the passion and emotions behind their delivery felt quite profoundly. Less autotune and more raw vocals would have been appreciated, but what they delivered was still on brand for the group. (9/10)

5. gravity – The final song on the mini-album is gravity. Like the third song on the mini-album, gravity is another take on R&B. At least this time, the song doesn’t promise anything in its title. While gravity contains the usual R&B smooth and dreamy suspects, what also separates this track with the third track on the mini-album is its relative upbeat nature. This upbeat nature, combined with the members’ breathy vocals, helps smooth out the song further. And this combination makes for a really nice track that I enjoyed. (8/10)

Overall Album Rating – 8.3/10

things i can’t say lOve Teaser Image

[Review] dOpamine – OnlyOneOf

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OnlyOneOf makes their comeback today with their latest single dOpamine and mini-album Things I Can’t Say Love. It is their first comeback since March’s seOul drift (which was featured on their previous mini-album seOul collectiOn) and their BL drama Bump Up Business (which the entire group was casted in, but was led by Nine and Mill).

What I got out of OnlyOneOf’s latest release was that it puts us back in the previous familiar OnlyOneOf territory. And I am all for that! Right off the bat, the airiness and lightness of the vocals in dOpamine, opposite a drum and bass-like instrumental makes for an aesthetic environment. And we have previously got aesthetic sounds from OnlyOneOf through their more well known tracks like libidO. There are some more interesting parts in dOpamine that I am instantly drawn to more than others. But that doesn’t mean the rest of the song isn’t good enough (though I think some improvements on the production side to really bring the vocals and instrumentation together better would have really helped out, especially during that first verse). Personally, I really liked the pre-chorus, which introduces some guitar work into the mix. Junji’s perfectly executed vocals really adds the cherry on top. The chorus features a really nice concentration in the instrumentation, making the track feel sharper and dynamic, which I found to be a good call. The abruptness and glitchy style of the bridge was also a nice yet welcome change up in momentum, which I felt was needed so that dOpamine doesn’t come off repetitive. Overall, the positives outweighs the weaker parts of dOpamine, which honestly is quite a good song in itself.

Abs galore is the first thing I will say about this music video. I really do like it that OnlyOneOf consistently pushes the boundaries in some form through their releases, and that they do it again by showing off their sexier side. I do hope that it is voluntary and that no member is forced into the concept if they are uncomfortable. Beyond that, the music video is a rather standard formula of close ups (the whole middle portion of the video did feel more so an abs showcase) and choreography scenes. But complementary-wise, the video works well with the song.

The choreography looks good. Nothing stands out on its own, but the entire routine together has impact and boldness, which contrasts with both the entirety and component-level of the aesthetic environment I spoke about earlier.

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

[Album Review] seOul cOllectiOn (5th Mini Album) – OnlyOneOf

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The next album to be reviewed on the blog is OnlyOneOf’s seOul cOllectiOn, which was released back in March of this year. This is my first time reviewing an album from OnlyOneOf. They have such different music to other artists in the past, so I thought I give them an album a try and see what else they have to offer. Apologies that it has taken me a while to actually get around to reviewing on their albums.

In my opinion, there is a bit to like on this mini-album, which includes the title track seOul drift (which, spolier alert, is the lowest ranked track on the mini-album, in my opinion) and six other sides tracks (2 of which are the Korean version of previously released Japanese singles and another is the English version of a previous Korean track promoted by the group). I won’t tell you the title of those songs, so scroll on down to find out what they are and to check out my thoughts on seOul cOllectiOn.

seOul cOllectiOn Album Cover

1. chrOme hearts – Originally released a Japanese single, the Korean version of chrOme hearts kicks off this mini-album (retitled as chrOme hearts). The start of the song takes me back to their libidO era. But as chrOme hearts builds, the beat gets harder and the EDM synth choice becomes so much more metallic and unique. chrOme hearts ends up being quite an intense and powerful number. The vocals, especially in the choruses, were so sleek and I really enjoyed how fitting the gritty texture of song. a standout from the very beginning. (10/10)

2. seOul drift (Title Track) – Click here to read the full review for seOul drift. (6.5/10)

3. mirage – Briefly moving away from the synths and EDM is mirage, which brings forth acoustic guitar and softer beats to the mini-album. It holds very well after all of that intensity and power. The track is detailed with some jazzy touches, which gives it a classy feel. The jazzy touches also serve as the backing for the raps, which gives mirage some oomph. I also really like how breathy the vocals are and the flowy melodies the vocalists bring to life in the song. (7.5/10)

4. candy bOmb – The synths return in candy bOmb. I really like how deep the synths go in this track, while the beat keeps the track going forward. The tempo of candy bOmb is very quick – the saying “blink and you will miss it” applies to this song. I wished the melodies and vocals were a bit more developed. There is some catchiness to them, but they really need to be more memorable to offset the tempo. The bridge of candy bOmb is a complete 180, going into a dreamy mode for a matter of seconds, before the main beat and synths come back to close out the song. (8/10)

5. blueblueseOul – blueblueseOul is the Korean version of Hidoi Otoko, a Japanese single which comes from the group’s Cunning Woman single album. I really like the atmospheric vibes that kick off the song. While the atmospheric vibes continue in the background, the beat and guitar work grounds the song. We get breathy vocals once again, which sound blissful in blueblueseOul. It was a nice listen, and paired with the instrumentation, is well produced and amazing track. (9/10)

6. nabi – The final new track is nabi, the group’s answer to the obligatory ballad for every KPOP album release. It is nice to hear the group away from the intensity that they build their image and sound upon. It is a delicate number, with the members sounding soothing and the instrumentation gives off that swaying effect I look for in balladry numbers. However, I wished there was a more memorable melody to pull me back to the song. (7/10)

7. dOra maar (English Version) – I haven’t actually reviewed dOra maar yet, even though it has been over three years since its original release in Korean. It is a slow R&B dance track which is quite engaging to listen to. The members do an amazing job with the delivery of the track, bringing a mature and sensual tone to life. I enjoyed the clanging beat, which is a bit different. I did wish there was a bit more to the song towards the end, just to give the song a bit more edge and keep it interesting. But overall, a strong reason for me to revisit some of their earlier works. (8/10)

Overall Album Rating – 8/10

[Review] seOul drift – OnlyOneOf

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OnlyOneOf has been busy for the latter half of 2022 and early 2023. They completed their undergrOund idOl series, where each member released a solo song (i.e. Yoojung’s begin, KB’s be free, Junji’s be mine, Rie’s because, Mill’s beat and Nine’s beyOnd). The group also made their Japanese comeback with Cunning Woman in 2022 and chrOme arts earlier this year. They are also been on tour lately. But today’s focus is on the group’s return as a full group to the Korean stage in March of this year, with their fifth mini-album titled seOul cOllectiOn and the title track seOul drift.

Following on from the undergrOund idOl series, I had high hopes for this comeback. But seOul drift leans towards the more typical “noisy” sound (as some might call it) that many male groups have released (and will release) in this era. There are some good aspects of seOul drift, which I want to start off with. seOul drift is aligned with their past tracks, which have also been synth heavy singles. I appreciate that seOul drift is grungier than ever, which does give off a slightly different vibe to their competition. I also liked the idea of the high-octane energy that the members put into the song with their shoutier approach to the choruses. The drifting car sounds that are built into the instrumentation also makes the track unique. But compared with other releases, seOul drift does not have anything that I would consider unique to OnlyOneOf. I also found it hard to get into the track (part of the reason to why it has taken me a while to sit down and review the song), simply because the instrumentation for seOul drift was just overwhelming and overpowering at times. This masks the rapping and hides the vocals of seOul drift, in my opinion. The song also lacks the charm of a memorable melody or hook that would have helped it stay in my mind after the song finishes up. However, what seOul drift does create for a great performance piece (more on this in the final section of the review).

While it appears like this is a separate video from their undergrOund idOl series, there are nods towards the series in this video. The two that screams the loudest is probably the presence of telephone box (which was a recurring object in their solo series) and the fact the members are paired off in the same manner. The music video does feature less of the LGBTQIA+ themes that have previously attracted attention. But there some subtle nods towards those as well, such as the chemistry between the members and Rie holding a rainbow shopping bag. The lighting, dynamic nature of the camera work and the background of the Seoul lights (which the description of the video points out) were also positive aspects of the video, as well.

As mentioned earlier, the high-octane energy from the song lends well towards the performance element of the comeback. And this very true for seOul drift. The performance is one powerful and intense piece, and a relentless routine in which the members kept on moving without any breaks.

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

[Review] beyOnd – Nine (OnlyOneOf)

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Finally getting around to finishing the undergrOund idOl project, where each member of OnlyOneOf releases a solo track and two music videos from the project come together to form a storyline. And since stepping over into the near year, the group has completed the series with the release of Nine’s beyOnd in early January of this year. beyOnd follows the release of Yoojung’s begin, KB’s be free, JunJi’s be mine, Rie’s because and Mill’s beat. Now that the project is over, OnlyOneOf refocused on group activities with a Japanese comeback (chrOme arts) and they also appear to be gearing up for a Korean comeback in early March.

beyOnd goes with more of an alternative R&B approach, toning down and easing us out of the project in a comfortable manner. I quite enjoyed the synths and electronic side of the instrumentation. While there is a fair amount of textural components, I did find the instrumental for beyOnd to be built in a way that brought forth an intriguing smooth-like effect that I find to be quite enjoyable. Emphasising this smoothness are Nine’s vocals, which can be characterised as being of a low tone, raspy and breathy. All of which helped made beyOnd appealing. I did appreciate the rise in tone and prominence of the vocals, whilst also keeping to a lower tone, raspiness and breathiness. when it came to the chorus, which ultimately helps make beyOnd less neutral and gives more bite to the song. My favourite bit of the song is the start of the second half of the chorus, with the repetition of the first few words of the two initial lines of this half. It felt quite dynamic and adds another layer of appeal to the song. Overall, beyOnd is fairly straightforward, but also serves as a neat addition to the solo works that came out of this project.

In beat‘s music video overview, we left off with a slight cliffhanger, where Nine appears in front of Mill bloodied and injured. I mentioned that we will definitely find out why in this video and we definitely do find out. It turns out that Nine was cornered and targeted by Mill’s bullies, who end up bashing Nine up. Mill ends up taking Nine back home to take care of him, and ends up lying down alongside Nine. In the final moment of the video, it looks like Nine ends up going in for a kiss and Mill possibly reciprocating. But we won’t know as the video finishes just before anything else happens. Elsewhere in the video, it is revealed that Nine takes an interest in Mill, further confirmation that Mill is shy and scared of his feelings, the pair ends up hanging out with each more (which is where their feelings for each other develops more). We also see all of the other members as either a teacher or students playing basketball.

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

[Review] beat – Mill (OnlyOneOf)

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Late last year, I started to review the undergrOund idOl series from OnlyOneOf, a series that focused on each of the OnlyOneOf members individually, while every two music videos were intertwined with one another. At the time of writing the reviews, I had reviewed all four songs that were already released at the time, including Yoojung’s begin, KB’s be free, JunJi’s be mine and Rie’s because. Today, I return to review the fifth release of the series, Mill’s beat, which was released at the end of November 2022. And I am hoping either this weekend or the next week, I will also review sixth and final release of the series – Nine’s beyOnd.

Mill is OnlyOneOf’s resident main rapper, so I expected that his solo song would be geared towards showing off more of this side of him. And beat did just that. Compared to the previous songs we have heard in the series, beat is more upbeat, intense and dynamic, tapping into hip-hop influences and abrasive synths. I really liked how the producers roughened up Mill’s raps, adding the textures of beat and compliment the instrumental. This ultimately gave beat a crunchier exterior, which I actually quite enjoyed. Mill’s raps are delivered in a shoutier manner to usual rap based songs. But I personally do not mind this, as it just made beat feel more lively and adds to that dynamic factor. His vocals were also quite good. What makes beat more appealing is the grooviness we get in the choruses, which makes everything a lot more palatable and fits it into the current trends we have been seeing in KPOP. The groove also gave beat a unique profile and interesting character. I quite enjoyed everything that beat had to offer. But if I were to say something constructive about beat, it would be the fact I wished it went in harder. However, I completely understand why the producers didn’t do this, as this would have completely derailed the efforts of the undergrOund idOl and become ill-fitting with the rest of the series. Despite this, I would still like to hear an amped up version in the future, as I can totally imagine the song in such a light.

The music video focuses on a relationship that comes about in the school yard. Nine is a new student at the school that Mill goes to. Since coming over, Nine has been saving Mill from being picked on/bullied and a subtle friendship blooms between the pair. But Mill is a shy character, so he doesn’t exactly hang out with Nine, preferring to watch him from afar. But Mill is caught by his bullies, who make his time at school hard, especially since they realize that Mill has become quite infatuated with Nine. One day after school, Mill is dragged away from school by his bullies, but Nine stumbles upon them, attacks one of the bullies and runs away with Mill from them. The bullies give chase after the pair, but the pair quickly loses the bullies and (I think) this cements their friendship. One night, however, Mill is waiting outside in the cold (presumably for Nine). The latter comes up to Mill at their meet-up location, bloodied and bruised. Why this is the case, we don’t know until we watch the music video for Nine’s beyOnd. Like the other videos, the other members make a brief appearance, with KB acting as the teacher and the other three members play basketball with Nine.

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

[Review] because – Rie (OnlyOneOf)

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I end the week of long of reviews focusing on solo comebacks and debuts with a focus on OnlyOneOf and the solo works that the group has been pumping out monthly since June of this year. For those who were not aware, OnlyOneOf embarked on a undergrOund idOl project, where each member releases a single each month. First up was YooJung with the single begin, followed by KB’s be free and JunJi’s be mine. The focus of this review is Rie’s because, which actually dropped a few days ago. Mill and Nine’s releases will come out in November and December, and I will be reviewing those once they come out. Aside from solo work, we last saw OnlyOneOf through their skinz promotions earlier in the year and more recently their second Japanese single Zurui Onna.

because is a soft pop rock song, which is without a doubt, on trend for 2022. And with my preference towards pop rock, it has fast become one of my favourite tracks from the project thus far (with the other favourite being KB’s be free). Whilst I must admit that the pop rock instrumentation was pretty standard, I like how perfectly it pairs with the rest of the elements of because. The melodies, when paired with the instrumentation, feels drifty and light. It makes for a soothing and atmospheric effect to come about, which is a wonderful effect to have come from a song like this. And naturally, the vocals that brings the melodies to life, fits in wonderfully. Rie doesn’t necessarily show off anything powerful in because, but he does a great job of showcasing his strengths by making because so inviting and warm to listen to. I quite like it especially when Rie’s vocals soar towards the end, which gives because a bit more oomph towards the end. This also doubles as a clever tactic to prevent because from feel overly consistent or flat. Altogether, you have a captivating piece that shows off Rie. Now, the song isn’t exactly perfect. I feel like because could have used more grit, maybe via an electric guitar solo in the background (rather than in the foreground of the instrumental), would have been ideal. Obviously, because doesn’t call for anything too crazy or intense, but something to accent in the background would have been nice. That would have potentially been a ‘cherry on top’ moment to take the song to a whole new level. But as it is, because is already an amazing track.

We start off the music video for because where we left off in the be mine music video, where the two characters (played by Rie and JunJi) lean in for a kiss at the café. However, due to a misunderstanding between the two, the pair fights. My guess is that this misunderstanding is present in that initial pool scene, which kind of represents the experience of a relationship (based on the lyrics). JunJi emerges from the pool and invites Rie to join him, suggesting that he is he is experienced in this department. But Rie is a lot more reserved and hesitates. And this causes the misunderstanding and fight to play out. That leaves Rie in tears, during which he reflects on the happy memories that the two have built together (i.e. the events of the be mine video, plus that extra set of scenes where Rie takes a photo of JunJi which results in an impromptu modelling session and lands the pair in bed together again). In the end, Rie joins JunJi in the pool and they make up. Interestingly, this video is probably the sexiest out of the four we have gotten so far and Rie/JunJi’s chemistry is really amazing to watch. It is the only video out of the four so far to actually feature a proper kiss scene between the characters

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

[Review] be mine – JunJi (OnlyOneOf)

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I end the week of long of reviews focusing on solo comebacks and debuts with a focus on OnlyOneOf and the solo works that the group has been pumping out monthly since June of this year. For those who were not aware, OnlyOneOf embarked on a undergrOund idOl project, where each member releases a single each month. First up was YooJung with the single begin, followed by KB’s be free. In August, we saw the release of be mine by JunJi, which is then followed by Rie’s release. Mill and Nine’s releases will come out in November and December, and I will be reviewing those once they come out. Aside from solo work, we last saw OnlyOneOf through their skinz promotions earlier in the year and more recently their second Japanese single Zurui Onna.

This next release in the undergrOund idOl project takes on R&B, though for a brief second I thought be mine was going down a balladry route with the piano. But when the piano started to get jerky, I could tell that the producers and JunJi had other plans for be mine. I liked that each of the tracks we have heard thus far all have a different colour and genre, allowing each member to make their track their own. And so far, the tracks have been great. However, be mine is probably the most generic and the least appealing of the four (i.e. YooJung to Rie’s) released at the time of writing this review. I just don’t find it as compelling as the rest, and to be honest, the song got lost in the crowd at the time of its release. I actually had very little memory of this track before writing this review. While that probably doesn’t sell be mine, it is still a decent track. And if you like a standard nonchalant R&B track, then be mine might be for you. I quite like the rapid pulses of beats that we get in the instrumentation, in particular. It adds a bit of dynamic flair to the song, which keeps in line with the other undergrOund idOl tracks we have gotten thus far. But it isn’t really enough to bring it up to that bar set by begin and be free, for me. Vocally, it is probably one of the strongest tracks of the project thus far, which makes sense given that JunJi is one of the lead vocalists of the group. I also did like the rapping that was mixed into be mine, which gives the song a bit more appeal than a straight forward R&B track. be mine might not be the most compelling track, but it was still a fair effort for JunJi.

In my last music video breakdown for KB’s release, I mentioned that KB had been hurt previously and I feel like JunJi’s music video might give a hint to why that is the case. I believe that KB and JunJi were on a date at YooJung’s café (maybe this is where YooJung and KB first saw and fell for each other). A new member appears, Rie, who stops by to order something. Both JunJi and Rie share a smile exchange, before Rie leaves the store, going about the rest of his day. JunJi ditches KB (and probably hurts KB in the process, which leads to why he chooses not to be with YooJung in the be free music video) and runs after Rie. Don’t know if he confesses or just invites Rie to hang, but Rie pretty much agrees, much to JunJi’s excitement. And then the rest is history. The pair hang out and have some fun with each other. And at the end, they seem to go to the next level in their relationship by sharing a kiss at the café. Again, this video sets up the events in Rie’s music video, which follows the release of be mine. I quite liked the golden colour of the video, which matches well with the R&B side of the song. From the lighting in the café to the sunshine, it creates a warm atmosphere in the video.

Song – 7/10
Music Video – 8/10
Overall Rating – 7.4/10

[Review] be free – KB (OnlyOneOf)

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I end the week of long of reviews focusing on solo comebacks and debuts with a focus on OnlyOneOf and the solo works that the group has been pumping out monthly since June of this year. For those who were not aware, OnlyOneOf embarked on a undergrOund idOl project, where each member releases a single each month. First up was YooJung with the single begin. Following that release, KB makes his solo debut with be free, which came out in July. be free is followed by releases from JunJi Rie. Mill and Nine’s releases will come out in November and December, and I will be reviewing those once they come out. Aside from solo work, we last saw OnlyOneOf through their skinz promotions earlier in the year and more recently their second Japanese single Zurui Onna.

Given the moodier release of YooJung’s begin, I was quite surprised of the likes of be free. Obviously, there is no rules when it comes to solo releases (let alone this undergrOund idOl project), so the expectation that be free by KB would fall in line with begin was completely unjustified on my end. be free goes for a funkier pop release, which I am completely down for. The energy that is exuded from be free is a complete stand out for me. It is the type of track that I would not mind having a boogie to, regardless what I am doing. be free also comes off as straightforward and no-nonsense, as a result of this energy, tackling that funky vibe from the very first second through to the final second of the three and a quarter minutes be free spans for. The guitar work in this song was just on point, bringing both that funky and a bass element to the song. Again, this does wonder for the song, giving it depth and dimension that helps makes be free feel more immersive. The chorus was super duper catchy, and I would not mind having it on repeat constantly. I liked the vocal work, with the filtering that comes through in the chorus giving be free more zing and texture, which further makes the chorus feel appealing and fun. We do get a bit of a taster towards some rapping in the bridge of be free, and I wished the song built on this a bit further. I think a rap sequence, as dynamic to the rest of the song, would have taken be free to the next level. Overall, an instantaneous highlight from the project (even though we are just two songs in) that just makes me want to dance.

For those who missed the breakdown of the first video of the project, YooJung’s character developed a crush on KB’s character, but was hesitant in making a move. KB, on the other hand as depicted in this video, is a lot more open (which further supports the theory that YooJung’s character was closeted, whilst KB’s character was open/out of closet/confident). We see KB return to YooJung after that drunken night, but for some reason also appears to be hesitant about making a move (I think we find a reason later on). We then find out that KB constantly returns to to the restaurant in the past for YooJung himself and finally decides to make a move one night. This leads to the beginning of a relationship between the pair. However, after a night together, KB decides to leave, with the description of the music video on YouTube citing that he does not want to be hurt again (and I believe we find out why in the next video – JunJi’s be mine). YooJung is left alone, feeling confused at the end. I find the role that lighting plays in the video to be interesting. Just an observation, but KB appears to be cautious and hesitant in the night time (possibly as a result to be being hurt at night in the past), and is a lot more clear-headed during the day time. This may have lead him to collect his feelings that leads him to leave YooJung, whereas his desire to be with YooJung appears to only come about at night (Note that when he notices the crane after his drunken night, he does immediately search out YooJung – that only occurs at night). Overall, an interesting story that definitely comes together in this video, but the ending was a bit hurtful in my opinion.

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

[Review] begin – YooJung (OnlyOneOf)

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I end the week of long of reviews focusing on solo comebacks and debuts with a focus on OnlyOneOf and the solo works that the group has been pumping out monthly since June of this year. For those who were not aware, OnlyOneOf embarked on a undergrOund idOl project, where each member releases a single each month. First up was YooJung, who made his solo debut with the single begin (and is the focus of this review). Following YooJung, we have also seen releases from KB, JunJi and most recently Rie. Mill and Nine’s releases will come out in November and December, and I will be reviewing those once they come out. Aside from solo work, we last saw OnlyOneOf through their skinz promotions earlier in the year and more recently their second Japanese single Zurui Onna.

Aside from their more recent singles, I am not familiar with any of the OnlyOneOf members and their music. So I am quite interested to hear what the individual members have to offer through this project. begin was a great start to the whole thing. It is a mid-tempo pop track, with an instrumental that is predominately synths and percussive elements. What I liked about the track is that it isn’t a heavy dosage of synths, nor do the synths go down that noisy or abrasive route that you might liken to a ‘heavy dosage of synths’. Instead, I find begin to be quite pleasant and easy on the ears. Interestingly, when I factor in the vocals, I have considered describing begin as soothing (provided you play it at a lower volume, which I have done). It is at odds with the idea of ‘predominately synths and percussive elements’, but it gave off that tone to me. All of this can be attributed to the synths choice (i.e. not abrasive or noisy), but also the balance that is created with the percussive elements. These percussive elements added oomph and depth to the song, which allowed the synths to not feel as heavy and transformed begin into a likeable track. YooJung’s vocals were quite nice throughout, with a slight husky tone which does wonders alongside the instrumental. My understanding is that YooJung usually takes the role of main dancer in the group, so his vocals are not as strong as other artists or members in the group. But begin has his vocal tone in mind, and opted for a piece that complemented his skills and abilities. My only qualm about begin is that I felt the song could have gone the extra mile to be an even more riveting piece. Maybe stronger melodies or hooks would have brought begin up, even though the ‘Begin begin begin‘ at the start of the chorus was quite catchy. Overall, a neat start to both YooJung’s solo offerings and the project overall.

Even though this is a completely new project and offering from the group, the music video (and subsequent videos) expands the group’s focus on their LGBT themes. This moody video sees YooJung play a restaurant worker who develops a crush on a character played by KB. His shyness (and potentially closeted status, as theorized by a few viewers and the short description of the music video on YouTube) prevents him from making a move, instead leading him to sneak glances at KB while the latter isn’t watching. We are not told of KB’s motives in this video, aside from there being a mutual connection to some degree (and we find out the extent of this connection in his solo release). One day, a drunk KB corners YooJung and YooJung takes him home to make sure he is okay/safe. Nothing happens, with YooJung pretty much hesitant during the whole ordeal from the previous night to the morning. KB wakes up the next day and notices the cranes that YooJung has folded, which brings him back to YooJung at the end of the video. We don’t know what happens next, but this is answered as part of KB’s release. Aside from the storyline, I do like the moody aesthetic and atmosphere that comes about from the video, and the cinematography makes this video come together in a subtle artistic manner.

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

[Review] skinz – OnlyOneOf

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Ending the week is OnlyOneOf, who returns with their fourth mini-album, Instinct Part 2 and the title track, skinz. Last year, we saw the group return with the very bold libidO (side note: the song itself has grown on me since I reviewed it), which earned them a lot of attention for their LGBTQIA+ concept and provocative stage performance. The group did release a number of other tracks throughout the remainder of 2021, but they did not get reviews due to their lack of a music video of some sort. Since libidO, the group became less of one member, Love (the now former leader of the group) who withdrew from the group unexpectedly in August last year.

skinz is another bold song from this week, with the boldness attributed to the song’s instrumentation. It features a glitchy bass sound which is a very peculiar choice. Despite the foreignness of this style, however, skinz‘s glitchy nature of background gives the song some uniqueness and individualistic points that sets it apart from other songs. I also felt the electronic components of instrumental was interesting, as it reminded me of a concentrated version of libidO‘s instrumental. Not sure if other people felt that or if was the intentional effect, but I thought it made skinz a good follow up to the preceding title track. We do get some relief from the glitchy instrumentation, which may be jarring for some already, in the pre-choruses, where a slightly smoother texture overtakes the background. I like this reprieve, as I think a consistent glitchy pattern would have made the song a bit too much for my taste, as well. As for the vocals and rapping, I liked the sensual energy it brought to the song. Their extra breathy tones made skinz alluring and intriguing to listen to. Boldness was another idea running through my mind. They retained the breathy tones for the autotuned moments as well. The rapping follows the same effect (and I did like the more whispery touch the rapping in the bridge had). However, I wished the raps had a bit more bite to them or used in a different manner to add a different dynamic to the song. I think this would have developed the song even further. Otherwise, Skinz upon multiple replays, could most likely come across as like and like/too consistent throughout. Overall, a strong track from the group overall

The music video continues the LGBTQIA+ theme that was noted to be a key part of the libidO music video. In this music video, however, it isn’t in your face as much. Instead, it was more subtle compared to last year’s video. We are invited on a road trip with the members of OnlyOneOf, with the video shot entirely in our POV. For the most part, it looked like the members were having fun throughout the music video: going to the beach, singing karaoke, having a munch etc. However, we do get some scenes that seemingly hint at something between the different pairs of members. At the end of the video, we are thrown a bit of a twist – the start of the road trip restarts without us – suggesting that everything about the road trip might have been a piece of our imagination. This might also extend to the concept and apply to the libidO music video as well. The dance performance, on the other hand, continues the boldness from the previous comeback and this was actively portrayed in the choreography shots. I also liked the idea of the glitchy stage, which made the video more relevant to the song.

The performance, as mentioned above, manages to continue the same sensual and bold themes. But compared to their previous comeback, I find this performance to be even more heavy handed, despite it not containing any moves that had the same effect as the bridge section from last year. That being said, there was still a lot of body rolling, skin showing, abs reveals and other striking movements. None of this deters me from the routine, and I quite enjoyed the resultant aesthetics of the performance.

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

[Review] libidO – OnlyOneOf

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Following the previous review for STAYC’s ASAP, I will be focusing on some releases which I should have posted reviews sooner for. Most of these reviews will be for songs released more recently which have garnered some sort of attention directly or indirectly. First up is OnlyOneOf’s libidO. It garnered some shocking attention since its release for one of the comeback’s components. I will delve into what that shocking element later on. But if you know, you know. libidO was released a month ago on 8 April 2021.

When libidO first popped onto my radar, I wasn’t sure what to think of the song. It was definitely intriguing when it came paired with the music video and performance. But on its own back then, I didn’t think much of it. I think I would have described as a blur (which still would be one of the words I would use to describe the song). But since the song’s release a month ago, I have checked it out a bit more and grown to liken its artiness. libidO thrives on percussion and a warped effect on the song’s melodies. Paired with OnlyOneOf’s whipsering and hushed vocals, libidO exudes a strong and hypnotic sensual atmosphere that feels unique in KPOP, especially in the current climate of retro resurgence. That being said, libidO also taps into the groovy side of music. But I feel that this isn’t the song’s main mechanism of reeling listeners in. I think the song’s whole sensual profile is what attacts people’s attention to its release. And this pretty much has me interested in the song as well. But the instrumental element of a song is only one component. While I really liked the aesthetic that the members bring through their vocals and rapping, libidO suffers from a lack of momentum on that front. The hush-hushed nature of their delivery really makes the song feel airy, which in turn doesn’t help push out a strong hook or melodies. As a result, the only memorable line I got from the song was the repetition of the song’s title, libidO. This why I mentioned that I felt the song would still be described as a blur. As I can only remember one line (well, word in this case) from the song, libidO felt like it was over before it got anywhere. But nonetheless, libidO is still a unique listen and one to check out if you are into aesthetics and artsy releases.

The music video for libidO was a surprise, and one that I had to rewatch a couple of times to make sure I was understanding it correctly. Given how conservative South Korea is, a video like libidO that shows LGBTQIA+ themes is rare. It isn’t unheard of, but it isn’t exactly everyday common. But I definitely applaud the members, the company and producers for pushing the boundaries with this music video and taking a bold risk. Aside from the LGBTQIA+ theme, I thought the music video was quite aesthetic. I really like the colour palette for this music video, with the grey filter being applied to the coloured scenes. I also really liked the choreography shots. The black and white really helps create a sleek and sensual atmosphere. THe opening shot for the music video showing the members on top of the white platform (which they shoot their choreography shots on) surrounded by the green foliage was a really striking image to begin with,

What was also really bold was the choreography. Once again, I applaud the members and the choreographer for pulling off this risky yet very striking choreography. I am all for creative freedom and liked how they really emphasised the sensual nature of the song with all those moves such as the sliding knees, the use of rope throughout the routine etc. The choreography has recieved some negative comments for going to far when it came to the bridge, with one member kneeling in a questionable position in front of another member. It was then followed up with hands on the crotch area. It may be explicit, but I don’t see it as an issue. It might be due to the fact that I was raised with Western media and so I am kind of sensistised to some of this stuff. However, the group has responded to concerns with a reasonable response, so check that out if you want to know the internal thought process of those behind the creative direction of this comeback/choreography.

Song – 7.5/10
Music Video – 9/10
Performance – 910
Overall Rating – 8.3/10

[Double Review] savanna + Time Leap – OnlyOneOf

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I think I am going to continue on with the catch up by focusing on the rookie groups that just made their debut. I do have a short list of them to cover and there aren’t any major comebacks that take precedence today, giving me time to actually do the catching up. Today’s review is focusing on the double title tracks (savanna & Time Leap) that OnlyOneOf made their debut with back at the end of May. The group consist of seven members (Nine, Love, Yoojung, KB, Mill, Rie and Junji) and are currently under RSVP.

To me, no matter how much I listen to savanna,  I cannot find anything interesting within the track that keeps me attracted to it or reels me in for further replays, similar to the comments I made in yesterday’s review. Despite that, there are a number of elements that do manage to stand out. The R&B instrumental made the song quite smooth textured. While it seems like the instrumental is the root of why I think the song was plain and bland, the smoothness allowed the melody to be quite pleasant. And this resulted in the showcase of nice vocals and decent rapping from the group.

Time Leap is another melodic song. But it is completely different from savanna as it delves into a pop route and I thought it was a little more captivating. To me, the instrumental felt like a blank canvas, as it once again didn’t have anything interesting within it. With that analogy, the vocals and rapping ended up being the paint strokes. They actually sound quite good with the rap sequences having a little more intensity and the harmonies allowed the vocals to be showed off with more definition. With its consistent nature, I felt like the only image that the group could have amounted to in Time Leap was a black and white image. But it is a start and I like the song. 

For a smooth and decently paced track, savanna’s music video had a lot going on. The various visual effects and overlays could have been reduced as I think the music video showed a more than necessary edgy tone. But I really liked the aesthetics of the video that was formed thanks to the visual effects. I think if they managed to strike a balance to the dark lighted music video, I think savanna, as a whole package, could have been a little more likeable. As for the Time Leap, the music video is less aesthetic. However, the cinematography during the more professional shots was really cool. They also included some ‘home video’ style shots, which was nice. But I felt like that stripped away the aesthetics. Nothing really happened in this video, which did leave it on the boring side of the spectrum. But still visually looked good.

While I have been praising Time Leap so far, their performance is a bore. As much as I understand that they had a slow song to start with, the performance ended up making things a lot slower. savanna, however, had the more captivating performance. Sure, the more intense moves didn’t fit as well with the song. But it looked more intriguing and fits the type of performance I like to see from male groups.

savanna
Song – 6/10
Music Video – 6.5/10
Performance – 7/10
Overall Rating – 6.4/10

Time Leap
Song – 7/10
Music Video – 7/10
Performance – 5/10
Overall Rating – 6.6/10