If you cannot tell by the title of the post, SF9’s LOVE RACE is the next mini-album up for review (still a massive backlog to push through). It is SF9’s 15th mini-album since their debut in 2016 (almost 10 years ago!), and was released back in March this year. LOVE RACE features a total of 6 songs, including the title track of the same name. It is a solid mini-album overall, per usual for SF9. There are some terrific songs on the mini-album, so it is definitely worth checking out.
LOVE RACE (the mini-album) is their first comeback since August 2024 – the mini-album FANTASYand title track Don’t Worry, Be Happy. More recently, the group is embarking on a world tour.
2. Suited – Leading on from the title track is Suited, a very smooth mid-tempo pop track. This helped make the flow of Suited feel velvety and stunning, and many of the song’s best attributes stem from this smoothness. The song’s chorus was very charming. I particularly liked the upward inflexion at the end of the chorus, which gives the track something intriguing and memorable to remember it by. The vocals (and their layering) in Suited were really well done throughout. As for the rapping, I liked how they fit into the song while still maintaining an edgy tone. (9/10)
3. Side by Side – Side By Side is a great upbeat funky number. The energy that comes off this track is very refreshing. I also enjoyed the brightness exuded from the instrumental, making it suitable for a summertime track. The vocals and rapping were straightforward yet effective in contributing towards the same refreshing energy and bright tone. For this, it is my favourite track off the mini-album. (10/10)
4. WARURU – There was a lot that stood out in the electro-pop WARURU (which translates loosely to ‘Crashing down’). Firstly, I really enjoyed how JAEYOON (as the introduction), INSEONG and YOO TAEYANG delivered the pre-chorus. They really seized the opportunity to showcase their powerful vocals and did so very impactfully. I also enjoyed the line “Now you’re not the girl I used to know” delivered by YOUNGBIN and CHANI in the verses, which were memorable lines. The WARURU repetition was also noteworthy. This is all set against a solid background that enhances the dramatic nature of the song. (9/10)
5. No No No – I quite enjoyed how prolific the instrumental is in No No No. There is a strong funkiness to the instrumental, thanks to the electric guitar and brass elements, which come through quite strongly. The rest of the instrumental is strongly upbeat and comes off as ‘loud’ (but in a good way). I liked how the members really put themselves forward in the song through their rapping and vocals. The instrumental could have easily drowned them out, but SF9 ensured they were heard throughout No No No. I do think the song could have been blended together to be a little more cohesive. (8.5/10)
6. Love Puzzle (숨은 사랑 찾기) – We go into lovey dovey territory for Love Puzzle, which likens their lover to be the missing puzzle piece they are searching for. Love Puzzle is one of those mid-tempo pop ballads that is warm, fuzzy and lovely. The members do a nice job of making their vocals and rapping sound cohesive, as well. I find myself rather neutral towards the song (mainly because I am not the target audience), but I am sure fans are enjoying this more romantic side of the group. (7/10)
In August 2024, SF9 made their comeback with the single Don’t Worry, Be Happy and their 14th mini-album FANTASY. The mini-album is on the shorter side, with just 5 songs (including the title track). Like usual, all my thoughts on the title and side tracks can be found down below.
FANTASY was their first release since January 2024 – their 13th mini-album, SEQUENCE, which featured BIBORA as the title track.
2. Cruel Love – I really enjoyed the sophisticated vibe of Cruel Love—it’s a smooth dance-pop track with a lot going for it. The vocals and rapping both feel polished and classy, and the melodies are catchy in a subtle, pleasant way. You can really feel the members’ emotions come through, which adds depth. The guitar is a constant throughout Cruel Love—it’s an alluring touch that holds everything together, even when other parts of the instrumental drop out. (9/10)
3. Just (그냥) – SF9 goes softer and more mellow, but all in a sensual way, in Just. I liked the venture into R&B, which just draws you in and captivates. The vocalists do a great job of bringing a mature, refined tone to the song, while the rappers add just the right amount of edge to keep things interesting and balanced. Just’s hooks are also catchy, making it a strong song from SF9. (9/10)
4. My Fantasia – FANTASY (the mini-album) changes gears with My Fantasia leaning into funky territory. It’s upbeat and energetic, a definite change in pace for this mini-album. The retro funky elements in the instrumental bring on so much texture, making this track exciting. The vocals and rapping are fine, though I found the melodies and hooks to be slightly lacking. (7.5/10)
5. Melodrama– If you want a chill track to kick back to, Melodrama might be the song for you. This alternative R&B track with retro touches just feels heavenly after my long day today. Everything, ranging from the brassy instrumentation, vocals, rapping and melodies, was all easy-on-the-ears. But I love how each of these contributed to Melodrama’s golden feel. (8/10)
Back to the week before last, today’s post reviews SF9’s latest comeback with their 15th mini-album and title track of the same name – LOVE RACE. It is their first release since Don’t Worry, Be Happy and the mini-album Fantasy last year.
If you base LOVE RACE on the first couple of seconds, you might expect to find the song subdued and coffee-shop-esque, which isn’t a style that you would expect from SF9. A couple of seconds later, LOVE RACE turns into a fast-pace pop dance track. Its instrumentation reminds me of an adrenaline pumping close-to-call motor race soundtrack – fitting for a song titled LOVE RACE and a fulfilling outcome for a song under 3 minutes. This backing is full of textures and colours that make me want to ‘go zoom’ (literally) while listening to it, making for an intriguing background piece. I find myself enjoying the rapping more in LOVE RACE. YOUNGBIN, HWIYOUNG and CHANI had a very cool presence in the song, especially during LOVE RACE‘s choruses. They themselves added to the high-octane and speedy feel of the song. On the flip side, the vocals were good. But I wished the material was more riveting. Both the melodies and hooks were underbaked in the song, leaving LOVE RACE less memorable than what it could have been. Overall, LOVE RACE is a decent song, especially if you are after something with a rush to it. But there is opportunity for the song to be more balanced and better.
It should be no surprise that LOVE RACE went with a race-themed concept. There are motorcycles, sports cars and quad-bikes in the music video, as well as elements of a car race and mechanic. Some of these are ‘driven’ by the members to look like they were driving very fast, while professionals were brought in to do wheelies and to circle around the members. Even the gear they wear throughout the video reminds me of a race. I just wished the music video was a little more than just close-ups and choreography (maybe a storyline where some of the members engage in a race somehow). But for the most part, it was a decent video.
SF9 pumps the gas in the choreography, matching the fast-paced nature of the song. The routine is intense, and you definitely see and feel when the song reaches its peaks throughout the dance. I like the idea of putting on and taking off the glove at the start and end of the routine, but I wonder if this holds any significance for the group.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
I’m unsure if I am starting to become out of the loop with KPOP news, but SF9’s comeback surprised me. It came out of the blue one day 2 weeks ago when SF9 dropped their first music video teaser. The lead single of this comeback is titled Don’t Worry, Be Happy and is featured on their 14th mini-album, FANTASY. This comeback is the first time the group is promoted as a 5-member group – consisting of Youngbin, Inseong, Yoo Taeyang, Hwiyoung and Chani. ZUHO left FNC Entertainment (though he remains part of the group, but plans for participating in this comeback apparently fell through), while Jaeyoon and Dawon are currently serving their military enlistments.
Don’t Worry, Be Happy is a pleasant pop number. It has the necessary elements to make it a dance track, while the funky and groovy undertones in the instrumentation bring out a cheerful and happy pop demeanour. The latter is perfect for Don’t Worry, Be Happy, whose lyrics advocate being happy for a former partner while letting go of your feelings for them. The pleasantness I mentioned before comes from everything instrumental-wise being light and not in your face like other funky and groovy tracks. The same can be said about the song’s melodies and hooks. As so much of Don’t Worry, Be Happy does come off as pleasant, I want to pull up a discussion I wrote in another review recently. Pleasantness can be a double-edged sword. On the one hand, it fits in with the intent and messaging behind Don’t Worry, Be Happy (which is understandable as to why the producers would go down this direction for this track). On the other hand, the pleasant nature of Don’t Worry, Be Happy limits the song’s potential to be different and stand out. While it is good, Don’t Worry, Be Happy does come off like every other pop song, making it standard and generic. The same can be said about the members. I found them to also be another pleasant constant in Don’t Worry, Be Happy. While they sound good throughout the song. But in keeping with the pleasantness of the song, this somewhat stifles the members’ potential, and we don’t get to hear anything interesting from them. Overall, pleasant is good and appropriate in Don’t Worry, Be Happy, but it does come with some set-backs.
The music video concept for Don’t Worry, Be Happy is a user manual for getting over a breakup. Based on what I see in the video, the recommended steps are to visit the diner serving food that erases memories, go to the coin laundry for a fresh start, take your car for a wash to wash the pain away, leave one last message to your former lover on the pay phone, and celebrate your breakup. The SF9 members become happier as the video progresses, so these steps will work for everyone else.
The choreography isn’t the most memorable piece from the group, but I think it fits the bill. It also feels relatively light, which works with the pleasantness of the song. This also helps bring a refreshing vibe into the choreography, which works for this time of the year.
Song – 7.5/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 7.6/10
If you have not been following my blog lately, I ended finished up my reviews of 2023 albums (for the time being) last weekend. That means that I will be finally making a start on the 2024 albums. While it will be a slow process to catch up four months worth of albums, I do appreciate your patience as I get through them. But I will start from the beginning, meaning SF9’s 13th mini-album Sequence (released on 8 January 2024) is the first one up for review. Sequence features a total of 6 tracks, including the title BIBORA. It also is the first album release by SF9 since ROWOON’s departure from the group to focus on his acting career.
2. Midnight Sun – The rush of energy from the instrumentation, the familiarity of the synths and the solid vocals made Midnight Sun quite likeable. When you dig a little deeper, this pop song is for their fans – FANTASY. While fan songs are usually reserved for the end of an album, the placement of Midnight Sun towards the beginning of the mini-album is rather reassuring, especially since how SF9 doesn’t get regular comebacks anymore (which is a complete farce) and the departure of ROWOON from the group last year. Just by listening to the vocals, anyone can hear the sincerity behind the SF9 members toward their fans. (8/10)
3. DOMINO – I thought the vocal processing in this song made TAEYANG sound a little awkward at the start. But after that, the rest of DOMINO makes it a very strong dance track. The rap sequences made the song feel very dynamic. The same rappers brought us the cool descending and dramatic bridge, which gives off that vivid imagery of falling dominos. Definitely a memorable moment in the song. Pity the vocalists didn’t get much of an opportunity to shine in DOMINO, particularly since INSEONG and DAWON’s small part in the pre-choruses were my second favourite moments in the song. (9/10)
4. Strings – The brighter pop sound, the chanty hooks and the fact you can feel the members are smiling at you as they sing makes Strings another ideal fan song. Strings talks about their unbreakable bond with their fans. I like how after a rap dominant song, SF9 turned their focus to vocals. But ZUHO’s rapping in the second verse was also quite cool. I like how deep he went and the seamless flow he delivered. My only complaint about Strings is that the instrumental could have been lowered slightly so we can hear the members more clearly. At certain parts, the backing was loud that it was drowning out the members. (8/10)
5. Morning Coffee – Continuing the bright motif is the funky tinged Morning Coffee. This subtle energy in the song is bound to get you awake in the morning, just like a morning coffee. I particularly like how the funkiness isn’t in your face, which makes the song an ideal track to start your day off. It doesn’t catch you off guard, but rather eases you into its bright motif. ZUHO’s rapping was good, but I think his part doesn’t suit the rest of Morning Coffee as much. I just feel like his style was a little too harsh for this track. (8/10)
6. Superconductor (DAWON Solo) – The final song on the album a solo song from DAWON. He has a unique set of vocals, so I am glad he gets his own song to shine. However, I would also like to have heard solo songs from the rest of SF9, as well. While Superconductor does a nice job of showing us his vocals and style, the instrumental sounded like it was sped up. Maybe this was deliberate and is meant to be a musical representation of a superconductor or even an aesthetic. But I personally thought it was rather distracting and doesn’t give us much opportunity to appreciate it or DAWON. Had it been slowed down, even by a small bit, there would have been more of a chance of that appreciation happening and that would have boded well for Superconductor. (7/10)
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Today has proven to be a busy. Both at work for me and the KPOP industry. Unfortunately, I won’t get through all of the new releases today, but I want to at least tackle one or two. First up, I have selected SF9’s BIBORA, which is featured on their 13th mini-album, Sequence. This is the group’s first comeback since Puzzle and The Piece OF9 a year ago. It is also SF9’s first comeback as a reorganised 8 member group, following the departure of Rowoon (though the group continues to promote with a 7 member lineup due to Jaeyoon’s ongoing military enlistment.
BIBORA goes for a slight club banger style, pulling a lot of its appeal through subtle funky and groovy elements. This definitely pulls me into the track, serving as the initial tick for BIBORA. The subtleness is a trend throughout BIBORA, with the hooks and delivery coming off as subtle. For the hooks, I think they do manage to get there and I feel like the “BIBORA” sung in the chorus and pre-chorus both have a nice ring to it, with the latter catching on. And while I do like the idea of the members’ delivery in BIBORA, I did think it was something that SF9 and their producers could have pushed the boundaries on a bit. What they have pumped out is rather standard and safe for this group. I feel like some more powerful vocals and more prolific melodies could have made BIBORA added some depth to the song. The rapping does attempt to push the boundaries a bit, but I think their placement in the pre-chorus was a bit awkward. I also think their style could have really been back up with some sort of definition. Overall, I find BIBORA to be an alright song. It has a fair bit of pull, but there are some things in it that could be better.
According to SOOMPI, the lyrics of BIBORA “express one’s contrasting feelings of wanting to forget someone but also wanting to return to the time when they were together”. And we see the members portray that to and froing between the two desires throughout the video. There is some good acting in this video. I really like the stormy scenes they perform the chorus in, along with the special effects and overall mature vibes from the video.
Based on what I could see in the music video, the choreography for this comeback looks good. Nothing really stands out, but I liked the fast arm movements in the chorus. Can’t wait to see the rest of the routine.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
SF9 made their latest comeback in January of this year with the release of Puzzle (the title track – link below) and The Piece OF9 (the group’s 12th mini-album). Today’s album review focuses on this mini-album release. The Piece OF9 features a total of 6 tracks (including the title track) and seven of the nine SF9 members, as Youngbin and Inseong had enlisted into the military last year and Rowoon rejoined the group’s lineup after missing the promotions of SCREAM andThe Wave OF9. Following this comeback, Jaeyoon also enlisted into the military.
The Piece OF9 is a particularly strong album release from SF9. I gave two songs a perfect 10/10 score and ranked the rest of the songs on the higher end of the spectrum. Find out how each song on The Piece OF9 ranked by continuing to read this post!
2. Love Colour – The second track on the album is a really neat and rhythmic R&B pop piece. I liked the layering of the instrumentation, which was full of texture and felt subtly groovy. And yet, Love Colour manages to still be quite smooth thanks to the flow of the song and the members vocals, which were enjoyable. I also enjoyed the vibrant feel of the song, which allows this R&B piece to be more appealing than other R&B tracks out there. (8/10)
3. New World – New World is quite the shake-up following the likes of Love Colour. I get an epic revolutionary or an adventurous cinematic journey vibe from this anthemic dance track, which makes sense given the title of the song. The vocals and rapping were amazing, and gave off a sense of accomplishment, which was a great complement to the aforementioned vibes. A minor suggestion, but I think some more pronounced electric guitar riffs during the final chorus to electrify the end would have made New World even more epic. (9/10)
4. Fighter – Fighter is the song on the album that you really need to turn the volume up and blast out loud! There is some serious charge to the song that comes off so subtle. The chorus is super addictive and gets the adrenaline pumping throughout your body. Even the verses had some momentum, and the rapping that featured in the verses was fire. The pre-choruses were appreciably smooth and another strong aspect of the song. A clear 10/10 for me. (10/10)
5. Tight (꽉) – We enter groovier EDM territory with Tight. The bass is also quite something. The marching drumbeats in the pre-choruses were a really nice bridge between this and the preceding song, and also built great momentum towards the choruses. The choruses were doubled down on the grooviness, and also had a fun tinge when the whistles kicked in. Again, the rapping and vocals are on point in this song, particularly Hwiyoung’s expressive rapping and Jaeyoon’s stunning high note. Another 10/10 song for me. (10/10)
6. Stay With Me (Jaeyoon Solo) – From a mile away, I could tell Stay With Me was going to be the balladry song on the mini-album. Stay With Me is also a solo single from Jaeyoon. It is a nicely instrumented with the traditional piano and band instrumentation. I quite liked the electric guitar in the background, which helped give it a less typical ballad feel. Jaeyoon vocals were heavenly, and you can feel the emotions that he poured into and out of the song. (8.5/10)
SF9 is the first group to make their comeback this week, with their brand new single Puzzle and 12th mini-album, THE PIECE OF9. This comeback follows their SCREAM comeback from mid-last year. It also marks the return of Rowoon who sat out of the SCREAM comeback due to conflicting schedules, bumping the lineup for SF9 this time around to seven members (with Youngbin and Inseong continuing to sit out due to their military enlistments).
Puzzle is another track that goes down the funky and groovy route. But I personally feel that this route is quite light on. There is still enough of it to be detectable, making Puzzle enjoyable and prevents the song from falling into a ‘standard’ dance pop track category. The way the funky and groovy influences are held back also allows me to feel a sense of refinement, something I tend to mention when it comes to SF9’s classier comebacks. Puzzle features a memorable hook during the choruses, which helps bump up the song in my books. I will admit it took a couple of listens for me to feel that way about the hooks. But now that I am into it, I am completely for it. I liked how the rappers got to participate in the choruses, evening out the line distribution. Chani and Zuho taking helm of the first portion of the first two runs of the chorus, while Hwiyoung takes the second portion of the final chorus. I did feel like the vocals and raps were somewhat plain in terms of their delivery, which is probably the reason why it took me a couple of listens to get into Puzzle. Maybe it was purposely done so to bring a charismatic appeal to the group. But I wished the vocals were more expressive or had some sort of uniqueness to them, while I also wished the raps packed more of a punch to them. Overall, Puzzle was a decent track. It could have done better, but Puzzle still works as a solid addition to SF9’s single discography.
The members in this video are putting the clues of a puzzle together to work out. I wished the video showed us a reason for the investigative/suspicious actions, like if something was stolen or someone was killed. Without the context, the video doesn’t feel as exciting to me as it is hyped up to be. From what I can understand, there are two version of the group. The investigators are the version of the members that are dressed in suits, while the version dressed in leather are the ones trying to steer the investigators away from themselves. At first, I thought they were all tracking down Jaeyoon (as he had the burn mark on his skin), but the version of the members dressed in leather jackets were doing some suspicious things with files and what I assume is evidence. Whilst the suits and leather jackets talk is very confusing for the story behind the video, the SF9 definitely look very cool in them.
The choreography is good. I must commend the members on how their moves looked very natural and fluid throughout the routine. I also did like the chorus routine, particularly the first half (i.e. during the “Puzzlin’, Puzzlin’ Puzzlin‘”) line. But other than that, nothing really stood out for me.
Song – 7.5/10 Music Video – 7.5/10 Performance – 7/10 Overall Rating – 7.4/10
Okay, I lied. Yesterday’s review was not an album review. But it was pre-scheduled, before I decided to make this week full of album reviews. But the rest of the reviews this week (through to Monday) will be album reviews. Next up is SF9’s 11th mini-album, The Wave OF9, which was released back in July of this year. It features the title track SCREAM and five other side tracks. This comeback also is the first comeback from SF9 of a reduced lineup, with Inseong, Youngbin and Rowoon sitting out for different reasons.
The Wave OF9 had the potential to have some 10/10 songs, but I just wasn’t exactly satisfied by how the songs turned out. Interestingly enough, it all came to do one member. I wonder if you can guess which member that was. I don’t mean to single them out or blame them for my personal ratings of the songs, but I found it intriguing that this member was the reason to why I held back from giving these songs a 10/10. Otherwise, this mini-album is pretty good. Per usual, let me know if you agree with my thoughts/ratings below.
2. OK OK – The soft and airy vocals of OK OK make this song feel so enjoyable. The synth-pop instrumentation and melodies aids the vocals, creating such a pleasant tone for the song that ensures the soft vocals shine. Zuho’s rapping was probably the most questionable aspect of the song. I admit that his rap does offset the softness of the song and adds a bit of oomph to keep the song from feeling too consistent. But I feel like his part was too abrasive for the grander picture that is OK OK. Maybe he should have somehow smoothed out his lines to just fit in better with the rest of OK OK. (9/10)
3. Summertime Bounce (Don’t Kill My Vibe)– I find myself singing along to the super catchy hook of Summertime Bounce. It is just so easy to get into and to get lost in. Again, the intro and verses were quite pleasant, never really encroaching over a certain threshold that would have allowed me to describe the track as dynamic. But there was a nice beat to it. The choruses were unexpectedly trendy, featuring some constricted electric guitar that just transform pleasant into groovy. The latter half of the choruses do go over that threshold I mentioned, and rounds out the chorus with a refined yet dynamic bounce. Once again, however, Zuho’s rapping was overwhelming for this song, but I did like the way Summertime Bounce transitioned back into the final chorus. (9/10)
4. Driver – I am reminded of past KPOP songs while listening to Driver. It doesn’t ping me of any song in particular, but rather there is a sense of familiarity to the song. Aside from that, Driver features a groovy dance instrumental, catchy hooks and solid efforts from the members. I am particularly happy to say that Zuho fits into this song nicely and doesn’t overwhelm. I also find the song to be quite sleek and very enjoyable. (8/10)
5. Crazy Crazy Love – Crazy Crazy Love brings a retro touch and disco influences to the mini-album. I really liked the consistent groovy energy of this track, while the ‘Oooh Oooh Oooh’ were super catchy. Chani’s rapping in the first half of the pre-choruses is so alluring to listen to, while the vocals brought vibrancy to the song. The actual more substantial rapping sequences were cool, while I got a nostalgic vibe from Jaeyoon’s vocals in the bridge. (8/10)
6. Butterfly – We end the album with a track that features a fairly busy and noisy instrumental. There was a lot going in the background in Butterfly. But all of this brought character and profile to the song. I did think the pleasantness nature of the vocals was a poor choice, resulting in the vocalists sounding weak and lacking momentum. The rappers, on the other hand, stands out with a strong and powerful rap sequences, and I feel their parts are on par with the instrumental of Butterfly. (7/10)
I skip forward to yesterday, when SF9 made their latest comeback with the title track SCREAM and the mini-album The Wave OF9. This is their first comeback since the release of TRAUMAat the end of last year. You might notice that the group is currently promoting as a six member group, as members Inseong and Youngbin are sitting out as they are currently carrying out military enlistment, and Rowoon could not participate due to his drama filming schedules.
Another comeback in which the artist steps outside of their comfort zone. For SF9, SCREAM moves away from the usual darker, sensual edgier tone that their recent and past comebacks have featured (see the likes of Tear Drop and TRAUMA, but also previous comebacks such as RPM, Good Guy etc.) and steps into a relatively more vibrant and upbeat dance territory. I will be honest, this newer sound style is quite foreign and unfamiliar for a group like SF9. I am not 100% sold on this changeup, but I am not against in in any way. SCREAM has a neat instrumental that feels robust, with some nice layering to give the song some interesting and great textures. I do think there was opportunity, especially during the chorus, for the instrumental to be more bolstered, just so there is some more oomph to the song. As for the members, they showcase solid vocals and rapping throughout SCREAM. While skills also contributes to this, I do think the hooks and melodies that come as part of SCREAM plays a big part of shining the spotlight on their vocals and raps. The first time around, I did feel these hooks and melodies were a little lacking. But they have grown on me considerably over the last day. Overall, SCREAM seems to be a solid comeback for the group, although I think I do prefer their usual style over this particular Summer comeback.
As pre-empted in the line above, this is a Summer comeback. And so, the concept for this comeback follows through quite logically. It is a bit disappointing that the music video was shot in only a studio setting, while there was definitely justification for the group to potentially shoot the video pool or even beach-side. But the studio does have some perks, allowing the group to shoot their choreography shots in a more controlled manner. Seeing smiles that are not sensual from the members did feel a bit weird at first to me, but not so much anymore. I did (and do still) think the second verse scenes to be quite cheesy, and I wished they left that out.
Yoo Taeyang gets his time to shine in this comeback with a solo dance sequence at the end of the performance. I liked that energy and power he channeled through his solo moment, going for a fierce look. I also like the use of the X-formation with the dancers and members to complete the performance, as it tied everything together neatly. The rest of the performance looks cool and touch base with the group’s sensual and edgy style in a fitting manner for this comeback.
Song – 8/10 Music Video – 7/10 Performance – 8.5/10 Overall Rating – 7.8/10
SF9 is nominated for Best Male Choreography (Group) for Tear Drop in the 2021 KPOPREVIEWED Awards. Support SF9 by clicking here to vote today!
Next up on the album review agenda is SF9’s 10th mini-album since their debut, RUMINATION, which was released at the end of November. RUMINATION is headlined by the title track TRAUMA, and also wraps up their 9lory series that has spanned two years now. Alongside TRAUMA, the mini-album also consist of six other sides tracks, all of which will be reviewed in this post today. RUMINATION and TRAUMA follows the release of TURN OVER andTear Drop earlier on in the year.
2. Memory – I really enjoyed the minimalist vibes of Memory. There was a bit of a beat to the R&B track, but it does not get in the way of the piano that plays eloquently throughout the background. The rapping in Memory is superb, delivered in a manner that was quite airy, breezy and ballad-like in a way. The vocals were also really nice, with the melodies and hook being quite catchy. Dawon’s ‘Faded Love’ was quite a showstopper from the vocal department as well. (9/10)
3. Dreams – Dreams takes it up to notch with a more upbeat and heavier dance instrumentation. While the electronic parts of Dreams are very typical, it is still quite a dynamic and robust piece, and I can imagine a very strong performance from the group if they had chosen this as a side promotion track. The vocals stand out in this song, thanks to the melodies and hooks we get from Dreams. Their technique was quite good. The rappers had a nice bite in their parts and the song satisfyingly edgy. (8.5/10)
4. Gentlemen – Gentlemen takes on that sophisticated style that I have grown to associate with SF9 following the likes of their previous title tracks such as Good Guy, Summer Breeze and Tear Drop. There is a bit more energy out of this song thanks it the instrumentation, however, which makes Gentlemen a bit punchier and livelier. I also like the violins in the song. Both the vocals and rapping were quite strong and well-executed in this track. (9/10)
5. On and On (잠시) (Youngbin, Inseong) – On and On is a track from Youngbin (one of SF9’s rappers) and Inseong (SF9’s main vocal), taking on R&B genre. I liked the elegance of the instrumentation of On and On, which felt sensual and felt appropriate for a classy club at the same time. I really like the pairing of the two members, with Inseong bringing the emotions in his vocals and really nice ad-libs, and Youngbin provided fitting rapping that added a nice intensity to the R&B song. (8/10)
6. Scenario – Scenario seems to follow a similar thread as Dreams. It is a very upbeat and fast-paced dance track that I think SF9 would have nailed on stage, as well. The percussion that followed the first chorus was quite playful and gave the song an interesting notion. Great and smooth vocals in this song, as well. That high note at the end was amazing, and I liked the jaggered entrance to the final chorus. Once again, the rappers of SF9 nailed their sections. The rapping in the second verse felt classy, while the sequence at the end threw in a last-minute punch. Overall, Scenario was a highly dynamic track and would be a song that I recommend you check out. (9/10)
7. For Fantasy (오늘이라서) – Based on the title alone, you can tell that this is a fan-service song. Its tone brought a smile to my face, and I am sure SF9’s fans would find this song touching, wholesome and lovely. Objectively, I find For Fantasy to have nice melodies and nice pop ballad orchestral instrumentation. The members also sound really nice. Overall, a nice ender to the album and this era of SF9 releases. (8.5/10)
SF9 is nominated for Best Male Choreography (Group) for Tear Drop and Best Special Performance for their cover of Taemin’s Move in the 2021 KPOPREVIEWED Awards. Support SF9 and your other favourite artists, songs and performances by clicking here to vote!
Kick starting this week is SF9, who returns with TRAUMA. This is featured on their tenth mini-album since debut, Rumination, which also dropped today. TRAUMA is the group’s first comeback in almost five months, following the likes of Tear Drop (their previous title track) and TURN OVER (the group’s ninth mini-album), which I really enjoyed. Let’s see how TRAUMA stacks up against Tear Drop and the rest of the competition out there.
I find TRAUMA to be on the pleasant side of the spectrum, but I feel that there is potential for the song to grow on me. TRAUMA falls into the all too familiar funky and groovy motif that is basically everywhere in KPOP at the moment. But what I liked about TRAUMA is how SF9 had taken the style and made it sensually refined. While it isn’t the most innovative or creative use of the funk and groove, it definitely allows SF9 to tap into their own skills and also complimented the rest of their discography/style. Personally, I am not sure where I stand with that brassy trumpet-like synth that is present during the chorus. It definitely acts as a nice filler in the background. But I am not sure if I really like its overall presence in this song and it feels almost whiny, which doesn’t reflect a good impression on me. I also thought the vocal work in TRAUMA was a bit neutral overall. I wished there was a bit of more energy and tone to it. The rapping was a lot more inviting and had more of the dynamic that I wanted to see. Zuho’s part stood out, as it referenced his iconic line from the Move cover earlier this year (‘the male version of Venus‘). That definitely really emphasises the sensual atmosphere that I had already pointed out. Also sticking out at me was the Chani and Hwiyoung exchange in the bridge. Youngbin also did a good job in the second verse. For TRAUMA‘s hooks, there was a decent ring and it caught on during the first listen. Overall, TRAUMA could have been more, but it definitely achieves its primary goal as a (pleasant) sensual dance track.
So, there seems to be a reason why Good Guy, Summer Breeze, Tear Drop and now TRAUMA had the same aesthetic. It turns out that this was a whole series of music videos. I somehow have no memory of the trailer for the series (which was released back at the start of 2020), or somehow missed it. According to the description on SOOMPI, TRAUMA is the ‘prequel to their “9lory” storyline and reveals the past stories of the nine members who were scattered in the real world’. I am not exactly sure how TRAUMA showcases these ‘past stories’ exactly as they already looked pretty scattered already, but I figure I would probably need to go through all the videos to formulate a full story (Music Video Theory post, maybe?). I, however, did notice similar elements to those past music videos in this music video, including the chessboard as in Good Guy; bar scenes as in Summer Breeze; and (I think) the rain and feather reminded me of Tear Drop (not too sure about this one). I also wonder the tunnel they walk through at the start is meant to be similar to their |Believer| stage from the final episode of Kingdom: Legendary War.
I like how they captured the sensual energy in the performance, and the passion the members exuded as well. I also liked the use of the chairs was really cool at the start, and how they were reintroduced at the end of the performance as a sort of climax within the choreography. It also added a bit of a refined touch to the video. The pounding head in the chorus also looked very cool and made sense given the English lyrics in the song.
Song – 8/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.2/10
SF9 returned in early July with TURN OVER, their 9th mini-album since their debut, and the title track Tear Drop. This new mini-album follows the release of Special History Book, their special single album (which I didn’t review) that marked their fourth year as a group, which featured the special track Shine Together. It also follows the group’s participation in Kingdom: Legendary War, where they released |Believer| as their final round song (which is also featured on this mini-album). In other new, all nine members have renewed their contracts with FNC Entertainment at the start of the year. So that means that we will be hearing more SF9 into the future. But until then, here is my review for TURN OVER.
3. Love Again (한 번 더 사랑하자) – Love Againhad a sweet and romantic vibe, which comes via the vocals and lyrics for me. It is also vocally centric, with the group putting their vocals on display and such vocals were extremely pleasant to listen to. The rapping was also quite fitting for the pop style the group had gone for. What makes Love Again even stronger is how appropriate the track sounds for the Summer season. This was thanks to the EDM flourishes that decorated the track. (7/10)
4. Off My Mind – Off My Mind is much more upbeat compared to Love Again, slipping into synth heavy pop territory. The synths brought out dynamic energy, which ultimately made the song so appealing to listen to. The vocalists did a really good job with their harmonization and breathy vocals in the chorus. The hooks they brought to life was also quite catchy and helped reel in more listens from me. The rappers definitely stood out and added to the dynamism of the song. (9/10)
5. Fanatic – Latin influences return in Fanatic. The track still stays within synth heavy territory, so this Latin influence doesn’t necessary repeat the same vibes that their more notable Latin-influence title track (O Sole Mio). To me, the combinations of the synths and Latin influence was a memorable sound on the album, and the synths gave Fanatic a lot of interesting texture. Vocally, the song showcased them proudly, while the rapping definitely added edge and SF9’s usual colour to the song. (9/10)
6. Hey Hi Bye – Final song the album is Hey Hi Bye. It continues the album’s reliance on synths. This time around, however, Hey Hi Bye delves into the retro world. More specifically, I think Hey Hi Bye features a heavy presence of 90’s new jack swing, but there are other retro influences in the song as well. It is all masked somehow by this consistent synth-like filter that complicates but also adds definition to the instrumental. It would be an understatement to say that there is a lot going on instrumentally, but it still an interesting mix nonetheless. I applaud the vocals who managed to stay on top of the instrumentation. They easily could have been masked by all the music. The rappers added depth to the song, which I think helped make it more dynamic. (8/10)
It is a new week in KPOP and this means new releases! I will definitely get around to reviewing those releases I missed over the last few weeks when I have time (which I plan on making sure I have – all-nighters, here I come). First up on the reviewing block this week is SF9’s Tear Drop, which is the title track off their group’s 9th mini-album, Turn Over. This album release follows SF9’s participation on Kingdom: Legendary War, making them the first group from the show to make their official comeback. Tear Drop also follows the release of Summer Breeze, the group’s last official comeback a year ago, though they did release Shine Together in October (but this was a special release and not promoted).
First and foremost, Tear Drop is an emotional song. You can tell from the title of the song in the first instance. But the emotional side of the song is emphasised by both the vocals and minimalistic vibes of the song. The airy and husky nature of SF9’s vocals brings out a sultry sound, which is fitting for a SF9 release. But at the same time, you can hear a tinge of sadness behind their voices. They don’t really put that emotional side out there, as per when we think of ’emotional songs’. Rather, it felt like they were holding back their sadness. This held-back approach compliments the lyrics, where they sing about pretending that everything is okay despite them breaking up with their lovers. But yet, the breakup is less hurtful for them (though it appears it is to no avail as their lover’s tears ends up wounding them). As for the minimalistic vibes, there isn’t much to the instrumental. Tear Drop is described to be ‘an emotional dance track UK garage style beats and unique bass sounds’. And that is only what we get. But while I did like the cleanness and overall aesthetic of the instrumental, I found it to be lackluster when it came to the rapping. I wished the instrumental changed it up a bit to better fit Zuho and Hwiyoung’s sections. I liked the contrast and texture that their sequences bring, and find they are valuable elements to keep the song appealing. They also helps break up the song from being overly consistent, which I felt was an issue the first few times I listened to the song, but soon realized that wasn’t the case. But I think more could have done instrumentally to get the rappers’ sequences to fit. Youngbin’s rapping sequence is an exception, however, thanks to the whispering delivery he had (which just clicked easily into the minimalist song). As for the memorability of the song, Tear Drop had a repetitive chorus, which worked in the group’s favour and helped give off an aesthetic that I feel SF9 can only do. Overall, Tear Drop hit expectations and the brief.
Talking about aesthetic, there is something about SF9 music videos lately that just gives off that vibe. We saw it in Good Guy. We saw it in Summer Breeze. Now, we see the same aesthetic vibes in Tear Drop. This time in particular, I applaud the transitions, which helped smoothed out the shots and made it so alluring to watch. In addition to that, I noticed some details that further heightened my interest in the video and made it so artistic. I will just list some of them. Firstly, the lack of colour during the ‘coloured’ sections of the music video and the black and white really hones into the emotional aspect of the song. Secondly, in one of the choreography shots, the rocks on the ground were moving in a reverse direction, as in they were flying up. And thirdly, the various solo shots were either confined or constricted by the sets or the props, which made everything feel tighter and hence the focus was primarily on the members. Or the camera angles were abstract, adding flair to that artistic touch.
The sensual nature of the choreography just makes the comeback even better. The chorus was a very elegant and smooth feel to it, which once again, felt like a move that only SF9 could do. The rest of the choreography seems to continue that minimalistic vibe from the song, as there wasn’t much else going on, in terms of complexity. But there was still a substantial routine for the group to perform.
Song – 8/10 Music Video – 10/10 Performance – 8.5/10 Overall Rating – 8.7/10
Earlier this month, Kingdom: Legendary War began its run, pitting six well known and high performing male groups against one another for the throne. The Boyz, winner of the prequel season Road To Kingdom last year, is featured as one of these male groups. During the 2020 MAMA Awards, it was confirmed that Stray Kids and ATEEZ will be participating. And in January 2021, it was also confirmed that iKON, BTOB and SF9 will be joining the lineup. It was also confirmed that TVXQ (a name in the industry worthy of the Kingdom title without a doubt) will be hosting, but this was later reduced to just Max Changmin, as Yunho was involved in a scandal and was edited out as much as possible (and will not make an appearance in future rounds).
As I have reviewed part of Queendom and all of Road To Kingdom, I will also be reviewing the stages of Kingdom: Legendary War, recapping the high caliber performances from each round and also putting forward my thoughts on what the ranking should have been for that round.
Final Round – WHO IS THE KING?
After two months of performances, we have finally reached the final round. WHO IS THE KING? started a week prior to the episode airing, with the final songs released to see which group would garner more attention on the music charts. This attention (and their ranking on the music charts) would determine the first set of points the group’s would get, thus contributing to their final score.
When the episode starting airing, fans were given the opportunity to live vote for their favourite groups, thus creating a second set of points the groups were able to get in the final round.
At the conclusion of the performances, the live votes were tallied and added to all the points which the groups have accumulated throughout the competition. The group with the most points would be crowned the King!
For this review/rundown, I will be having a deeper listen to the songs released by each of the groups and a closer watch of the performances. I will also be giving a final rating based on these aspects, allowing me to determine a rank for the final round.
Then I will look at all my rankings I have done since the start of the show to determine who I thin should have been crowned the King! See you at the end.
The Real (멋) – ATEEZ
Going first up in the final round is always a daunting task and that task was assigned to ATEEZ. But knowing ATEEZ’s style, this task was going to be a piece of cake for the group. The Real taps into the hip-hop genre, combining it with a really dynamic and upbeat instrumentation filled with abrasive synths that has a sense of familiarity for me. I am sure somewhere on the blog, I have heard these same synths somewhere. But despite that, I really like that ATEEZ took those synths and really made it their own hype song. ATEEZ’s rappers kept the song dynamic, especially in the verses, and helped moved the song along. The vocalists really help give The Real some definition, and kept the song grounded and still for a brief moment. I think this was needed to prevent the song from being too overwhelming with the synths and energy. It also made the chorus that followed become more impactful. But what really sold me with this song is the energy that comes off it. I love the relentless energy that just doesn’t stop coming at you. And I also really liked how the energy just kept on piling up, especially towards the end. It was an exciting and stimulating opener to the round. It even got the crowd (i.e. other participants) hyped up. Definitely a style I would like ATEEZ to continue with in the future.
I feel the stage for this performance was a bit weak. While the choreography and energy was undeniable, I felt the performance could have had more of a wow factor to it. It might have been a stylistic choice to not include a wowing moment in the performance, but I felt that is where this performance fell short. I really like how the markings on the locker and the way the microphones were positioned to make the hangul of the song’s title appear at the right angles. That would have taken a while to set up and to ensure the camera work was on point (we all know how sometimes camera people like to not capture the right moments). I also feel the other stage props and setups had a fun vibe to them, which also matches the song (i.e. the puppet box and the chickens). As for the choreography, it definitely had that hype energy that felt on par with the song. I also felt their stage presence and personality made the choreography more energetic.
Final Rating – 7.9/10
WOLFGANG – Stray Kids
With WOLFGANG, Stray Kids relies heavily on momentum and intensity to get through their performance. There is also a showcase display of vocals and rapping from the members throughout the song. But I feel that comes second in WOLFGANG. I feels the members could have been a bit more angsty at certain parts (like in some of their other performances), which would have made for a more intense and thrilling performance. This would have made the dynamic performance even more dynamic and powerful, and give them more room to experiment with performance strategies on stage. I also find it interesting that none of the members really stood out to me in this WOLFGANG. Each member brought their individual style to the song, but the limelight was shared between members. Instrumentally, I liked the choir-like background to this song. It gives of a suspenseful atmosphere and does a good job of contrasting with the vocal/rapping delivery that we did get in the song. It also felt like something was simmering away in the background, concentrating as the song progressed along. Glad to hear in the end that energy was released in a relentless and concentrated manner that makes for a really thrilling ender to the performance. It started with the EDM instrumental break before leading into a dramatic increase in strings for the final sequence. It definitely showed Stray Kid’s powerful potential and it gave what I thought the performance definitely needed.
I really like the idea of the members turning into werewolves for this performance. The members started out as humans, before they start donning fur to show their transition from human to werewolf. But I think they are new to this transition, with some of dance moves starting off small (i.e. when they jump off the dancers back the first time). But as we get towards the end, the members become used to this change and exert more dominance, leading them to leaping off the dancers’ back the second time around. The choreography for the ending sequence also looked really powerful, matching the energy they exuded in the song. The show-stopping moment of the performance has to be Bangchan putting on the wolf attire showing some skin in the process, which I assume has thrown the STAY fandom into disarray.
Final Ranking –8.1/10
KINGDOM COME – THE BOYZ
The Boyz rounded out their Kingdom journey (Road To Kingdom & Kingdom: Legendary War) with KINGDOM COME. I liked that their song reminded me of their winning song from Road To Kingdom (CHECKMATE). This one sounds more intense, especially thanks to the powerful orchestral influence the producers of the song infused into the chorus. To compliment the chorus, KINGDOM COME teases us with less intense strings in the verses. Their vocals and rapping also fits in really neatly. The second half of the second verse brings in a really stylish and cool electronic-based instrumental break to facilitate a dance break on stage (more on that in a bit). It led to Juyeon’s dance break, which retained the dynamic thumping but opted for strings rather than EDM. The chorus returns, before transitioning with a really cool rough textured electronic sequence to the bridge song, which showcased nice vocals from New, a bit of deep rapping from Sunwoo and a spectacular elongated high note from Sangyeon. This marked an entrance to the final chorus, which I am sure had the same energy levels as the previous chorus. But until this point, KINGDOM COME has been snowballing all its energy to release it during the final chorus to give off an ‘edge of your seat’ vibe. I really like the autotuned ‘Until Kingdom Come‘ line that repeats. I didn’t notice it at first, but I think it added to the suspense that contributed to a really strong ender from The Boyz.
What I really liked about this stage is the pre-recorded footages featured in the performance. As mentioned at the start, this performance wraps up their time on the Kingdom series. In the first pre-recorded footage, we see each individual member wearing a different stage outfit from each of their RTK and Kingdom performances. The second pre-recorded footage we see features Younghoon, who couldn’t physically dance in this performance due to an injury. And the third pre-recorded footage features the members dance in white shirts and black pants while it is raining in the background. These pre-recorded footages were interlaced throughout the stage performance, allowing for different visuals to be in play, similar to how a music video switches between solo shots and choreography scenes. A unique concept and idea. On stage, The Boyz pulled off really both intense and graceful dance breaks (the latter being in a shallow pool of water) and powerful choreography that was captivating to watch. I liked fiery red colour of the stage at the end that showed us their passion.
Final Ranking – 8.7/10
Show And Prove (피날레) – BTOB
What I really like about Show and Prove is how uplifting it sounds. And because of this, it has a very different sound to all the songs by the other participants of Kingdom: Legendary War. I really like the dramatic rock-influence instrumental sequence that kicked off the song, which lead into Peniel’s opening narration to enjoy their stage, Changsub and Eunkwang’s vocal pairing and Minhyuk’s rap sequence. Up until this point, it appears that BTOB had opted for a rock styled instrumental for the song. But what keeps Show and Prove exciting is that they changed up the style for the chorus, opting for a much brighter and warmer melody. The rock influence remains, but it clear the vocals do most of the speaking during the song’s central parts. And while we are on the topic of vocals, the members’ smoothness really sell me this song. You can also feel the passion and energy through their vocals, which makes a really great song to finish their journey on Kingdom with. I particularly commend Changsub, who seems to employ a bit of a musical flair with his vocals in this song. The same structure of rock-dominance in the verses and the warm melodies for the chorus repeats again, repeating the same level of captivation from the first time they did it. The entire bridge and final chorus sequence, consisting of Minhyuk’s vocals, high notes from the members, harmonies between the members in a choir like manner and more of Peniel’s speech, gave me goosebumps and was a really polished finish Show and Prove.
For the final stage, the members of BTOB keep true to themselves and focus on what they know best. They don’t dance or participate in the accompanying choreography. Instead, they showcase their vocals. Despite opting this arrangement in terms of the stage performance, it doesn’t mean it is any less dynamic or impactful. I am sure I have mentioned this somewhere on my blog, but their vocals speak volumes. That being said, the dancers did a lot to give a bit of a wow factor to the stage and I liked how BTOB used the stage for this performance. If I were to nitpick at one aspect, it has to be how the stage was set up for the final sequence. I think some of the dancers should have been in front of the members (who were already on high blocks). I think the stage would have looked better and potentially warmer, as a result to fit the song’s vibes. But overall, a really strong performance by BTOB, who were clever and played with their strengths.
Final Ranking – 9.1/10
At Ease (열중쉬어) – iKON
There was no surprise when I heard At Ease for the first time. It taps into hip-hop, which is iKON’s preferred genre of music whenever they release something. Like most of their songs, the rap is dominant in At Ease, which definitely plays towards their strengths. But based on what I heard, the rapping in At Ease was pretty standard for iKON. Nothing special in that department. Similar comments can be said about the vocals that make up the pre-chorus, though I was glad for some melodic flair in the song. It the last few seconds of the chorus when the song gears up for the chorus drop that starts pulling my attention towards the song. The repetition of the ‘Play Play Play‘, paired with the drumming instrumentation, was a really cool and intense buildup. Then came the chorus, which brought all the energy down. While I do wonder where all that energy those last few seconds had brought to the song, the militaristic vibes and bombastic creates a very powerful atmosphere that I feel iKON could only create. I do think it pairs well with the rapping we get in the verses, even though I did mention they felt standard. Their anthem ending sequence was expected, as it tends to appear in all iKON songs (and have been appearing in their Kingdom stages). And while I do groan at the unoriginality of how they approached the ending, I do find the energy that comes off this sequence to be fitting for this song. It felt like a last hurrah, following all the seriousness that the chorus felt, infusing a bit of freestyle and fun into the song. Personally, At Ease isn’t my preferred song of the bunch. But they definitely infused their roots into the song.
As for the stage, I did like the way they used the fences. From the mini ‘rooms’ created by the fences (like how the cameraman was trapped in at the end of the performance), to how the cameraman shot through the fence to create an edgy effect. I did think they could have taken the stage a step further and made it more interesting. Aside from the fences, there wasn’t much to really talk about. As for the choreography, it was good. Though like the stage, I think more could have been done. I do find their outfits interesting. I would have thought they would have gone something to compliment the militaristic style of the song. But I guess that would have been cliché.
Final Rating – 7/10
Believer (숨) – SF9
SF9 finishes up the final round with Believer. The song comes off as smooth and showcases the charm that SF9 was most successful with during the earlier rounds of Kingdom: Legendary War (i.e. sensual). What I find interesting about Believer is that it is the least bold song out of the bunch. But that might be a good thing on one hand. All the other performances rely on dramatic flair and powerful instrumentation. Believer differentiated itself as a result from the pack, allowing it to become an ‘easy on the ears’ listen, which is definitely appreciable after so many powerful and intense sounds. But on the flip side, it might not be able to standout and become forgotten within the mix of powerful songs. For me, I feel the former (it being a good thing) to be the case here. Though, I do think there is room for the song to be bolder with its instrumentation. The synths in this song are quite stylish and sound like they have never been done before in KPOP. It is almost trippy and hypnotic in a way (combined with the percussion we get in the instrumentation). I find the vocal work to be quite sleek, while the rapping infuse a bit of edge to the song. As for the chorus, the melodies were memorable and catchy. The ‘Tuk Tuk Tuk‘ at the end of each line in the chorus was very addictive.
Of all the six stages, I think SF9’s was the stylish. And that is thanks to that hexagonal mirror structure present, which reflects the stage’s lighting and imagery from the screen. As a result it gives off a really cool effect that takes me back to a few music videos from KPOP’s past. I also like how it wasn’t just a tube, but rather segments that SF9 used really well to reveal members and have them quickly disappear. As for the choreography, SF9’s stage was also pretty cool. I really like the idea of mirroring that was employed in the routine (seen during the start with Hwiyoung and Yoo Taeyang and then again between Chani and Youngbin after first chorus). I am not entirely sure what the story behind the choreography, but it seems like there is a struggle between light and darkness based on the imagery we see on stage. I did wish they brought more of a sensual vibe to the choreography, though. The best part of the stage has be Zuho’s stage presence during his rap sequence, where we saw the light and dark come together in a moment of peace. His outfit was split between the two sides and the contacts he was wearing was quite scary, but at the same time, very memorable.
Final Rating – 8.6/10
And the winner of this round is…
Formal results for the final performances were not provided, with the crowning of the king taking precedence once the performances wrapped up. We did get to see digital results for the final round, but these are based on their rankings on music charts since the release of the songs a week prior to the final episode. The ranking for the digital music points were The Boyz (1st), Stray Kids (2nd), BTOB (3rd), ATEEZ (4th), iKON (5th) and SF9 (6th).
As a result, I have decided to ranking the final performances amongst each other. The table below shows the ranking for the final round only. Keep on scrolling down if you want to find out how I ranked each group’s performance throughout the entire Kingdom: Legendary War series.
Do you agree with my ranking of this round? Comment below if you agree/disagree. Plus include what you think the ranking would have been like!
Rank
KPOPREVIEWED’s Final Round Ranking
1st
BTOB
2nd
The Boyz
3rd
SF9
4th
Stray Kids
5th
ATEEZ
6th
iKON
And the winner of Kingdom: Legendary War is…
And it is the moment you have been waiting for! I will be sure not to going into dramatic pauses, like what Changmin did on Thursday. I did laugh at how quick MNET decided to flash the final results on our screen on Thursday at the very end.
For the most part, I agree with the crowned winner, which was ultimately Stray Kids! But it the rest of the rankings which I for the most part did not agree with, considering how I ranked the performances and stages from all the rounds. You can see the results below!
Do you agree with the shows’ ranking? Or do you agree with mine? Or do you disagree with both and have a different ranking in mind? Let me know in the comments section below!
Ranking
Final Kingdom: Legendary War Results
Final KPOPREVIEWED Ranking
1st
Stray Kids
Stray Kids
2nd
The Boyz
BTOB
3rd
ATEEZ
ATEEZ
4th
BTOB
The Boyz
5th
iKON
SF9
6th
SF9
iKON
And that’s it! Thank you once again for sticking around for my review and thoughts for Kingdom: Legendary War! While I do have negative thoughts on how MNET operates, I do hope that we get to see more Queendom and Kingdom seasons in the future. Congratulations to all the groups for their amazing performances. Mad respect to all of them and I can’t wait to see all of their future comebacks and works! (Now to get back on track with the reviews…)
Apologies regarding how long this post has taken. The finale rundown should be published by Sunday!
Earlier this month, Kingdom: Legendary War began its run, pitting six well known and high performing male groups against one another for the throne. The Boyz, winner of the prequel season Road To Kingdom last year, is featured as one of these male groups. During the 2020 MAMA Awards, it was confirmed that Stray Kids and ATEEZ will be participating. And in January 2021, it was also confirmed that iKON, BTOB and SF9 will be joining the lineup. It was also confirmed that TVXQ (a name in the industry worthy of the Kingdom title without a doubt) will be hosting, but this was later reduced to just Max Changmin, as Yunho was involved in a scandal and was edited out as much as possible (and will not make an appearance in future rounds).
As I have reviewed part of Queendom and all of Road To Kingdom, I will also be reviewing the stages of Kingdom: Legendary War, recapping the high caliber performances from each round and also putting forward my thoughts on what the ranking should have been for that round.
Round 3B – NO LIMIT
Round 3 was broadcast over three episodes (Episodes 7, 8 and 9). It was also spilt into two sections. For this post, I will be focusing on the NO LIMIT segment of Round 3. You can see the performance rundown, comparison and results for Round 3A ‘Collaboration’ here.
In this part of the round, each individual group was given the freedom to cover any song they wish. As we are back with six individual performances for each group, I will revert back to the original format of this Special segment.
For this rundown/review of each stage, I will be looking at their song arrangement, concept and overall performance.
Classy Savage – iKON Original Song/Artist: Pretty Savage – BLACKPINK
There were some slight modifications to the start of iKON’s version of Pretty Savage. You will notice that the instrumentation in iKON’s version has a deeper tone. And some of the lyrics and delivery of lines were changed to fit in with each member’s abilities. I really liked it how they sneakily slipped a swear word into the pre-chorus (in case you didn’t noticed). Expect iKON to do that! The chorus is where the song changes up. I really like the robustness and dynamic percussion alongside the ‘BUM BUM BUM‘ and the new-found intensity the members brought to the ‘You better run run run‘ line in the chorus. The jungle sound inserts (at the start of the song), tribal drumming and cult-like choir we get leading up to the epic featuring of Lisa herself actually worked well with the concept and stage design. I also liked it for the fact it gave a bit of an interesting colour to their version. They maintained their version’s deeper tone when Lisa started her rap sequence, and it made me think that this should have been the tone of BLACKPINK’s version of Pretty Savage to begin with. I think I would have enjoyed the original song more if they had this deep tone to the instrumentation. Following Lisa’s featuring, everything becomes very lively and energetic. I really like the hype feel from the final bit of their stage, which really exuded a lot of energy and made the entire stage more appealing in a last minute pitch.
For the concept, I am not exactly sure how to describe it in one word, so I will split it up. The performance starts with the members watching previous YG performances. (In addition to Winner, BLACKPINK and iKON themselves, we also get some Big Bang – just another hint that these KPOP Kings are working in the background for an upcoming and long awaited comeback). A portal opens up, leading them to this foreign jungle land, before being captured by the people who live there. During the performance, we see the people call upon their Goddess (i.e. Lisa) and the members convert to following this Goddess (hence why their outfits change from casual to golden). I liked the concept and thought it was fun. It is nice to have a less serious concept once in a while.
For the choreography, I didn’t really see anything that new or unfamiliar. They took a number of moves from BLACKPINK’s version and made it look more intense, which fits in with the music. To me, the best bit of the performance has to be Ju-ne’s kick at the end. Other than that, the members relied heavily on stage design and Lisa’s featuring.
God’s DDU-DU DDU-DU – Stray Kids Original Song/Artist: DDU-DU DDU-DU – BLACKPINK / God’s Menu – Stray Kids
Another BLACKPINK cover, this time Stray Kids is covering BLACKPINK’s debut single, DDU-DU DDU-DU with a surprise. More on that in a bit. Following Felix’s narration and BLACKPINK’s song’s chorus, Changbin comes swinging with his lines. It was an impressive display of his rapping skillset that really sets the bar high for the rest of the performance. The rest of the performance falls into line and continues the momentum that Changbin and the first chorus had set up. I really like the edgy rock feel of the instrumentation that fits so well with BLACKPINK, Stray Kids and the song(s). The next chorus comes along, with a bit of God’s Menu infused into the chorus. How did this occur? Well, God’s Menu has ‘DU DU DU‘ in its chorus, so it was an easy fit. I am glad they didn’t overuse this technique, obviously to preserve BLACKPINK’s song. In addition to the just mentioned, we also get really powerful and dramatic drums, which makes it the cover’s most iconic sequence. I shamelessly rewatch the performance to hear this exact chorus again as it had it all. Felix also brings in some more God’s Menu in his rap sequence, however indirectly, as he threatens mentions Gordan Ramsay who happens to be a Michelin Star Chef (and this latter term is referred to God’s Menu). For the cover’s final sequence, Stray Kids take it to the next level, coming at you with all of this intense and powerful energy that we have yet to see in the competition. They also managed to integrate their tag line ‘Stray Kids all around the world‘, ending a performance that cleverly reminds you of the group and BLACKPINK as well.
For Stray Kids’ stage, I really like the idea of Deadpool and breaking the fourth wall, which Deadpool is notorious for doing in his movies. Felix starts off the performance by narrating the introduction, while Bangchan introduces the final segment of the performance (really like the humour in Bangchan’s segment, pushing down the JYP speech bubble). Not entirely sure of the massive rice cooker that Felix sits on at the start, but I guess that is reference to God’s Menu. I also really like the use of the camera angles to unveil the van, which Felix had stole the smaller version of earlier in the performance.
Breaking the fourth wall also made it into the performance, with Lee Know smiling in a cute fashion whilst all the guns were pointed at him. As for the rest of the performance, it was a powerful routine combining the likes of DDU-DU DDU-DU and God’s Menu. There were also a bunch of other cool moments, such as Felix’s navigating his way through the red laser lines and the ending sequence which saw the members stomping their way to leave a lasting impression.
Blue Moon (Cinema Ver.) – BTOB Original Song/Artist: Blue Moon – BTOB
Based on commentary from the MC, BTOB would be competing in this round with their own song and it would be a song that has never been performed on stage before. The song in question is Blue Moon, a single written by Minhyuk from their 11th mini-album, This Is Us. When I compare the two versions, it doesn’t seem like much as changed. The jazzy instrumental was retained. If anything, it does sound like it was amplified for the stage. But I think there was a bit a vocal rearrangement to accommodate for the stage performance and the fact that BTOB has been reduced to four members for the competition. I know for a fact that the raps have been changed, while some of the vocal bits have been altered to allow for harmonies and high notes to come through. To me, standout members for this performance was Minhyuk and Eunkwang. Minhyuk’s rapping in this version has a lot of emotional heft, which reflect well with the story they are telling on stage. His singing was so good, as well. As for Eunkwang, his high notes in the final chorus and ending made me go wow and I shared similar reaction to the other participants of the show. It was a solid performance from the group, with a strong showing of skills from each of the members.
For the concept of the performance, it appears BTOB’s stage is influenced by La La Land. Minhyuk, who is only a staff member on the production, is in love with Miyeon (from (G)I-DLE), who has been enlisted to play the actress in this stage. While the feeling is mutual, I think Minhyuk believes that Miyeon has moved on from him and no longer wants to be with him. Changsub plays the actor in this performance and I loved how his character added a bit of comedic relief to the stage based on the way he looks. Peniel is the director, who is extremely passionate, while Eunkwang is a singer in the production. Fast-forwarding through the stage, Minhyuk makes his thoughts apparent, while Miyeon assures him that she still loves him. They make up and hug (for a moment there, they looked like they were going to kiss) to end the performance. A happy ending for the main characters.
As for the performance aspect, I thought the performance was quite pleasant. Nothing that amazing in terms of choreography, but it was still worth watching. BTOB allowed their vocals and rapping to be the main star, once again emphasising that different dynamic the group was bringing along to the competition from the very start. I liked how the ending came together to be a big song and dance. It is a bit cliché, but it was a nice way to end the performance and bring everything together.
Answer: Ode To Joy – ATEEZ Original Song/Artist: Answer – ATEEZ
Out of all the stages we saw in this episode, I have to admit that ATEEZ was the most epic and powerful. The energy they brought to the stage in just the music alone for this version of Answer blew me away. They also really knew how to amplify Answer and upgrade it a whole new level. The logical answer to this was a rock instrumentation, given that we all had the feeling that Answer was the perfect vessel for this sound. The post-chorus hook was definitely the original’s best bit and I was grateful that while also intensifying it, they retained the appeal of this section. What was really interesting about this version of Answer was despite the thrilling momentum of the rock sound, they cut it completely to make way for a bit of classical opera. La Poem was featured to deliver this opera. It was a brief interlude before an intense drumming to bring back and rock influences with the opera together. It was the best bit of the performance. Like all the performances of ATEEZ we have seen thus far, Jongho brings in a really cool high note. Not to put pressure on him, however, but I felt it should have been followed up with another high note as the music felt somewhat empty afterwards. I think that would have been this performance’s ‘icing on the cake’ if it had happened. Hongjoong’s rap sequence while blindfolded was the next iconic part of this performance. This performance of Answer hit the mark and showed us that there was no limits in creating this version of this song.
I think the concept was the weakest point of the performance. I wasn’t entirely sure what was going on. My best guess, based from the start, is that the white-masked dancers captured one of the members, so ATEEZ and the hat-wearing counterparts went to rescue him from these white-masked bandits. Fighting ensues, but the rescue was successful and the enemies were defeated. I really like how the opera singers were unveiled on stage.
The epicness carried over into their performance. It was super intense, especially in the rock instrumented sequences. I also like the choreographed fight scene in the final moments. I did think it could have been a bit more convincing. I also wished the performance did end on bland feel. We had all this amazing energy preceding it, just to see the member walk up the steps and stare back all serious into the camera.
Move – SF9 Original Song/Artist: Move – Taemin (SHINee)
The most surprising stage of the round was SF9’s take on Move. It is sexy sounding song and I feel that SF9 really encapsulated this, whilst also creating a sound of their own in this performance. Chani’s deep voice begins the performance with a brief yet sharp instrumental piece. Dawon and Jaeyoon then brings sultry vocals to the mix, before we are taken to the chorus which is lead by Yoo Taeyang and Inseong. The slow but sensual pace of Taemin’s original version of Move features here. The rappers (Hwiyoung, Youngbin and Zuho) of the group start bringing more upbeat and metrosexual vibes in their sections through the instrumentation and delivery, whilst also maintaining the sensual atmosphere that the other members had created. After Zuho’s part (which was also my favourite), an electronic based instrumental interlude gave the performance/version some intensity that can only be passed through a dance break, before we are provided an upbeat version of the Move‘s chorus that fits into what SF9’s version has built towards. I really enjoyed SF9’s take on such an iconic KPOP song, so much that I have returned to listen and rewatch the stage so many times after the show’s broadcast.
For the concept of this performance, I believe the setting is a factory that produced robots that wore white and very generic. But the SF9 members were incorrectly made, wearing black and were completely different to the robots the factory originally manufacturing. I also like how the settings were bland and monotone. But with SF9 present, colour started to come through. It was gradual, but made for a really great stage. I really like the rain of coloured confetti during the final dance sequence, and the rain room they had created off the stage to further highlight the group’s sexiness. This was a really unique performance and one that shows off a different charm of the members.
We all know Move for its sexy moves, but I feel that SF9 took it further with their outfits and sensual moves on those steps. It was definitely a breathtaking performance to watch. Chani’s entrance was so smooth. I would have liked to see more references to Taemin’s original choreography, but I think they did fantastic with creating their own, especially to match the upbeat moments of the final chorus. And when they are not dancing, the members are strutting their stuff on the stage as you could see during Hwiyoung and Zuho’s parts.
Monster (Stormborn) – The Boyz Original Song/Artist: Monster – EXO
The final performance was The Boyz’s take on EXO’s Monster. While the melodies for the vocals parts remained the same between version, the instrumentals for The Boyz’s version was remixed to enable the 11-member male group to perform the song to the calibre of the Kingdom’s stage. And while I do like the performance, I am not a major fan of the shrilly-like synth they had in the chorus. It wasn’t off-putting, but it just didn’t sit right for me. But everything else in their version was good. I really like the rapping, which gave the song a more edgy and powerful touch (which I felt was needed – more on this in a bit). The EDM used for the dance break really showed performance flair and their ability to intensify an pre-existing intense track. I really like the guitar and the melodic drumming (at the end of the instrumental piece) they used in the dance break, which gave the instrumental break an interesting centre-piece. I think if I were to nitpick at one thing, it would be the intensification. I felt the producers of this version could have taken it a step further and made the music bolder and more defined. This would have brought it up to the same energy levels as other performances in this round and would have made The Boyz sound and look more powerful on stage.
Once again, the performance references an episode from Games Of Throne. Once again, I am not entirely sure what Game of Thrones reference I am seeing in the performance (as I have yet to see it). It is probably an obvious reference, like the massive serpent that they brought to life. But even not knowing the Games of Throne reference, I have to commend The Boyz for another performance that can still be appreciated by itself. Like how amazing was the second dance break of the performance, with the members dancing in front of that projected imagery, which is followed by the massive serpent on stage. Definitely a memorable performance.
The choreography also had a memorable feel. Even while I think the performance could have been intensified on the music front, you could tell the members put their all into the choreography to ensure that they make up for that additional intensity. Each dance break we saw in this performance saw the members go above and beyond, showcasing their performance abilities (without the dearly missed stunts) that stole our attention back during the Road To Kingdom days.
And the winner for this round is…
This was a really hard episode to rank because each stage was amazing in their own right. If I had the ability to, I would have given each stage the top rank. But as there are six groups, I had to rank them from 1st to 6th (hey, I don’t make the rules :P), based on what I saw. This is shown on the right hand side of the table below.
As the show have yet to finalise the official rankings of the round (as global voting and YouTube views were still being determined), the show has only released the rankings per the expert (left hand side of the table) and the self-evaluation (middle columns).
Do you agree with my ranking, the participants’ ranking of the performances or the expert panel’s ranking of the performances? Let me know in the comments below.
Ranking
Kingdom: Legendary War Ranking from Expert Panel
Ranking
Kingdom: Legendary War Ranking from Self-Evaluation
KPOPREVIEWED 