It is almost 10 years to the day that TWICE made their debut withthe mini-album The Story Begins and the hit single Like OOH-AHH. TWICE has gone on to have multiple hits since then. Not many groups go on to celebrate their 10th anniversary, so to commemorate this fantastic milestone, TWICE released their special album titled TEN: THE STORY GOES ON yesterday, alongside the title track ME+YOU. Featured alongside this title track are extended versions of solo tracks from each member previously revealed on their THIS IS FOR world tour.
ME+YOU is an all-English R&B pop track for their fans (ONCEs). It is a pleasantly smooth song, with a straightforward instrumental and neat vocals overall. Personally, I find it to be a nice listen. Other than that, there isn’t much else to the song. Because of this, I don’t think ME+YOU is the type of song that I would actively look for on my playlist to play. It is interesting that TWICE chose such a song to celebrate a significant milestone in their career. While the lyrics of the song have a warm and nostalgic feel, which feels fitting for a song that looks over the last 10 years, the music itself doesn’t really convey that celebratory sentiment that we were promised. I wish there were a whole lot more to ME+YOU.
While the song won’t garner much interest from me, the music video has. I really like the sitcom vibe that the members have going on as they move into a new apartment. It was amusing to watch the members in the video, especially in relatable scenes like SANA incorrectly plugging the USB into the player, or NAYEON and SANA struggling with the PowerPoint. Seeing the members give us a throwback to the bus scenes in the Like OOH-AAH music video was a really nice nostalgic touch, even though the members found themselves amusing and cringey. The video also features actor Uhm Tae Goo, who plays their awkward neighbour across the hall, who becomes frustrated but ultimately shy with TWICE. His cameo and interaction with TWICE add another layer of comedy to the video.
Song – 7/10 Music Video – 9/10 Overall Rating – 7.8/10
CHAEYOUNG from TWICE made her solo debut last month with the single SHOOT (Firecracker) and her debut studio album, Lil Fantasy Vol. 1. She is the fourth member of her group to embark on a solo career, following NAYEON, JIHYO and TZUYU. In other related news, TWICE made a comeback with THIS IS FOR earlier this year and will be making a comeback in a weeks time to celebrate their 10th anniversary with the album Ten: The Story Goes On and single Me+You.
Personally, I didn’t know what to expect from SHOOT (Firecracker) and CHAEYOUNG in general, so this solo debut was quite an intriguing one to me. Right from the get-go, SHOOT (Firecracker) proved to be a decent track. I admire its softness, thanks to dreamy retro-pop instrumental and CHAEYOUNG’s vocals. While this combination isn’t necessary the style that would enable the track to stand out in a sea of KPOP releases, SHOOT (Firecracker) does enough to get onto my radar. I particularly like how she delivers SHOOT (Firecracker)‘s repetitive hook. It was lightly upbeat, comforting and repeated listens to the song have helped it become earwormy to me. I was also quite surprised with the fact SHOOT (Firecracker) was all in English. I would have liked some sort of development in the song, especially as it progresses. Maybe some more pronounced vocals in the layering of lines towards the end of the song, or some sort of change-up in momentum to steer it away from potential neutrality. SHOOT (Firecracker) was good overall and I do enjoy it. But more could have been done, particularly to offset the softness that consistently recurred in the song.
The music video sees CHAEYOUNG in her own little distinct world that draws upon elements of Alice in Wonderland. CHAEYOUNG was quite cute throughout the video, especially during the scenes where she is ‘outside’ gathering ingredients to bake a cake. She also invited some felt friends over for a tea party. I quite the pastel look of the video, which fits in with that dreamy motif that I mentioned earlier in regards to the song, as well as concept of being one’s world (i.e., a dream). This is backed up with how CHAEYOUNG first appears in the video in between a mattress sandwich, suggesting that she might need to be asleep to enter her own world.
I quite liked the performance aspect of this solo debut. CHAEYOUNG definitely brought a vibrancy to the routine that helped it look engaging, and the moves were pretty solid. There was ‘bow and arrow’ shooting and handgun moves during the chorus that made perfect sense. My only critic about the performance is similar to what I said about TZUYU’s performance for Run Away. There is a certain stiffness that feels apparent in CHAEYOUNG’s initial performances of SHOOT (Firecracker). Fortunately, it did lessen as CHAEYOUNG performed the song more.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
If you don’t remember from last year, TZUYU made her solo debut last year with the single Run Away and her debut mini-album aboutTZU in September. She was the third member of the group to embark on solo promotions, following NAYEON and JIHYO. While the title track didn’t really hit the same as her other members’ title tracks have, the rest of TZUYU’s debut mini-album does. I highly encourage you to check out the mini-album if you haven’t yet.
Also, keep your eyes out for an upcoming song review for fellow member CHAEYOUNG, who will be the fourth member of the group to officially go solo with her debut studio album, Lil Fantasy Vol. 1, dropping next month.
In the meantime, here are my thoughts on each song that featured on abouTZU.
2. Heartbreak in Heaven (ft. Peniel of BTOB) – Heartbreak in Heaven is an unexpected all-English pop song. It sounds quite pleasant and enjoyable in the moment. Although it sounds nice, I would have enjoyed Heartbreak in Heaven more if it had a bit more substance. It is a rather light song, which doesn’t bode all that well in the memorable department. The instrumental feels a little bare. TZUYU’s vocals were rather linear in terms of trajectory (though we did get some range from TZUYU), and Peniel’s featuring felt too constrained in the bridge. (7/10)
3. Lazy Baby (ft. pH-1) – If the previous song and Lazy Baby were battling for best collaboration on this mini-album, Lazy Baby will take the win. And it takes the win as best track on this mini-album. It has so much more character and energy that makes it super enjoyable in the moment and remains vividly in your mind even after the song wraps. The funky old-school vibes make Lazy Baby super fun. The same can be said for TZUYU’s vocals, which have a significant impact and oomph. pH-1 follows through with dynamic rapping, and I love when the pair come together in the song. (10/10)
4. Losing Sleep – At first, I didn’t think much of Losing Sleep. But repeating the song for writing this review was quite interesting. I actually quite like the single. Losing Sleep brings on the summery vibes that reflect the season in which the mini-album was released. TZUYU sounds quite mature in the song, and I liked this side of the TWICE member. The bouncy synth, featured consistently throughout the song’s tropical instrumental, doubled as a great textural element. The “Losing sleep over you” is very catchy and memorable, as well. And the high-pitched autotune vocals in the bridge brought interesting flair. (8/10)
5. One Love – I would have liked One Love more if it leaned slightly more into the pop-rock sub-genre. I really liked the direction of the song, especially the fun, light-hearted vibes in the verses, and the extent to which it went down the pop-rock path. But I keep on wondering what if it had gone bolder or pronounced with the pop-rock. I think it would have sounded awesome. TZUYU sounds heavenly in the track, especially in the chorus. She really suits the sound, which makes me wish there was more of it in the song and mini-album for TZUYU to really explore. (9/10)
6. Fly – TZUYU ends her debut mini-album with the pop-ballad Fly. I feel like this could have been on the soundtrack of a Disney movie. It just sounds beautiful. From the dreamy piano, strings and orchestral touches in the instrumentation to TZUYU’s vocals, everything was stunning and breathtaking. I love Fly so much that I’m giving it a 10/10, which is definitely the definition of ending on a high note in review land. (10/10)
TWICE also made their comeback yesterday with the all-English single THIS IS FOR and their 4th Korean studio album of the same name. This follows on from December’s Strategy (which featured Megan Thee Stallion) and mini-album of the same name.
THIS IS FOR gets less than a lukewarm response from me. The sentiment was nice, and it was still listenable. But THIS IS FOR is just a very dull song. While TWICE has done R&B pop well before, the instrumental in this new single felt flat (despite the bass), and there wasn’t anything memorable during the verses or bridge. The factthat the song only lasts 2:11 minutes doesn’t give it much opportunity to develop, so I can already see its future where it will likely gloss by without much thought. The chorus does improve the song slightly with some melodies to sink into, but the chanty delivery lacks extra excitement and feels elementary. As for the members, they make the song feel familiar, but there isn’t much material for them to amaze us with in THIS IS FOR.
Despite the flatness, THIS IS FOR is an empowering and hype song that sends the simple message to exude confidence from within oneself. I like how, for the most part, it shows TWICE in a straightforward and down-to-earth manner. I also like the idea of adding those outtakes, where they had to stop the music video shoot because of a pestering AI bee and when one of the members fell over. I assume this shows us that even TWICE isn’t perfect (like past music videos have shown me), and that’s okay.
I think this is the first routine in a while where similar comments made regarding the song can be applied to the routine. THIS IS FOR‘s choreography looked nice, but there wasn’t anything memorable, worth mentioning or revisiting.
Song – 5/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 6.3/10
NAYEON is nominated for Best Female Soloist and Best Dance Performance – Female Solo for ABCD in the 2024 KPOPREVIEWED Awards. Support NAYEON and ABCD by clicking here to vote today.
Next up on the album review front of the blog is the review for NAYEON’s second mini-album – NA. This was released back in June 2024, headlined by the single ABCD. Six other songs feature on the mini-album. In my view, NA is a strong mini-album, even though it did weaken towards the end. But this mini-album consolidates NAYEON’s potential as a solo artist. Read on and let me know if you agree with me.
2. Butterflies – Butterflies is an all-English track, tapping into R&B pop territory with a trap-based instrumental. It is an excellent track with a solid beat and vocals from NAYEON. The only thing I wish for in Butterflies is for the instrumental volume to be toned down in the chorus. This will allow us to appreciate NAYEON in Butterflies more. I felt the trap elements, particularly during the follow-through, were a tad overwhelming to my liking. (8.5/10)
3. Heaven (ft. Sam Kim) – Heaven is a mature yet contemporary R&B track. Both NAYEON and Sam Kim work extremely well with one another on the track. It would have been nice for Sam Kim to have a larger feature in this track because he really rocked his part. Between the vocal blending between the two in the choruses, their solo moments and Sam Kim’s backing vocals, Heaven is quite a heavenly track. (9/10)
4. Magic (ft. Julie of KISS OF LIFE) – NAYEON turns to a funkier motif in Magic. The track is a fun and bright upbeat pop song, thanks to the brass, pan flutes and bold beats. It definitely feels summery, and I can’t help but have a boogie when Magic appears on my queue. Julie (from KISS OF LIFE) features in Magic, serving us some really cool raps. Magic is also quite catchy, thanks to the hooks and the all-English lyrics. (9/10)
5. HalliGalli– Produced by AKMU’s LEE CHANHYUK, HalliGalli is the first song since the title track to feature Korean lyrics. It is another song I can’t help but dance to when it appears in my queue. The house beat and squeaky synths make it a fun track, which makes sense since the song is based on a card game of the same name. The entire chorus (the main portion and the follow-through) is super addictive, and NAYEON’s high note just pops. Because of this edge, HalliGalli is a 10/10 in my books. (10/10)
6. Something – For me, Something was a blur. I don’t remember much of it. Even when writing this review, I had to sit down and really pay attention to Something to write about it. It features a fast-paced garage beat, and I liked the guitar work in the background. The bridge provided some good reprieve from the fast-paced nature of the song. I also appreciate the ear-wormy hooks that Something featured. (8.5/10)
7. Count It – NAYEON taps back into R&B for the final song on the album. Her vocals, Count It’s melodies and parts of the instrumental opt for a dreamier vibe, which I enjoyed. But it would have been a successful song had it not been for the clangy and clunky percussion. This disrupted the song’s dreaminess and potential ‘smooth’ nature. (7/10)
Welcome back to another Weekly KPOP Chart post! You may have noticed that I am posting this a day later than usual. It has been a busy weekend as I have been preparing to get the voting lines up and running for the 2024 KPOPREVIEWED Awards. I have also been drafting and scheduling some posts for the upcoming Summer break.
My final ‘fresh’ post for the year will be this week’s Weekly KPOP Charts, to be published next Sunday per the usual schedule. From there, scheduled posts (song reviews for ‘older’ songs that I missed from earlier in the year or albums I have yet to review) will begin to drop from Monday next week. I aim to have a post out every two days until 1 February 2025 (which is when I will be back). Any major comeback in the last few days of the year or during January 2025 will be reviewed upon my return.
But I am still posting ‘fresh-off-the-press’ song reviews for new (or new-ish) releases this week! So until next week, it is the usual transmission.
Voting Now Open – 2024 KPOPREVIEWED Awards
Voting for the 2024 KPOPREVIEWED Awards has officially begun!
I announced the nominations last week and launched the voting page just yesterday. You have until 31 January 2025 to vote for your favourite KPOP artist, song and performance of 2024.
Check back on 31 December 2024 to find out who my pick of the winner for each category in the annual KPOPREVIEWED Choice post. But remember, your votes will decide the winner. Happy voting!
Non-Korean Song of the Week
I draw attention to a top-ranking non-Korean song of the week in this part of the Weekly KPOP Chart post each week. This week’s highest-ranking non-Korean song is ROSÉ’s toxic till the end, which ranks in the 9th position.
The Charts
TWICE’sStrategy, featuring Megan Thee Stallion, ranks in the top spot for the 2nd Week of December 2024’s Weekly KPOP Charts. Congratulations TWICE and Megan!
Over the last two years, we have only observed TWICE making a Korean comeback once a year. So when the group released their With YOU-th mini-album (led by the single ONE SPARK) in February this year, I thought that was it for the group for 2024. However, the group surprised me with an accouncement of a comeback in December comeback back in October. The comeback, which occurred yesterday, is titled Strategy (both the title track and mini-album release), with the title track featuring Megan Thee Stallion.
After a couple of listens to Strategy, I have settled on the song being ‘alright’. It is a good song that strikes a balance through the various elements within it, but I am not blown away by it as past TWICE songs have previously been. I did like how Strategy brings out a mature sound from TWICE with its early 00s hip-hop influences and synth work. The instrumental is a big highlight of Strategy for me. The vocals are good, but I think there is opportunity for the members to be clearer. This would have lifted the song up in my books. As for Megan Thee Stallion’s part in Strategy, it isn’t jarring. Her music tends to be so for me. But in Strategy, she gives the song some edginess and oomph. Along those lines, I wished the rest of Strategy (i.e. TWICE’s parts) had some of this energy, as well. The closest we do get is MOMO’s part following Megan’s, just before those cowbells came into play (which was an instant turn-off for me). I also wished the melodies and hooks were more fleshed out. Strategy does have some foundation in this department, but what we got didn’t appeal to me as strongly as their past songs did. Perhaps some more definition could have been the answer to this.
The music video shows off the group’s alluring charms, which is all part of their plan to get the person they want as expressed in the lyrics. I really liked their styling throughout the video, which compliments the song well. But let’s be honest, the best part of this music video is Megan Thee Stallion’s presence. Featuring artists don’t always appear in their song’s respective videos for one reason or another. But to see TWICE and Megan Thee Stallion in the same video and room (I hope that was the actual case) was actually quite cool. I would have loved to see all the members with Megan (not just 6 of them), vibing along to Megan’s part. Though I suspect MISAMO’s schedules got in the way of making that possible.
Channelling the message of the song, I do like the confidence that the choreography exudes. I really like the chest pop and back kick during the song’s main hook, as well as MOMO and CHAEYOUNG’s part in the bridge (no matter how much I dislike those cowbells).
Song – 7.5/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 7.9/10
Today, TZUYU made her solo debut with the new single, Run Away, and the mini-album Aboutzu. She is the third TWICE member to make her solo debut, following fellow TWICE members NAYEON (who recently returned with ABCD) and JIHYO (who debuted as a solo artist last year with Killin’ Me Good).
Run Away starts with TZUYU’s vocals and a simple piano riff. This opening sequence was rather intriguing, as there was a subtle emotional touch that grabbed my attention and had me waiting for more. The song then brings in a pounding beat, evolving into a disco-esque pop number once the chorus is reached. This trajectory was very entertaining, which made Run Away‘s instrumental a strong aspect of the new song. It is relatively simple for its style, yet also punchy and addictive. Strangely enough, I enjoyed the clean hollow drum beats at the 0:44 and 1:58 marks of the song. Very specific, but I thought it was worth mentioning. Unfortunately, nothing else stood out in the song. While I liked the opening sequence in terms of TZUYU’s vocals, they stayed in the same gear for the most part. This ultimately made Run Away feel flat and remarkably lacking in the character department. That emotional touch I mentioned is still present throughout the song, but there wasn’t any differentiation or variety in her vocals, effectively reducing that to nought. We did get a slight change in vocals during the pre-choruses, but this needed to be expanded to other parts of Run Away to make it more interesting. And because of the flatness, the melodies and hooks just didn’t stick out. I also hoped for a bridge and flair from a potential final third chorus. But those didn’t eventuate, as well. If it weren’t for the opening sequence and instrumental, I wouldn’t revisit Run Away as much.
In the song’s lyrics, TZUYU gives the person she is interested in a chance to ‘run away’ before entering a relationship with her. She sings about how once they are infatuated with her, she will show a different side of herself that only they will see. Whether this is a K-drama plot about a cold person opening up and falling in love, or the start of a creepy movie, we will never know. In the video, we see TZUYU show two sides of herself. The first is a more loving side of herself, while the second is a colder and more sinister version of herself. Depending on how you interpret the video – these can be two potential sides of TZUYU that the person could come across, or the video is recounting the events of TZUYU alluring the guy in the video into loving her before she reveals her proper darker side. Either way, it is an exciting premise that leaves an open ending. As for the choreography scenes, I liked the contrast in how they showed more elegant sides of TZUYU in the gown and on the red carpet. This probably adds some extra depth and backstory to TZUYU’s character – you never know which version is on our screen.
I often comment on facial expressions regarding this aspect of the review. They can make or break the performance. For today’s Music Bank performance, I felt TZUYU’s facial expressions were stiff and robotic, which affected the actual vibe of the performance. I hope it is nerves and that she becomes more comfortable performing the choreography, as the routine has a cool, sensual vibe that looks good. It just needs swift flow from the leading performer.
Song – 7/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 7.8/10
TWICE’s 13th mini-album, With YOU-th, is the next album to be reviewed on my blog. Not to cause any alarm, I am pushing ahead with writing album reviews for those albums where I have already reviewed all the tracks that have a music video (or decide not to review those tracks with music videos separately as planned) to hopefully reduce the backlog of albums that I need to review. I will return to reviewing other albums that I skip once I have review the additional tracks that got music videos (such as IU and CHA EUN WOO’s respectively mini-albums). For With YOU-th, I have already reviewed TWICE’s pre-release single I GOT YOU and the title track ONE SPARK previously. That leaves me with four additional songs to touch on in this post.
3. RUSH – TWICE ventures into drum ‘n’ bass territory with RUSH. Personally, I didn’t care much for the song when I listened to the album in passing when it was first release. But when I really pay attention to RUSH for the purposes of this review, I notice the best aspects of the song are actually the most subtle details. The combination of the drum ‘n’ bass and the harp gives RUSH its greatest asset – flow. The vocals match up with the lightness by adopting a dreamy motif. And this dreamy motif contrasts with the little details and synth work in the background, where the latter also gave RUSH some much appreciated texture. (8/10)
4. NEW NEW – Maybe it is because I am reviewing NEW NEW during an influx of summery tracks, but NEW NEW feels quite suitable for the summery season. It has that dynamism that I associate with this season. The instrumental feels suitable for the club, especially if it is on blast. I like the vibrancy the members bring to NEW NEW and the melodic hook in the chorus was very catchy. The verses could be stronger and perhaps the beat could have been slowed down as we reach the end to not have it feel as rushed and abrupt as it were. (8.5/10)
5. BLOOM – BLOOM is my pick for most impressive track on this album. I really liked the textural instrumental that features in the song’s background. I did wish they played with the funky guitar a bit more, but I did like what its presence did to the background (i.e., provide an intriguing element that keeps me interested). The vocal work in BLOOM was amazing. The vocals during the verses held their ground at a more normal level quite well. But it was the use of the higher register yet slightly harsh vocals from NAYEON and JIHYO in the chorus that was very striking and helped make BLOOM stand out. (9/10)
6. YOU GET ME – TWICE ends the mini-album with the beautiful YOU GET ME. Despite it being more EDM based instrumentally, I still found YOU GET ME to be very pleasant to listen to. The twinkling synth work that features predominately in the background feels very much like a twinkling night sky to me. The clear and crisp vocals, which bring a heartfelt touch to the song, alongside the clean melody helped make the track feel beautiful. Definitely a stunning way to end the album. (9/10)
Welcome back to another Weekly KPOP Chart post. Once again, apologies for the later than usual post. Not much to update you on, other than it has been on long week and I am still recovering from it. So I am going to get right into the Weekly KPOP Charts for the 3rd Week of June 2024.
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, Jung Kook’s Never Let Go, ranks in the 15th position this week.
The Charts
NAYEON’s ABCD is the top song for the Weekly KPOP Charts for the 3rd Week of June 2024. Congratulations to NAYEON!
Two years on from her solo debut with the widely successful POP!, NAYEON has returned a solo artist with her new single ABCD and 2nd mini-album titled NA.
NAYEON throws us all back to the early 00s with ABCD. Within a matter of seconds of recognising the the strong presence of the hip-hop and R&B influence from that era in ABCD, I was very much into the song. The verses pays nice homage to the era. But I loved that NAYEON goes even further when it came to the chorus, which I put down to amazing replication of said era. So much so that it took me right back to the music that I was exposed to while growing up. Her vocals were really well done throughout ABCD, and I do really liked the slight spoken nature of the chorus. All of this (i.e., her execution and delivery) exuded a lot of natural charisma and personality that helps make ABCD very addictive and attractive to me. As for the instrumentation, I liked the strummy and plucky nature of the guitar throughout the verses. I also found that additional string instrument (which I have no idea what it is) to be very intriguing, but in a good way. The chorus brings out more of a dance pop and hip-hop colour in its instrumental, finishing off with fast beats that definitely is a throwback to that 00s era. The music video version of ABCD features a dance break that (in its current form) slides effortlessly into the song. I personally think it could have gone harder to give NAYEON more opportunity to showcase her performance skills, but it is a pity that the official studio version doesn’t feature any of it whatsoever. It didn’t disrupt the flow or needless break the song. Aside from that, however, I am definitely impressed with ABCD on many levels and how nature NAYEON comes off in the song.
Throughout the music video, NAYEON is portrayed as a show-stopper. Everyone throughout the video becomes engrossed when NAYEON walks by, to the point that it is causing car accidents as we saw at the start of the music video. I honestly don’t blame them – I too would be in awe if NAYEON was to walk by me on the streets one day. I liked the idea of no matter the era or location, NAYEON’s presence is always the talk and focus. Her various looks throughout the music video were all stunning, my favourite is that long red dress. Very striking. Just like the song, I liked how some of the shots reflected that 90s vibe quite well. I do have one issue with the music video, however. The CGI text that appears in the video (‘A Girl Named NAYEON’, ‘Crossing the Cosmos’) cheapens it and felt totally unnecessary. It didn’t help they looked like WordArt.
The performance for this comeback is amazing. She really showed us a more mature side with the choreography, which suits the song. The hip-hop influence also comes through quite well. I really liked the chorus routine, particularly when those fast beats came through. Great to see the dance break on stage. I did like how the routine in the music video was a little more daring. It definitely pushes the boundaries, but doesn’t do it a very in your face manner.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
Welcome back for the Weekly KPOP Charts segment. Apologies for a week of no reviews of any kind. I have been working hard to finalise and publish the 2023 KPOPREVIEWED Awards as mentioned in last week’s post. I was successful in getting that out, but that ended up taking a lot of my energy. Plus, I was thrown off after posting it by my failing and dying phone (which I had to get replaced). Anyhow, as it is still early in the day where I am, I am hoping to post at least one review alongside this post – the Weekly KPOP Charts for the 4th Week of February 2024.
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. The throwback song for this past week is GFriend’s (almost) 7 years old release Fingertips.
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 (once again) TWICE’s I GOT YOU.
The Charts
Congratulations to TWICE and their latest comeback with ONE SPARK for becoming the top release for the Weekly KPOP Charts for the 4th Week of February 2024.
With TWICE’s pre-release single for their latest album release (their 13th mini-album, With YOU-th) now reviewed, it is time to turn to the big release of the day – TWICE’s comeback single ONE SPARK.
ONE SPARK is a good song, from my point of view. It feels sophisticated, classy and mature in a bigger picture sense. But unfortunately, the first and second run at the chorus flattens out the song. This feels rather disappointing given the edgy and impactful second half of the pre-choruses that leads into the choruses. The third and final run at chorus actually had a dynamic touch thanks to the added clapping effect and detailing to the instrumentation, which allowed it to feel more alive and satisfying to make up with the flatter effect. For me, the problem stems from the melodies and hooks in the centrepiece of ONE SPARK, which doesn’t have much bite to them. But they do set a good foundation to build upon to get to that next level. Had ONE SPARK featured stronger melodies and a more prolific hook in its earlier choruses, ONE SPARK for sure could have taken to the next level. Elsewhere in the song, the members executes ONE SPARK in solid fashion, with good vocals and brief touch of rapping just before the final chorus. Both MOMO and NAYEON had standout parts in this song, with MOMO’s edgy style coming through the first second half of the pre-chorus and NAYEON’s vocals to close out the song (without any instrumentation) was an interesting yet effective ender to the song. The dreamy parts of the pre-chorus, courtesy of MINA and TZUYU were a strong runners up. While the foundation of ONE SPARK is good and it succeeds at that bigger picture level, improvements can be made to make it even better.
The music video captures that sophisticated, classy and mature feel quite well. And I liked that initial impression from the music video. I like the idea of the elevator going upwards, with the numbers at the top of the elevator signifying their journey since debut to ‘timeless’. It pairs well with song’s lyrics, which highlights their never ending passion to get to that ‘timeless’ point in their careers. And the scenes scattered throughout the video amongst the elevator scenes shows the members together, further highlighting that their collective passion together is what got them to this point in their careers.
The choreography for this comeback is awesome. The music video definitely puts the best foot forward during each part of the song, but I am sure the rest of the routine is just as good. From what I could see, the routine in the verses look interesting, the first half of the pre-choruses felt graceful, the second half of the pre-choruses that ramps us up to the choruses felt edgy, the choruses themselves looked lively and definitely not flat like the song came off. The choreography associated with the final chorus itself looks exciting.
Song – 8/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.4/10
This might not be the TWICE review you were expecting to see today – ONE SPARK‘s is coming shortly after this one. But before I can review the title track from their 13th mini-album With YOU-th, let’s dive into the pre-release single, I GOT YOU, released earlier in the year whilst I was away from the blog. This latest comeback follows one from their SET ME FREE Korean comeback and Hare Hare Japanese comeback from last year.
Now, before we really get into the song, I GOT YOU is an all-English track, similar to last year’s MOONLIGHT SUNRISE pre-release to READY TO BE. And in previous years, I would have covered this in an International Song Review (ISR) post. But as you may also know, I have also been lagging behind greatly in that segment. So moving forward to help out with coverage, some songs that I usually would cover in an ISR will be lifted into a standard full song review post. This will be on an ad-hoc basis and will be determined in the moment.
Anyhow back to the song, I GOT YOU fits into the ongoing resurgence of retro that has been ongoing for a while now. More specifically, it is a modern take on 80s synthpop. To me, it doesn’t have anything special or unique within it that really makes it its own piece, But that doesn’t mean the synthpop backing to I GOT YOU isn’t enjoyable – it is. I also found it to be breezy and refreshing piece, great for a long road trip. I particularly liked how it had drive, which was particularly important given how soft all of their vocals and melodies were. The drive definitely helps moves things along and gives the track some life. Back on the vocals, the soft nature of their voices gives I GOT YOU a pleasant exterior, which also adds to the enjoyment of the track. I also liked how each members’ individual vocal tone and colour was featured in this track. No member was masked or processed in a way that takes away from their vocals, and I appreciate that. My only issue with I GOT YOU is the slightly muddled ending due to some of the ad-libs and extra bits going on in the backing. The added bits just makes the final chorus lose its crispness. But that is a super minor issue, in an overall lovely song from TWICE.
I GOT YOU is an ode from the group to each other, that they will always be there for one another. The music video sees the members sail through a storm, which probably represents hard times and rough patches throughout their careers. But during the storm, the members aren’t scared. Rather they are full of smiles and enjoying each other’s company. In the context of the storm/hard times/rough patches, some of the members are see in the lighthouse, helping the rest of the group navigating their way through the storm. Throughout the video, we see the members embrace each other and come together as a group in different scenes. You can definitely sense the simple enjoyment of being around one another, as well as the friendship and bond they share. Apart from the video’s meaning, I also liked the scenery throughout the video, from the boat scenes (when the seas are calm and the sky is stunning), the shoreline and the grassy fields with the flags flying high.
The choreography that we can see in the music video adds a little bit of complexity to the video, which helps offset the simplicity of everything else we see in the comeback. But on stage at their Mexico concert, where they performed I GOT YOU for the first time, there was no choreography. Pity, because in addition to be slightly complex looking, the routine actually looks like it brings a nice flourish to the release.
Song – 9/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.8/10
JIHYO is nominated for Best New Female Soloist, while Killin’ Me Good is nominated for Best Solo Dance Performance (Female) and ZONE is nominated for Best Album in the 2023 KPOPREVIEWED Awards. Support JIHYO, her releases and your other favourite artists, songs and performance by clicking here to vote today.
Today’s album review post focuses on JIHYO’s solo debut mini-album ZONE, which was released in August of this year. It features the title track Killin’ Me Good and 6 additional sides tracks. This is honestly one of the best albums released this year, in my point of view. All songs on this album were definitely of a high calibre and shows off JIHYO’s potential as a solo act outside of her group work as part of TWICE (which we all know are very high quality already). I rated 4 songs 9/10 and 2 songs 10/10, which already pushes up the overall album rating to be above 9 (which is a rare sight this year). So keep on reading to find out which songs were assigned those scores (and what I rated that remaining song).
2. Talkin’ About It (ft. 24kGoldn) – JIHYO sings well in Talkin’ About It, which is an all-English track featuring 24kGoldn. Her vocal work was very good in Talkin’ About It. The guitar that we hear in the background of the pre-chorus was really nice, and the chorus takes us down a nostalgic dance pop direction. The hooks were straightforward, but catchy and ear-wormy. 24kGoldn’s feature comes during the bridge and his part helps break up Talkin’ About It from becoming overly consistent, which I appreciated. From there the final chorus sees an intensification, which I thought was closed out the song excellently. (9/10)
3. Closer – Closer sees the combination of R&B pop and Latin influences, which makes for a hypnotic and captivating listen. The consistent beat and catchy melodies definitely calls for a great performance, which we do see get to see (as Closer was picked to be the secondary promotional single during ZONE and Killin’ Me Good’s promotional run). I like JIHYO’s sexier and breathier vocals in this song, which makes Closer so much more alluring, as well. (9/10)
4. Wishing On You – JIHYO stays in the R&B realm for Wishing On You, albeit a dreamier motif is definitely on display here. But there is still a slow groove type of vibe to the track that I quite like and complements the slow groove quite well. The choruses’ “You-ou-ou-ou” was definitely the highlight of the track and the catchiest hook you can probably find. JIHYO delivers this in a higher pitch, which is a nice showcase of her vocal abilities. (10/10)
5. Don’t Wanna Go Back (with Heize) – JIHYO starts this R&B side track in a much softer tone, but showcases a stronger tone when she tackles the chorus. But she sounds best during the song’s bridge, where we hear a bit of everything, along with falsettos and a beautiful high note. Alongside JIHYO in Don’t Wanna Go Back is Heize, a popular R&B singer, who goes even softer during the second verses. And I liked how she brings the softness to the second and final choruses as a backing to JIHYO’s vocals. The melodies and instrumental were very nice in Don’t Wanna Go Back, as well. (9/10)
6. Room – Room is another dreamy R&B track. For the most part, I thought the track was a pleasant listen, with JIHYO vocals doing a fine job. The violins in the background were a nice touch, as well. JIHYO’s vocals intensify out of nowhere in the bridge of Room, which really pulls you back into the song. Furthermore, I really liked how the song ends with the instrumental fades out and you hear JIHYO’s vocals so clearly. (8/10)
7. Nightmare – Nightmare was previously performed at TWICE’s concerts this year and serves as the solo debut mini-album’s closing song. It is also my pick for my absolute favourite side track on the mini-album. I love the rock tinge that the song has and you can definitely hear the emotions conveyed by JIHYO so clearly. The command JIHYO has here in Nightmare is super strong and captivating, which makes Nightmare so worthwhile to listen to. A definite recommendation from me. (10/10)
Language: Japanese Release Date: 14 July 2023 Release Type: Masterpiece (1st Japanese Mini Album)
MISAMO sees the Japanese members of TWICE (Mina, Sana and Momo) come together to form a trio in Do Not Touch. For me, the song is another case of “more could have been done”. Do Not Touch definitely has drive thanks to its beats, synths and guitar work. I also like the moodier vibes that Do Not Touch feature heavily of. It is a different side to the trio worth exploring more in the future, simply because I don’t think TWICE’s sound allows for it. The members doing a decent job of bringing the song’s hooks and melodies to the table, with some good harmonisations and solid vocal work through Do Not Touch. The rapping in the form it takes in Do Not Touch actually fits quite nicely with the rest of the song as is. However, Do Not Touch has a heavy dullness to it, which I wished was shaken off. I personally think sharper beats, more memorable melodies that build off that and a bit more vocal variation from the members would have removed the dullness felt and given Do Not Touch a much needed boost in the oomph department.
What the song lacks, the music video definitely makes up for. Everything from the fashion, to the styling, to the looks throughout the video are all very striking and thought provoking, which matches perfect with the art gallery/museum concept they had going on. The detailing and the colours at times really pop out,. Altogether, the memorability of Do Not Touch‘s music video is definitely through the roof. The moodier and mature vibes of the song come off quite well in the choreography, with the performance going down a slightly sensual path. In addition to that, the choreography also features an artsy aesthetic, which looks amazing in practice and I find to also be quite memorable.
Overall Rating – 8/10
Bad Revenge – from20
Language: English Release Date: 5 April 2023 Release Type: Bad Revenge (Digital Single)
Despite not reviewing it last year, from20’s Chemical was definitely on my radar and ended up being nominated for Best International Song by a Korean Artist (Western) of 2022 in the 2022 KPOPREVIEWED Awards. But I am not going to let from20 (former member of BIGSTAR under the stage name Raehwan) escape my blog this year. Bad Revenge was the soloist’s first release of the year. While Bad Revenge doesn’t necessary top Chemical, it is still a good song in its own right. Bad Revenge features a 80s retro synth backing which instantly convinced me to return for more when it was first released. In addition to that, from20’s vocals are great in Bad Revenge. However, I think some more vocal oomph could have taken Bad Revenge to the next level. I did like the vocal parts at the end of the song, which comes as an appreciative change in vocal colour and tone. Otherwise, Bad Revenge easily could have become overly consistent and that doesn’t always lead to a good outcome. I guess my final comment about Bad Revenge is that the song could have used more polishing the lyrics department, but that is a super minor thing and doesn’t take away from the listening experience that was Bad Revenge.
from20 spends most of the music video without his shirt on, and I am sure fans are loving that aspect of the music video. In addition to that, he is also fighting bad guys and works out in this video, determined to get to some happiness (as represented by the bottle in the middle of a laser field with the word “HAPPY” on it). I think there is a story somewhere in this video, but I find myself plugging in a lot of the missing information with my imagination. While that does give viewers some flexibility in terms of interpretation, I think this particular music video needs a few more details to it. The choreography looks very nice. I liked the groovy factor it brings to the table.
Overall Rating – 8/10
Ima (Even If the World Ends Tomorrow) – SEVENTEEN
Language: Japanese Release Date: 23 September 2023 Release Type: ALWAYS YOURS (1st Japanese Compilation Album)
Ima (Even If the World Ends Tomorrow) features a pleasant pop rock background. I really like how the guitar riffs is upfront, while the drumming propels the song forward. There is a bit more to Ima, including the string elements, the touch of synths in the background, the more dramatic drumming in the pre-choruses, the piano in the bridge. Each of these elements builds an the pop rock sound to make Ima even more beautiful sounding. Aside from the instrumentation, the group continues to focus on their vocals and melodies in Ima, which sets a solid foundation in making the song a beautiful one. I guess the one thing I really wanted from Ima that did not eventuate is a peak in the vocals. They kind of left to the instrumental, which I think is fine. But I think some of the members could have had a stake in that to take Ima to the next level.
The music video shows an end of the world event playing out, where everyone around the SEVENTEEN members are running to safety and their surroundings are on fire etc. But somehow, SEVENTEEN sees the beauty in all aspects of this, embracing the “now” and focusing on what time is left on their friendship, not worrying about the future as expressed in Ima‘s lyrics. In the story, some members hang back and do not participate in the evacuation, while other members sought or helped others to safety (but end up backing away to focus on their friendship with one another – such is the case of DK and Mingyu). Overall, a pretty music video and works well with the song. The choreography for Ima brings a smile to my face, as it embraces the pleasant side of the song. The members’ smiles whilst performing Ima also helps give off that smiling effect. Majority of the dance moves are a lot smoother than SEVENTEEN’s usual work, matching with the melodies of the song quite well.
Overall Rating – 8.7/10
Back To Me – The Rose
Language: English Release Date: 23 September 2023 Release Type: DUAL (2nd Studio Album)
While I don’t cover them nearly enough on this blog, The Rose is probably one of the best band acts currently associated with the KPOP industry. They only release music that represents themselves, and there isn’t anyone holding them back from showing this. Back To Me is a quintessential rock ballad track. Nothing more, nothing less. This pure rock sound that comes about in Back To Me is what I want out of the rock sounds in KPOP and I am glad that The Rose are the ones to deliver it. The build up in instrumentation are definitely the highlights of the song. Adding layers to Back To Me are the vocals from Woosung and Dojoon, who both sound emotionally charged and bring angst with their delivery to give Back To Me more impact. Their delivery definitely adds more oomph and meaning to the song’s message of wanting one’s ex to return, despite the screw ups caused by the person singing. Back To Me‘s chorus, with its entirety also serving as the main hook, is super catchy and memorable, as well.
The music video basically features the members in full on rock mode. I like how straight forward it is, encapsulating the energy and tone of the song very well. I would have liked more variation in the video, however. Maybe different scenery, just to give it a bit more layers. But what we got was pretty good.
KPOPREVIEWED 