Tag: SEVENTEEN

[Album Review] SPILL THE FEELS (12th Mini Album) – SEVENTEEN

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Next up on the album reviews front is SEVENTEEN’s 12th mini-album, SPILL THE FEELS, released in October last year. Actually, it is almost to the day the mini-album dropped! The mini-album is led by the single LOVE, MONEY, FAME, featuring DJ Khaled. In addition to LOVE, MONEY, FAME, the mini-album also features 5 additional side tracks, including Eyes On You (which also has a music video, which I completely forgot about) and 3 unit tracks. Overall, SPILL THE FEELS is another fairly strong SEVENTEEN mini-album. The title track is the mini-album’s weakest track, but the rest of the mini-album makes up for this.

Since SPILL THE FEELS, SEVENTEEN saw the debut of 2 new subunits, HxW (with 96ers) and CxM (with 5, 4, 3 (Pretty Woman)) and the group comeback with the studio album HAPPY BURSTDAY (yet to be reviewed) and the title track THUNDER.

SPILL THE FEELS Album Cover

1. Eyes On You – The mini-album opens up with Eyes On You, a groovy house track. I quite like the club energy that this song exudes, as well as the freshness that the members bring to the music. S.COUPS and VERNON’s rapping really stood out, thanks to the way it contrasted with everything else in the song. As mentioned above, there is a music video for Eyes On You, and the video shows off their strong bond and friendship, no matter the circumstances they are in. (8.5/10)

2. LOVE, MONEY, FAME (ft. DJ Khaled) – Click here for LOVE, MONEY, FAME’s full review. (7/10)

3. 1 TO 13 – The next track is a wholesome one from the group, whose lyrics showcase their love for each other as a group and to their fans. It is a straightforward pop number, and the members make 1 TO 13 very comfortable and familiar. I’m just not a fan of the consistently tapping in the background, which sounds like it is coming from a laptop’s keyboard or trackpad. It was a tad distracting from that wholesome nature of the song. (8/10)  

4. Candy (사탕) – The first unit track on the mini-album is by the Vocal team (JEONGHAN, JOSHUA, WOOZI, DK and SEUNGKWAN). Candy is a ballad, featuring a beautiful, jazzy piano background (that bridge was amazing!) and stunning vocals from the team (as always). It is on the shorter side. However, the way it is executed and presented is literally short and sweet, so I have no complaints about Candy whatsoever. (10/10)

5. Rain – The Performance unit (JUN, HOSHI, THE8 and DINO) is up next with Rain, my favourite track from this mini-album. I really enjoyed the disco vibes that are exuded from Rain, and I love how it propels the song forward. I also enjoyed the charisma and seductive nature of the track, as well as the members’ delivery, which allows the unit to put their best foot forward on stage (which they do!). (10/10)

6. Water – The Hip-Hop unit (S.COUPS, WONWOO, MINGYU & VERNON) is all that remains, and they give us Water. It is a synth-heavy instrumental, and the members’ delivery of Water is shrouded in autotune. Both work well together to create a dark and edgy hip-hop track. However, I personally am not a fan of the autotune. But I can get behind the hype that the members infuse into the number. (8/10)

Overall Album Rating – 8.6/10

  • S.COUPS’ teaser image for SPILL THE FEELS
  • JEONGHAN’s teaser image for SPILL THE FEELS
  • JOSHUA’s teaser image for SPILL THE FEELS
  • JUN’s teaser image for SPILL THE FEELS
  • HOSHI’s teaser image for SPILL THE FEELS
  • WONWOO’s teaser image for SPILL THE FEELS
  • WOOZI’s teaser image for SPILL THE FEELS
  • DK’s teaser image for SPILL THE FEELS
  • MINGYU’s teaser image for SPILL THE FEELS
  • THE8’s teaser image for SPILL THE FEELS
  • SEUNGKWAN’s teaser image for SPILL THE FEELS
  • VERNON’s teaser image for SPILL THE FEELS
  • DINO’s teaser image for SPILL THE FEELS

[Review] 5, 4, 3 (Pretty Woman) – CxM (SEVENTEEN) ft. Lay Bankz

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Earlier this week, SEVENTEEN debuted their latest subunit duo CxM, becoming the fourth subunit of the 13-member group after BSS (HOSHI, DK and SEUNGKWAN), JxW (JEONGHAN & WONWOO) and HxW (HOSHI & WOOZI). Following a similar naming pattern, CxM is made up of SEVENTEEN’s leader S.COUPS and fellow member MINGYU. Their debut single, 5, 3, 4 (Pretty Woman), dropped on Monday, along with the mini-album Hype Vibes.

For me, 5, 3, 4 (Pretty Woman) is a fun debut single. S.COUPS and MINGYU takes the primary hook of Roy Orbison’s Oh, Pretty Woman (lyrics and music), turning it into an energetically funky and groovy hip-hop number. The guitar riffs is a stronghold of the song and its consistency throughout keeps the momentum of 5, 3, 4 (Pretty Woman) going. Said energy of 5, 3, 4 (Pretty Woman) definitely suits summery season. However, I think an earlier release date of 5, 3, 4 (Pretty Woman), say in the middle of Summer, would have allowed the song to hit harder. Interestingly, the entire second verse (a large portion of the song) was handed over to Lay Bankz. There is no question that she is a strong artist – her part in 5, 3, 4 (Pretty Woman) absolutely hits hard. But that does mean we didn’t get to hear as much of either S.COUPS and MINGYU. What we do hear is good (I am loving the pre-choruses), but I don’t think 5, 3, 4 (Pretty Woman) particularly used their talents and abilities as well as it could have. Overall, a well executed and crafted song that builds on a classic’s hook. But I would have loved to hear something more distinct from the pair.

The music video sees S.COUPS and MINGYU hanging out in LA, getting ready, partying it up and turning heads wherever they go. It is honestly rather simple, but it works well in the context of the lyrics and vibes. I liked how each time the chorus come on, the video turns into a little party. The bright sun and settings were also well selected. I also liked that the video featured Lay Bankz, as well, particularly given the large bite of the song she has. Given how short the song is, it did feel a bit odd to have a minute worth of ending credits, but the outtakes make up for it.

The choreography incorporates the groovy and hip-hop vibes of 5, 3, 4 (Pretty Woman) in a manner that is simple, laidback and cool. Their charisma and playfulness also makes sure to emphasise the coolness and easygoing nature of the routine.

Song – 8/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.3/10

[Weekly KPOP Chart] Week 4 of May 2025

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Welcome to the next edition of the Weekly KPOP Chart posts. This is for Week 4 of May 2025, which spans 25 to 31 May 2025.

Like last week, I will get right to it.

What else am I listening to?

Each week, I spotlight a song not on the Weekly KPOP Charts that I have been listening to last week. This week, the song in question is SECRET’s I Do I Do.

Non-Korean Song of the Week

Each week, the top-ranked non-Korean Song on the Weekly KPOP Chart is spotlighted (as this is an area I haven’t been focusing on as much on my blog lately). The non-Korean song of the past week is, once again, LE SSERAFIM’s Come Over.

The Chart

SEVENTEEN’s THUNDER ranks in the top spot this past week! Congratulations to SEVENTEEN!

Pos.TitleArtistStatus
1ThunderSEVENTEEN(NEW)
2DROP TOPMEOVV(▲ 5)
3TILTRed Velvet – IRENE & SEULGI(NEW)
4Poet | ArtistSHINee(NEW)
5Never Ending StoryIU(NEW)
6HANDS UPMEOVV(▲ 17)
7Fly UpRIIZE(▼ 6)
8Good Thingi-dle(▼ 6)
9Love LanguageTXT(▲ 3)
10Maybe TomorrowDAY6(▲ 5)
11Countdown!TWS(RE-ENTER)
12Wait On MeKAI (EXO)(▲ 4)
13Don’t Say You Love MeJIN (BTS)(▼ 4)
14Are You Alive?tripleS(RE-ENTER)
15Adult SwimKAI (EXO)(RE-ENTER)
16FREEZEKickFlip(NEW)
17LOOSEENHYPEN(▲ 1)
18Broken PartyCHEN (EXO)(RE-ENTER)
19Girlfriendi-dle(▼ 5)
20Come OverLE SSERAFIM(▼ 17)
211999MARK (NCT)(▼ 16)
22I Feel GoodBOYNEXTDOOR(▲ 3)
23poppopNCT WISH(▼ 15)
24GNARLYKATSEYE(RE-ENTER)
25Hello StrangerKWON EUN BI(RE-ENTER)
26MoonASTRO with Various Artists(RE-ENTER)
27ElevatorBAEKHYUN (EXO)(▼ 23)
28Bag Bad BackRIIZE(▼ 1)
29Goodbye & HelloVANNER(RE-ENTER)
30Ember to SolarRIIZE(NEW)

[Review] THUNDER – SEVENTEEN

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It has been 10 years to the day since SEVENTEEN kicked off their careers with Adore U. Since then, the group has embarked on a very fruitful career, with multiple album releases (some of which in recent years have been million-album sellers), world tours, and performances on world stages (like Lollapalooza Berlin Glastonbury Festival in 2024). To coincide with their 10th anniversary, the group has released their 5th studio album, HAPPY BURSTDAY, and the title track, THUNDER, today. It is their first release as a group since LOVE, MONEY & FAME (ft. DJ Khaled), the return of BSS with CBZ (Prime Time), the debut of their new subunit HxW (HOSHI x WOOZI) with 96ers, and WONWOO’s military enlistment last month. However, WONWOO and JEONGHAN (who enlisted last year) are also featured in this comeback.

THUNDER is an EDM-based club dance track. From the first second, THUNDER aims to deliver with its bold and dynamic instrumentation. And I can say, they were successful at doing just that. Without a doubt, THUNDER is one of the tracks that will hype up the crowd and maintain that energy to the song’s end. While I am pretty satisfied with how the song turned out, I can’t help but think about what THUNDER could have been like had it been longer. The song officially clocks in at 2:44 minutes, which isn’t bad. But because of its high energy, you can feel the shortness of the song more vividly. As for the members, I was impressed with their vocals and rapping for most of THUNDER. The pre-choruses were well done, while the rapping gave the song an extra kick. The first part of the chorus was catchy and quickly became addictive, thanks to S.COUPS, VERNON, HOSHI and JUN’s delivery of the hook. But I am just not convinced by ending with DK’s softer vocals. Faltering at the end didn’t feel right for such an energy-packed, robust song like THUNDER. I wish they had gone out with a bang (of some kind) instead.

I am not entirely sure what the video’s concept is, but I am glad they are partying throughout the music video. This matches up with the song quite well. There is also a psychedelic theme going on. The underground concept they went with for this comeback looks very urban and cool. Also, every member looked amazing throughout the video. I guess the ending with DK on the gurney shows how explosive SEVENTEEN can be, with the heart monitor showing the line blowing up.

Even after 10 years, SEVENTEEN’s synchronisation has never let up, and their performances have consistently impressed. In THUNDER‘s routine, they do it again by showcasing their impeccable synchronisation and impressing me with their dynamic and energetic flair. I like that the routine has a little wild side, which makes the choreography refreshing. The opening to the chorus (the ‘ALO, ALO‘) part was super cool and is definitely my pick for the highlight of the entire dance.

Song – 8.5/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.7/10

[Review] 96ers – Hoshi x Woozi (SEVENTEEN)

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A new SEVENTEEN unit is one of the many comebacks that kicked off this week. HOSHI and WOOZI join forces in the new single 96ers (동갑내기). This is the third official unit from SEVENTEEN, the first being BSS, who recently returned with CBZ (Prime Time), and JxW (Jeonghan x Wonwoo).

If I had to judge the 96ers based on the first few seconds, it wouldn’t look good for the song. Those repetitive horns that open the song (the first major element of 96ers) were quite jarring, and the fact that it recurred throughout the song was not great. The next major element of 96ers is the interpolation of the ‘Red Light, Green Light‘ nursery rhyme, which we have heard before in KPOP. Plus, it was done multiple times in 96ers in both the pre-choruses and choruses. This pretty much got a yawn from me. The final major element is essentially the rest of the song, like the duo’s delivery and the hip-hop motif. The instrumental was playful, and the pair did a good job of relaying that vibe in their delivery. There were also a few references to past songs, like Mansae, Super and Cheers. There was just no standout moment for me to highlight. I commend the pair for working outside their box with the hip-hop sound, given that WOOZI is the vocal team leader and HOSHI was a possible vocal team member before switching to the performance team. Altogether, I wished 96ers yielded more positive thoughts than negative ones.

The music video taps into that playful side of 96ers I mentioned above, showing the pair as art pieces in a gallery or museum. In my mind, to be a piece of art in a gallery or museum means you are quite established, hinting at their current status. This complements the lyrics which speak about their own personal journey to get to where they are now. The photocopier scenes might represent their releases, videos, etc. that got to where they are (i.e., there are many copies of themselves out there in the world in different mediums). The treadmills are a little harder to guess what they represent. Perhaps the journey, but treadmills are devices you use to walk long distances whilst remaining in one place – maybe this is a hint that they are always art pieces since their early days, til now.

The choreography is precisely how I expected it. It encompasses that hip-hop motif, whilst also showcasing a more carefree and loose style. I also like how their presence commanded the stage, making this an incredible performance.

Song – 6/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7/10

[Review] CBZ (Prime Time) – BSS (SEVENTEEN)

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Another song released while I was on vacation was BSS’ (SEVENTEEN’s Boo Seungkwan, DK and HOSHI) CBZ (Prime Time). It is the title track from the unit’s second single album, Teleparty, which dropped in early January. CBZ (Prime Time) is BSS’ first comeback since their massive hit Fighting (ft. Lee Young Ji) from 2023 and their unit debut, Just Do It, in 2018.

All of BSS’ title tracks have been fun and always contain a positive message. CBZ (Prime Time) continues that tone and messaging. This time, the fun side of CBZ (Prime Time) comes from the instrumental’s jazzy elements. It made for quite a dynamic and funky piece. As for the positive message, CBZ (Prime Time) speaks to the idea that youth is not an age, but rather a mindset. The Korean title of the song is also a ‘Cheers’ acronym in Korean. The Korean title also means ‘jeans’, which is an element that the music video features (more on that in the next section). As for the other elements that make up CBZ (Prime Time), there is much to like in the song. I really enjoyed the expressive nature of the members’ vocals. A fun instrumental doesn’t necessarily guarantee a fun song. The vocals are a definite factor in helping bring life to the song, and CBZ (Prime Time) features an engaging delivery from the trio. The hooks were fantastic and got the song stuck in my mind after several listens. My only concern for the song is its longevity. Based on what I have seen, CBZ (Prime Time) doesn’t have the same pull on the Korean charts and social media as Fighting did. Regardless, it is another fantastic song by BSS.

As mentioned earlier, the music video visually conveys a few of the messages. With the youth mindset, this is done via the choruses, where the members have fun. They take the office workers to the pub while also partying it up at the end. The members also hand out jeans to bring that alternative meaning to the Korean title into the choreography. They make it the uniform of having fun, which makes sense, given jeans are more casual than office wear or school uniforms. The music video also features cameos from some Korean actors like Uhm Jung Hwa, Gal So Won, Jung Young Joo and Moon Sang Hoon.

Hands down, the best part of the choreography is when they launch into the final chorus. The dance challenge for this comeback may have played a part in this, but it was the most memorable section. Elsewhere in the performance, a fair bit is going on. I like how jumpy the dancing was – it probably feels like a workout. I also enjoyed how they integrated the idea of youth being a mindset and showed off their jeans in the routine.

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

[Album Review] This Man (1st Single Album) – JEONGHAN x WONWOO (SEVENTEEN)

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JEONGHAN x WONWOO are nominated Best Subunit and their song Last Night is nominated for Best R&B Song in the 2024 KPOPREVIEWED Awards. Support JEONGHAN x WONWOO and Last Night by clicking here to vote today. Voting closes on 31 January 2025.

SEVENTEEN launched their second official subunit in 2024, consisting of members JEONGHAN and WONWOO. JEONGHAN has since enlisted in the military, while WONWOO is busy on tour with the rest of SEVENTEEN. The pair dropped their first single album This Man (the focus of this review) and the title track Last Night mid-June 2024. The single album also consist solo tracks from the pair. Overall, a definite strong single album. I hope to hear more from JEONGHAN x WONWOO (otherwise known as JxW) in the future, though this might not happen for a while.

This Man Album Cover

1. Last Night (어젯밤) (Guitar by Park Ju Won) (Title Track) – Click here for the full review for Last Night. (9/10)

2. Beautiful Monster – JEONGHAN’s solo song is Beautiful Monster, which is a mid-tempo R&B number. JEONGHAN’s honey-like and velvety vocals describing himself as a monster is quite ironic to me. But aesthetic wise, it was an intriguing choice. JEONGHAN makes this number engaging. He brings a delicate feeling to the mix that emphasises the ‘beautiful’ aspect of the song’s title. (8/10)  

3. Leftover (휴지통) – Leftover is WONWOO’s solo song and it is a stunning yet heart-wrenching ballad. I will admit that I have always had a soft spot for WONWOO’s singing. Leftover is good evidence why (if I ever needed to prove why). The emotions he poured into Leftover makes the entirety of the song captivating to listen to. His raspy vocals are amazing in this song and I really liked the moments where he puts some oomph behind his vocals. (10/10)

Overall Album Rating – 9/10

This Man Teaser Image

[Weekly KPOP Chart] 5th Week of October 2024

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Welcome back to another Weekly KPOP Chart post! This time, it is for the fifth Week of October, which bridges the months of October and November. Yes, we are in November now, and it is full steam ahead to the end of the year!

Just a heads up about next weekend. I won’t be around to post the upcoming week’s Weekly KPOP Chart on Sunday next week per the usual schedule or any new post from next Saturday to Tuesday of the following week. I am taking a short break to spend time with my family, but I will try to have posts scheduled through this time. I will post the Weekly KPOP Chart post once I am back.

Until then, here is the Weekly KPOP Chart post for the 5th week of October 2024.

What else am I listening to?

Replacing the ‘Throwback Song’ segment of the weekly KPOP chart posts is a ‘What else am I listening to?‘ segment in the world of KPOP. It is the same thing, but framed in a way that should eliminate the idea that a more recent song (say released in the last year) is a ‘throwback song’. This week’s song is SISTAR’s Give It To Me.

Non-Korean Song of the Week

As this blog focuses primarily on KPOP songs, I want to draw attention to a particular song that isn’t in Korean in this part of the Weekly KPOP Chart post. That song will be the top-ranking non-Korean song on each Weekly KPOP Chart post. The highest-ranking non-Korean song this week is JENNIE’s (from BLACKPINK) Mantra, which ranks in the 6th position.

The Charts

SEVENTEEN’s LOVE, MONEY & FAME ranks in the top spot on the 5th Week of October 2024’s Weekly KPOP Charts. Congratulations to SEVENTEEN!

PositionSong TitleArtistChange
1LOVE, MONEY & FAMESEVENTEEN ft. DJ Khaled(▲ 5)
2I’ll Be ThereJIN (BTS)(▲ 9)
3TRIGGERTHE BOYZ(NEW)
4Cherish (My Love)ILLIT(▲ 13)
5Whiplashaespa(▼ 4)
6MantraJENNIE (BLACKPINK)(▼ 2)
7POWERG-DRAGON(NEW)
8APT.ROSÉ (BLACKPINK) & Bruno Mars(▼ 5)
9CLIK CLAKBABYMONSTER(NEW)
10GGUMYEONJUN (TXT)(=)
11Hit The FloorVisionary Vision (tripleS)(▲ 46)
12NAHWASA (MAMAMOO)(▲ 42)
13Pleasure ShopKEY (SHINee)(▲ 17)
14GOLDITZY(▼ 12)
15NEMONEMOYENA(▲ 30)
16GPTSTAYC(NEW)
17ON MY BIKEPURPLE KISS(▼ 4)
18NVKEDAB6IX(▼ 6)
19Eyes On YouSEVENTEEN(▲ 2)
20UnconditionalJAEHYUN (NCT)(▲ 2)
21Pineapple SliceBAEKHYUN (EXO)(▲ 34)
22Electric ShockKANG DANIEL(▲ 9)
23Please StayBTOB(NEW)
24DRIPBABYMONSTER(NEW)
25DESERVEDONE PACT(▲ 42)
26SAD SONGP1Harmony(▲ 41)
27Run AwayTYUZU (TWICE)(▲ 29)
28Get LoudKISS OF LIFE(▼ 23)
29Melt DownDAY6(▼ 14)
30Night Before The EndXdinary Heroes(▲ 2)

[Review] LOVE, MONEY & FAME – SEVENTEEN ft. DJ Khaled

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Kicking off the week was SEVENTEEN, who returns with their 13th mini-album SPILL THE FEELS and the title track LOVE, MONEY & FAME (ft. DJ Khaled). We last heard from SEVENTEEN through their 17 IS RIGHT HERE compilation album, led by the single MAESTRO and supplemented by the unit tracks LALALI (Hip-Hop team), Spell (Performance team) and Cheers To Youth (Vocal team). While the mini-album features JEONGHAN and JUN, both are sitting out of promotions of LOVE, MONEY & FAME and their upcoming world tour due to their military enlistment and acting career in China, respectively.

Pleasant was the first impression I had when I listened to LOVE, MONEY & FAME. And since its release two days ago, that impression has barely shifted. It definitely sounds nice and is an easy listen. The song is more vocal-focused than most of their other title tracks, with only VERNON delivering LOVE, MONEY & FAME‘s lone rap sequence. The melodies are enjoyable. The R&B and hip-hop-styled instrumental feels streamlined and sometimes feels dry. Beyond that, I don’t have much to say about LOVE, MONEY & FAME. This is the first time I have been left with little to say about a SEVENTEEN comeback, which feels disappointing. We all know that SEVENTEEN can do so much more, so LOVE, MONEY & FAME feels underwhelming. As you can tell from the song title, LOVE, MONEY & FAME also features DJ Khaled. It has been a while since I have heard his music. While he did come together with SEVENTEEN to make a pleasant song, his line at the start and end of the song was harsh relative to the rest of LOVE, MONEY & FAME, which truthfully started LOVE, MONEY, & FAME on a not-so-good note for me. I wished it wasn’t as full-on in the final product so that it goes with the rest of the song.

LOVE, MONEY & FAME conveys that love comes first, no matter the other options (like money and fame). The video depicts the members putting love first, no matter the circumstance. It could be a car crash or pile-up, an evacuation on a plane, a daytime robbery, or even bouts of fame as depicted in THE8’s heroic scene, WOOZI’s phone call on an interview show, or by JUN walking away from the glamorous lifestyle. All the members choose love in the end. I quite like the montage at the end of the staircase – it gives off maturity in a way that doesn’t overdo it. The members also look quite good in those scenes.

The choreography was good. I liked how the routine captured the easy-going nature of the song and the R&B and hip-hop influence. It also had a nice bounce. It does feel simpler and more casual than usual, but I think these are inherent characteristics that the routine had to lean into due to the music. But it was still a good performance nonetheless.

Song – 7/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.3/10

[Review] Cheers To Youth – SEVENTEEN’s Vocal Team

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I am finally finishing reviewing the newer songs from SEVENTEEN’s 17 is Right Here compilation album. Last up on the list is SEVENTEEN’s vocal team’s Cheers To Youth. Previously, I reviewed the album’s main title track MAESTRO, the Hip-Hop team’s LALALI and the Performance team’s Spell singles. As it is a compilation album, the rest of the two-disc album consists of the Korean versions of all their Japanese singles and every Korean title track released over their careers thus far. And finally, getting around to reviewing the new songs off the album is timely since the group is gearing up for their next comeback ON MONDAY! So more SEVENTEEN to come!

Cheers To Youth delves into the J-Rock genre with a wholesome message that everything will be okay. I really enjoyed this single a lot. There are a few great moments in Cheers To Youth that I must point out. The upbeat instrumentation is definitely the song’s strongest asset. Still, I particularly love the funky direction that bridges the soft piano opening of the song and the launch into the J-Rock genre. It was an entertaining sequence and really lifted up the song. JOSHUA’s part in the second verse when the electric guitar steps up was another moment I found myself gravitating towards repeatedly. The “My, my, my” that follows the second chorus (noting the first chorus occurred during the intro) was also another moment that I found so soothing and peaceful. Elsewhere in Cheers To Youth, I found the vocals, melodies and choruses to be extremely comforting and uplifting, which suits the song’s message mentioned earlier. Overall, Cheers To Youth is a lovely song with a positive message to reflect on.

The video features the five members facing their own internal struggles with themselves. WOOZI has social anxiety that prevents him from going outside, DK is a student in a pressurised education system who is worried about underperforming, JOSHUA is an office worker who is constantly on the lookout, SEUNGKWAN struggles with loneliness, and JEONGHAN worries that he isn’t enough and that there is always something wrong with him that needs fixing (taken from ichsanjulian-ed4so’s YouTube comment). But together, they join the Tiny Issue club, where they can speak to their internal struggles and help each other through them. With each other, WOOZI goes outside, DK is awarded for his academic successes, JOSHUA is praised by his co-workers, JEONGHAN feels better about himself, and SEUNGKWAN (along with the rest of the team) gains life-long friendships with one another. At the end of the video, the club invites a sixth member, a tiger, representative of fellow member HOSHI, whom the song was inspired by.

Song – 8.5/10
Music Video – 9/10
Overall Rating – 8.7/10

[Review] Spell – SEVENTEEN’s Performance Team

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Two weeks ago, I started reviewing SEVENTEEN’s unit singles from their compilation album, 17 is RIGHT HERE, released in April of this year. I reviewed the Hip-Hop Team’s LALALI first. Today, I will review the Performance Team’s Spell. I will be back to review the Vocal Team’s Cheers of Youth later this week to be ready to review SEVENTEEN’s next comeback, which is happening in just over a week.

Spell is a sophisticated and elegant dreamy number. It is an interesting sound for the Performance Team, whom I associate with more intricate beats and heavier sounds that lend well to becoming a dance-centric performance track. But I am all for exploring different sounds, and Spell is a successful venture for the unit. The instrumental is soft, uniquely utilising percussion and Afrobeats to help create that dreamy aesthetic that we all feel from Spell. Also soft were the quartet’s vocals, which were superbly hazy and tranquil throughout Spell. Catchy hooks also help make the song even more appealing, even if some of it (the “Adila kiya akiya shurapoeh“) was a made-up language for the song. While listening to the song previously, there were times when I felt the members’ vocals took me away, just like you expect a good dream would do. But while the dreamy motif was a constant throughout Spell, I liked it when their vocals tapped into their lower and deeper registers. It was a good and subtle move from the producers to ensure Spell didn’t stay consistent, which could have been a real danger for this song. From how I heard it, they managed to just do enough to stop Spell from feeling dull and like it didn’t go anywhere. But I do think there is room in the song to do more. Nonetheless, Spell is a very different and unexpected direction for the Performance Team. But one that does pay off.

That dreamy aesthetic is carried over into the music video. The video features a tarot card concept, with the members each being a character on a card (see the featured image for this post)—THE8 being The Heart, HOSHI being The Wings, DINO being The Arrow, and JUN being The Apollo. The outdoor scenes, the sets, the outfits, and the makeup donned by the four members all have this dreaminess that puts you in awe and captivates your attention, just like the song does. Definitely a stunning video and one I recommend you check out down below.

As this is a Performance Team track, a choreography is attached. To match the song, it is smooth and features many soft movements. The Performance Team also adds sexiness to the routine, which just works wonderfully with the song. You can hear the fans go wild during these moments in the stage performance SEVENTEEN has uploaded for our viewing pleasure. But the choreography isn’t the only element to take away from the performance. Their smouldering looks and alluring vibe must also be mentioned and highlighted. It is a big part of the routine and highlights the members’ charisma and charm.

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

[Review] LALALI – SEVENTEEN’s Hip Hop Team

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As part of SEVENTEEN’s compilation album, 17 is RIGHT HERE, which dropped in April of this year. The album consisted of the title track MAESTRO, 3 unit tracks (which I will finally start reviewing today) per the group’s hip-hop, performance, and vocal units, Korean versions of all their Japanese singles, and all their title tracks since their debut. The first unit track I will focus on is the Hip-Hop Team’s LALALI.

I will say it now – the Hip-Hop Team’s track is the best of the 3 unit tracks featured on 17 is RIGHT HERE. Maybe I am finally warming up to hip-hop tracks, as there have been some outstanding releases this year. But that might be a discussion for another day. Back to LALALI. I can’t remember if there has been a track from the Hip-Hop Team where each member exuded so much confidence, and their respective deliveries were packed with so much energy. Each member was super engaging in LALALI, and I find myself trying very hard to resist joining the team in a little impromptu concert wherever I am listening to LALALI. If I had to pick a particular unit member who really surprised me, it has to be WONWOO, who went super hard in the second verse. In addition to the members themselves, LALALI wouldn’t be as successful if it hadn’t been for the instrumentation. It was definitely super energetic and loud, but in a fun and dynamic way. The chorus was also super catchy and addictive. I found the more simmering-like sound to be an interesting centrepiece in LALALI. It was suspenseful and created some tension in its own way, but it also made the members stand out when they amped it right back by shouting the song’s title. Honestly, LALALI is a very smashing and memorable track in my books.

LALALI expresses the message that you can do anything you want. They depict this in the music video through the Hip-Hop Team being rebellious and carefree. The quartet breaks the rules and social norms and gets wild throughout the video. I loved how VERNON had the old senior ladies vibing with him, while WONWOO won an arm wrestling contest against a digger. MINGYU was butting into the game that the old men were playing (but earning praise for making the right move), while S.COUPS was busy not sweltering in the sauna with the other men. They are energetic and hyper when they are together, reflecting the energy of the song’s choruses super well.

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

[Review] Last Night – JEONGHAN X WONWOO (SEVENTEEN)

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SEVENTEEN only just returned with their compilation album 17 IS RIGHT HERE (headlined by their latest new single MAESTRO). The album also consist of unit tracks (split by their usual Hip-Hop, Performance and Vocal teams), which I am looking to review at a later stage. They have also been fairly busy holding concerts this year and been on tour throughout Asia. But the 13-member group continues to be active through a new unit JEONGHAN x WONWOO. This duo unit brings us the new single Last Night (which features guitarist Park Joo Won), which is featured on the single album This Man.

It has been a couple of days since the release of Last Night and that naturally gives me an opprtunity to take a few listens to the song. Through these multiple listens, I can confidently say I like Last Night. The song didn’t strike me the first time I listen to it, but subsequent listens have made realize how good the song actually is. The aspect I always notice first when I have replay the song is its instrumentation. The Latin influence of the guitar, the guitar work (in general courtesy of Park Joo Won), the contemporary synths and pounding bass (which becomes more prevalent in the chorus) just makes this track ooze so much charisma, sexiness and alluring energy. I also like how these instrumentals meld together so well in Last Night. They all had great chemistry with one another, and this sets up Last Night to be a good track. The combination of JEONGHAN and WONWOO backs all of that up. I wasn’t particularly sure what style of music the pair would be delivering, but I am happy this is what they arrived at. The whispery nature of their delivery throughout Last Night reiterates that alluring nature I already mentioned. On the flip side, the contrast between their vocals (JEONGHAN being a little more high pitched, and WONWOO singing/rapping in a lower tone) makes Last Night feel textured and gives off a natural perception of depth. WONWOO’s rapping in the second verse, in particular, always seems to hit the right spot each time when it comes on. The melody of Last Night is quite catchy, though I do think the instrumental does mask its fluidity. But that is only a minor detail, and it doesn’t really change the fact I am liking Last Night overall.

The music video was a bit confusing to me. But in the lead up to the release of the music video, JEONGHAN x WONWOO released an audiobook teaser, which gives you context about urban legend of This Man, as they call it. It is also a recount of what is happening in the music video. I recommend you check out this audiobook teaser and then the music video, as this package will help you understand the story JEONGHAN x WONWOO are portraying in the music video and saves me off writing a not-even-accurate interpretation of the music video (which I have done previously!). I honestly find the concept of an ‘audiobook’ teaser to be so cool, and wish KPOP music videos does this more. As for the actual music video itself, I really like the mysterious and intriguing vibes that come from the video. And once the story clicks, it is definitely a worthwhile watch.

Choreography-wise, it looked good. It felt artistic and brought out great chemistry between the pair. You could feel the subtle tension between the pair throughout the routine, which made the stage feel more compelling to watch. I also like how the routine builds in dynamic flair as it progresses, peaking at the end for the final chorus as a final rush to the end of the performance.

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

[Weekly KPOP Chart] 2nd Week of May 2024

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Welcome back to another Weekly KPOP Chart post – this time for the 2nd Week of May 2024. Still no luck on coverage of new KPOP tracks. Just four reviews this week – one of which at the start of the week and the rest all posted yesterday. Again, I am hoping to be more productive week on the blog from tomorrow. Let’s see how I go. This coming week promises comebacks from ZEROBASEONE, aespa, ENHYPEN, Mark (from NCT), DXMON, ITZY and more. Per usual, you will have to wait to see who I cover in the new week – until then, here is the Weekly KPOP Charts for the 2nd Week of May 2024.

Throwback Song of the Week

Each week I pick a song from the past to feature in this segment. It is recognition for the fact I listen to more than just the currently charting songs. And revisiting these songs are truly a blast from the past. Plus, I am hoping that this segment introduces new listeners to some great songs that I have enjoyed from my many years of listening to KPOP. This week is a song that I forgot about for a while (despite it being featured in this segment before). But it randomly appeared in my mind this week and I had to relive it! The song is titled Dreamer, which was HISTORY’s debut track from 2013. The track and music video features IU.

Non-Korean Song of the Week

As my focus on this blog is primarily on KPOP songs, I draw attention to a particular song that isn’t in the Korean language in this part of the Weekly KPOP Chart post. That song is the top ranking non-Korean song on each Weekly KPOP Chart post. The past week’s non-Korean song of the week is Stray Kids’ fresh new release Lose My Breath, which features Charlie Puth. It ranks in the 11th position this week.

The Charts

SEVENTEEN’s MAESTRO is the top song for 2nd Week of May 2024. Congratulations!

PositionSong TitleArtistChange
1MAESTROSEVENTEEN(▲ 3)
2MagneticILLIT(=)
3MarsDoh Kyung Soo (D.O – EXO)(NEW)
4BE SOMEBODYYOOK SUNGJAE (BTOB)(NEW)
5NectarTHE BOYZ(▲ 16)
6Girls Never DietripleS(NEW)
7Beautiful MazeDRIPPIN(▲ 26)
8But ISolar (MAMAMOO)(▼ 7)
9HEYAIVE(▼ 6)
10Midas TouchKISS OF LIFE(▼ 4)
11Lose My BreathStray Kids ft. Charlie Puth(NEW)
12I Like The WayKim Woojin(▼ 1)
13Come Back To MeRM (BTS)(NEW)
14BBBPURPLE KISS(▲ 55)
15Love or DieBAEKHO & BIGONE(NEW)
16ImpossibleRIIZE(▼ 1)
17Youth2YouthEPEZ(▲ 52)
18Bye My MonsterONF(▲ 51)
19Welcome To My ShowDAY6(▲ 50)
20SWEATZEROBASEONE(▲ 49)
21Deja VuTXT(▲ 25)
22Earth, Wind & FireBOYNEXTDOOR(▼ 6)
23Q&AHyunA(▼ 11)
24Choke82MAJOR(▲ 45)
25ColorsSolar (MAMAMOO)(NEW)
26I’ll Be By Your SideDAVICHI(▲ 34)
27PUNK HOT1CHU(▼ 8)
28PsychicLay Zhang (EXO)(▲ 41)
29As AlwaysLee Changsub (BTOB)(▲ 40)
30STILL ALIVEXXIN(▲ 39)

[Review] MAESTRO – SEVENTEEN

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The second Monday comeback that I want to focus on today is SEVENTEEN’s grand return with their 2nd compilation album 17 Is Right Here and the title track MAESTRO. It is SEVENTEEN’s first release since October’s SEVENTEENTH HEAVEN and GOD OF MUSIC.

MAESTRO leans the group back into their darker sound profile, which has always been a positive experience for me. And MAESTRO lives up to that expectation. The title MAESTRO instantly makes you think of classical music, and the song begins with a brief appearance (and sees a recurrence in the choruses) of piano. But we see the song quickly revert into its true form – a R&B dance track. A touch of funky guitar work, fast-paced rapping from S.COUPS and VERNON, and sleek vocals from MINGYU and JOSHUA gets MAESTRO moving along before we hear a stunning WOOZI and DK vocal-focused pre-chorus that builds the anticipation towards the chorus. The chorus that follows, and that we return to throughout MAESTRO, felt logical and charming to an extent. But I was disappointed with the reliance on the ‘La La La‘ as the hook. It definitely has potential to catch on, but it also feels empty and doesn’t really have as strong of a command as did latter parts of MAESTRO had. We do get a second half of the chorus, but that doesn’t ping me as memorable. MAESTRO then changes gears slightly with a techno beat feels unexpecting, yet so charismatic and pummels the song forward. It is paired with WONWOO’s rapping and JUN’s vocals – the former creates a perfect sense of intensity with said beat, while the latter felt a little lost in the beat. We return to another amazing pre-chorus (brought to you by DK and SEUNGKWAN this time around) and another run at the chorus. Then comes the bridge, which I think is one of the best moments of MAESTRO. THE8’s delicate vocals was supreme, as well as the follow-up rapping from S.COUPS and DINO. In the final moments of MAESTRO, the techno beat returns as a mini instrumental break and WONWOO’s deep and gripping vocals closes out the song nicely. Overall, a few minor flaws, but MAESTRO still comes off as an epic song for SEVENTEEN.

MAESTRO‘s music video has officially become the first contender for Best Music Video for 2024. You heard it first here! The editing, the concepts and even just the amazing closeup of the members just captivates me from the get-go and takes my breath away. The video sees SEVENTEEN have total command just like how a maestro would have control of an orchestra, and the intensity that comes off SEVENTEEN’s portrayal of this has me spellbound. More specifically, we see them control the narrative of events in the video, such as the car crashes and WONWOO’s fight scene (which has been engraved into my memory bank). We see them also control the AI bots, who mimic the members. Even the massive metronome building in the end alludes to the idea of commanding the citizens of the city around them.

No surprises here, but the choreography overall showcases the song’s intensity quite well. If I had to name an example moment of that intensity, my vote is for the instrumental break, which translates into a dance break in the performance. The presence of the baton in the performance makes sense and is a great way of bringing the concept of the comeback into the performance, as well. And as usual SEVENTEEN’s synchronisation always has me in awe.

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

[Album Review] SEVENTEENTH HEAVEN (11th Mini Album) – SEVENTEEN

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SEVENTEEN brings their A-game in some form whenever they make a comeback. For their October 2023 comeback with God of Music, their A-game came in the form of practically everything, including their 11th mini-album, SEVENTEENTH HEAVEN. For example, in addition to the title track. the three unit tracks that are featured on this mini-album were an absolute knock out. And these tracks collectively helped bump up the overall album rating for the album. Continue reading to find out what I also thought about the 3 songs on the mini-album that have yet to be mentioned, as well as what I thought about the home runs on this mini-album.

SEVENTEENTH HEAVEN Album Cover

1. SOS – SEVENTEEN starts off strong with SOS, an all-English pop rock track produced by Marshmello. The verses of SOS doesn’t necessarily have a tinge of rock to them, opting for a more EDM aligned backing. But things change in SOS once we get to the pre-chorus, where the synths are stripped away, some light guitar work comes into play and we see some really good vocal moments emerge. From there, the chorus features a heavier rock presence, as well as the raspier and rougher vocals that helps give off a grungier exterior. I particularly like how hard they go for the chorus, which takes SOS up a notch. The bridge was the lacking moment for me in SOS, as the inclining repetition of lines felt a little unpolished and muddy. (8/10)

2. God of Music (음악의신) (Title Track) – Click here for the review for God of Music. (10/10)

3. Diamond Days – Diamond Days throws it back to Shining Diamond from their debut album thanks to the ‘Slippin’ into the diamond life’ sample the song features. This makes for a great start and end to the song, especially for fans of the group since day 1. Unfortunately, Diamond Days doesn’t really follow through with this beginning/end. Personally, I felt the chorus was the weakest link of the song. While the EDM instrumentation was dynamic and vibrant, the repetition of the same words ‘Dia-Dia-…-Diamond Days’ and ‘Diamond’ was quite one-dimensional and became a bore quite easily. The verses were more engaging, with the EDM instrumental exhibiting a subtle funky profile and meatier vocal and rapping deliveries are present in the verses. (7/10)

4. Back 2 Back (Performance Team) – We remain in EDM territory with Back 2 Back. Performed by the Performance Unit (which is made up of HOSHI, JUN, THE8 and DINO), I really liked the dynamic flair that Back 2 Back carried. There was a lot going on, but nothing disappointed. In fact, every part felt engaging in its own right. Even the vocals and rapping throughout the track was super prolific and addictive. You can definitely see the amazing performance that the quartet will undoubtedly put on with such a strong song like this. (10/10)

5. Monster (Hip-Hop Team) – We need to remember that this mini-album was released prior to Halloween, so Monster was actually highly appropriate at the time of SEVENTEENTH HEAVEN’s release. The Hip-Hop team (which consist of S.COUPS, WONWOO, MINGYU and VERNON) had amazing delivery throughout the track. I like the variety of playful rapping and vocals we get from the unit in this track, which works wonderfully with the eerie, creepy keyboard or piano melodies in the background (which to me actually sounds very familiar, but I just cannot seem to place where I remember it from). Their flow and energy are superb, and I liked the little details such as the screams we hear throughout. Best part, for me, has to the lower toned pre-chorus. (10/10)

6. Yawn (하품) (Vocal Team) – The Vocal team turns down the dial of this mini-album a lot with the ballad Yawn. To say it is a beautiful song is an understatement. We hear JEONGHAN, JOSHUA, WOOZI, DK and SEUNGKWAN show off their beautiful vocals in Yawn over an equally stunning classical instrumented backing. And this backing get better as the song progresses, evident by the building momentum, which ultimately peaks in the bridge. The melodies make me sway along to the song, which you know I love out of a ballad. In terms of intent, the working theory (from what I have read about the song thus far) is that WOOZI wrote Yawn for SEUNGKWAN, whose close friend (MOONBIN from ASTRO) passed away in early 2023. (10/10)

7. Headliner – The final track on the album brings the 13 members back together again. And it is a really nice sentimental track to end SEVENTEENTH HEAVEN on. The vocals and background harmonies were really well done, while the instrumentation takes on a pop-rock sound profile. I particularly like the idea of the latter, as it gives Headliner some bite as opposed if it had gone down the ballad route. The melodies were also quite calming and soothing to enjoy. (8/10)

Overall Album Rating – 9/10

SEVENTEENTH HEAVEN Teaser Image