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.
As you can see, I am determined to cover more songs by Korean artists (or those who have a connection with the KPOP industry) that aren’t in the Korean language. Last weekend, I reviewed songs from KANG DANIEl, Golden Child, AB6IX and THE BOYZ. This week, I am reviewing VERNON’s BLACK EYE, ATEEZ’s LIMITLESS, TWICE’s HARE HARE and IVE’s WAVE.
Black Eye – VERNON (SEVENTEEN)
Language: English Release Date: 23 December 2022 Release Type: Black Eye (Digital Single)
Going over my records during the week, I realized that VERNON’s Black Eye (which was released at the very end of last year) had not yet been reviewed on my blog. So, here is the review! Black Eye is a straight forward pop-punk track that brings forth a nostalgic feel, This song style is one that suits VERNON super well, and his delivery throughout Black Eye proves just that. VERNON’s hoarse vocals is perfect for the genre and I liked the oomph he gives to bump the song upwards. I did wish there was a bit more to the song instrumentation, just to take it to the next level – maybe a solo guitar moment would have been ideal. I also wished the f-word wasn’t bleeped out (this would have potentially helped the song become bolder) and the lyrics were not written to feel like an angsty barely-of-age adult thinking they are cool in their rebellious phase against the world. A more mature outlook would have been better recieved. But overall, Black Eye was definitely a strong solo track from VERNON.
Now that I put my thoughts on the lyrics into words, I can’t help but think VERNON channeled this mentality for the music video. It changes my way of looking at VERNON in the music video (especially when he is very close to the camera), which I had originally thought was a good showing of a more angsty and rebellious side of the SEVENTEEN member. Other than that, the video does a good job of channeling the energy and pop-punk vibes of Black Eye.
Overall Rating – 8/10
Limitless – ATEEZ
Language: Japanese Release Date: 22 March 2023 Release Type: Limitless (2nd Japanese Single Album)
Again, Limitless is another song that I had realized that there was no review for. But that will change today. My understanding is that the song also serves as part of the OST for an anime titled Duel Masters Win. I don’t know too much about that anime, but the instrumentation of Limitless does fit the bill of an anime soundtrack. The synth work in Limitless has a forward trajectory and momentum that made it sound very cool from the get-go. When Limitless amps up in the chorus, the addition of the drumming percussion makes the track feel explosive. The electrifying rock back to the rapping in the second verse was also very exhilarating. As for the members, I wished there was a bit more character to their vocals and rapping. Everything felt held back in the track when it came to the members and it does dull out Limitless. A more robust melody and vocal line would have taken the chorus to new heights, and more oomph would have channeled more explosive energy into the song. The vocal part I did like was the pre-chorus, which featured a keyboard/piano like riff that just helped add a fragile tinge to the song, which I felt complemented Limitless‘ lyrics of embracing the limitless power and inner strength everyone has.
The music video sees the members go to the gym and participate in some sports like archery and fencing. I think the archery and fencing touches on the lyrics. They are sports that are usually seen as low-key and not as ‘active’ compared to the likes of basketball and soccer. But they do require just as much skill and technique, and the effort and inner strength one must find and input to play and win at archery and fencing pays off just as much as those other sports. As for the gym scenes, I think fans of the group will be swooning and loving those scenes. The choreography aspect of Limitless looks okay. But I expected something a bit more bombastic for this song and that expectation wasn’t fulfilled. The hand-off of the microphone to Hongjoong was probably my most favourite bit of the performance.
Overall Rating – 8.1/10
Hare Hare – TWICE
Language: Japanese Release Date: 31 May 2023 Release Type: Hare Hare (10th Japanese Single)
Hare Hare continues TWICE’s success in the Japanese market with another bubbly and fun-sounding JPOP track. I found the track to be super catchy and that it brings back that brightness that featured in TWICE’s earlier works. Timing-wise, the brightness works really well with the summery season that it was released in. I would like to hear a tropic remix of the track, as I think that would work really well with the way Hare Hare sounds. While it is clear that I very much enjoyed the song, Hare Hare doesn’t necessarily bring anything new to the table. But it is still a great and enjoyable song. My only complaint about Hare Hare is the bridge. The breakdown did not fit the rest of the song whatsoever. If the producers somehow maintained that bubbliness that Hare Hare is quite consistent on elsewhere in the song, I think the breakdown would have been more successful and appreciable.
The music video works very well with the song, channeling the song’s bubbly and fun sound. The presence of the emojis, bubble words and the adorable bunnies around the members adds a neat cuteness to the visuals. The members also do a great job of channeling the same vibes from the song forward with their facial expressions and acting. I did think the platform on the soccer field needed a rethink. It was awfully plain and just didn’t fit the rest of the video. The choreography was super cute and fun, just like the song. It also channels the bounciness that featured in the instrumentation of Hare Hare, while the pre-chorus/bridge infuses a bit of sophistication and matureness to the routine to complement where TWICE is at with their careers.
Overall Rating – 8.5/10
WAVE – IVE
Language: Japanese Release Date: 31 May 2023 Release Type: WAVE (1st Japanese Mini Album)
IVE’s WAVE serves as the group’s debut single in the Japanese pop market. For an entrance piece into an international music scene, WAVE was pretty good. There are some weak points to the song, like the not-so memorable verses, the lack of character from the members in the song overall, the odd intersection in the instrumentation of the bridge, and the missed opportunity to really heighten the song in the final chorus/moments of WAVE. But WAVE is catchy enough thanks to its repetitive yet monotonous hook (which I found to be charming the more I listen to WAVE, though it was the wrong move to continue on the monotonous nature in the rest of the song) and there were some strong moments that helps compensates for those weaker points. For example, I really like the hypnotic vocalisation that follows the first verse (by Liz) and second chorus (by Gaeul) of the song. The percussion and strumming guitar instrumentational also does a lot in WAVE in terms of making it more exciting (more than what the members added to the song) and moves WAVE along, while the whiplashes in the background makes off an interesting punctuation in the song. I did think (and this might be due to the music video) think the ending was lacking, just because I expected there to be some sort of concentration in the music. But instead, we got a repeat of what we heard already.
The music video for WAVE features IVE as squash players, patrons relaxing at the pool and rock stars. The first concept was quite fresh, given I don’t think any KPOP music video has gone with the squash concept before. Everything else was pretty much done before. But the video still highlights IVE’s amazing visuals. As for the choreography, I think there was opportunity for the group to do something bolder. What we got looked great, but the chorus calls for confidence and model-like. But instead, we got small movements which doesn’t appear to capitalise WAVE as well.
Today’s album review is for TWICE’s 12th mini-album, READY TO BE. Released back in March of this year, READY TO BE features the title track SET ME FREE (and the English version of the song), the all-English pre-release single MOONLIGHT SUNRISE and 4 additional side tracks. It also serves as the group’s first Korean album release since BETWEEN 1&2 from August of last year.
I have checked my records and READY TO BE is my pick for the best TWICE album yet, earning the highest ‘Overall Album Rating’ ever for a TWICE album since I started reviewing TWICE’s albums in 2017 (I know, I have missed a few albums released prior to 2017). While the title track and pre-release had the lowest rating on this mini-album, the side tracks on READY TO BE really pulled through and boosted the mini-album to the high rating. And I think they deserve some recognition for this, so I have inserted a recommended icon at the bottom of the review, so that you know this mini-album is additionally worthy of a listen if you are ever looking for one.
3. GOT THE THRILLS – GOT THE THRILLS is honestly a standout track for me. The chorus is without the doubt the best aspect of the song. Here, Jihyo, Nayeon and Jeongyeon’s vocals really packing a punch. The rest of the members did a really nice job in this dance-pop track, as well. I also liked how beachy and summery the instrumental is, particularly during the verses and the synth selection. The speed of the instrumentation was also perfect and really gets you going. If you want a blast of energy, then GOT THE THRILLS is the song for you. (10/10)
4. BLAME IT ON ME – We enter rock territory with BLAME IT ON ME. Again, it is a solid song. The song features grungier vibes of the instrumentation which I find to be an unexpected yet fitting sound for TWICE. The song also thrives with amazing vocals from each of the members, particularly the main and lead vocalists really coming through in the song once again. The pre-chorus tones back the song, which serves as an extra treat for the listeners as this allows the choruses to become explosive and so much more impactful. My only gripe with BLAME IT ON ME is the processing of Dahyun and Chaeyoung’s vocal work in the bridge of the song. I am not a fan of the filtering that happened here. (9.5/10)
5. WALLFLOWER – WALLFLOWER brings a subtle Latin feel to the mix. It tones back the album a bit, as the song doesn’t have much of an impact, which the preceding tracks had. However, WALLFLOWER comes together and holds quite well. The vocals captivate, and they bring WALLFLOWER such so much charisma and matureness. The rapping was also well executed. I also enjoyed the groovy undertones of the single. I wished they somehow incorporated some more oomph to the song, just so it feels on par with the other smashing songs. (8.5/10)
6. CRAZY STUPID LOVE – It is the melodies that steal the show of me in CRAZY STUPID LOVE. It just makes the song so easy to get into and brings a nostalgic factor, a feeling that is very much built upon by the early ‘00s pop-rock instrumentation. Unlike all of the songs before it, the best showing of vocals for this song are in both the verses and choruses. I also can hear their passion and emotions in this track, which makes it a very successful number on the mini-album. (9/10)
7. SET ME FREE (English Version) – See above for the review of SET ME FREE.
Welcome back to another International Song Reviews post. Last week, I continued the coverage of 2022 releases, including Japanese songs from ITZY, LOONA and Rocket Punch, and an English from JAMIE. During this week, it dawned on me that we are already in the latter half of 2023 and I haven’t reviewed any 2023 non-Korean releases yet. Pretty behind schedule, if you also just noticed. So, today, I am going to start my coverage of 2023 non-Korean releases (and return to the existing 2022 songs in later posts). In this post, I will be covering two Japanese songs released by trendy Korean artists (STAYC & Stray Kids), one English song from earlier on in the year (TWICE) and one very fresh English-language release that dropped just yesterday (Jung Kook’s solo debut).
Poppy – STAYC
Language: Japanese Release Date: 23 November 2022 Album: POPPY (1st Japanese Single)
Before you say it, yes, STAYC’s POPPY is technically a 2022 release. But it was not eligible as part of the 2022 KPOPREVIEWED Awards, so I am considering it as part of the upcoming 2023 KPOPREVIEWED Awards (and hence have included in my list of 2023 songs). For me, the strongest aspect of POPPY was its chorus, which was definitely catchy and addictive. I really liked the slightly monotonous and breathy approach that the producers and members utilised in the first half of the chorus, followed up with a very vibrant set of melodies in the second half. Combined with the quirky and bouncy synths, POPPY ended up being a very cool and fun track from my point of view. Elsewhere in the song, we got strong vocals and rapping from the group. Altogether, POPPY is a successful extension of their discography and highlights their pop style. The music video is indeed colourful, which works well with both the song and the Japanese market. It creates a playful atmosphere, which appeals to the latter as well. I did like the retro flair the music video, bringing in a 90s element to the video. But I aloo enjoyed the modern special effects that were used to help fill out the background. The choreography feels catchy and fun, just like the song and music video. There is also a more apparent cutesiness to the choreography, which I don’t find too overbearing to watch.
Overall Rating – 8.4/10
Seven – Jung Kook (BTS) ft. Latto
Language: English Release Date: 14 July 2023 Album: Seven (Digital Single)
I figured I prioritise Seven’s review, given it is one of the biggest comebacks of this past week and it could potentially take months for me to actually review Seven per the usual schedule. But before we begin, I am genuinely surprised Jung Kook’s solo single would be in English (and that there is an explicit version). It was quite unexpected when I checked out the songs yesterday, but I am not upset about it. There is a lot to like in Seven. I really enjoyed the up-tempo nature of the song, with the glitchy beat really driving the song forward. This instrumentation works really well with Jung Kook’s vocals, with the pairing of these elements feeling well-rounded and balanced. The ‘Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, Sunday‘ hook is very catchy and Jung Kook makes this roll along so effortlessly. The verses are very clean and straight-forward. Latto makes an appearance in what is supposed to be the bridge of Seven. While I am not too troubled by this featuring, I was not entirely fond of the sound effects she was adding to the song. I felt that this should be been maintained in the explicit version, rather than the clean version.
As for the music video, it was unexpectedly a funny watch. Throughout the video, we see Jung Kook chase after Han So Hee after the pair had an argument. He wants to make amends, while she is not having it. We see these events transpire over dinner, in a flooded laundromat, on a train and a very stormy day. At one point, Jung Kook supposedly dies whilst chasing after her. We cut to his funeral, in which he miraculously wakes up and Han So Hee reacts by giving him the biggest eye and head roll. In the end, Han So Hee does relent and forgives him, and the pair walks away into the distance. Jung Kook also preformed Seven on Good Morning America, so the comeback does have some choreography to it. It isn’t anything major or epic, but it shows Jung Kook’s stage presence and style.
Overall Rating – 9.1/10
The Sound – Stray Kids
Language: Japanese Release Date: 28 January 2023 Album: The Sound (1st Japanese Studio Album)
Just like how I said POPPY is a successful extension of STAYC’s discography above, the exact same comment can be applied here for The Sound and Stray Kids. The Sound is your classic Stray Kids track, complete with a full dosage of intensity and ‘noisy’ synths that people have previously described Stray Kids comebacks. I do find that The Sound is a lot more electrifying and the chorus is probably their most in-your-face effort to date. The group nails the vocals and rapping aspects of the song, which isn’t much of a surprise for me. Though, I am appreciative that the members can still be heard over the instrumentation. Otherwise, the combination of intensity and synths could easily drown out the group. If I had to be critical of anything, I am bit disappointed at the short length of the track. it just felt like it was over so soon. But on the flip side, they did pack a lot in and pulled it off. The music video depicts two sides of the group. On one hand, the group lives a peaceful life. But ever so slowly, the members can feel the presence of energy that shows the group’s more intense and powerful side. I liked how the music video depicts the energy as a tornado and intense storm (which they can see in the distance). The special effects were super cool, especially the effects that depicts the sound energy and the moments in which the house is being ripped apart by the storm. Choreography-wise, I like the clock-like formation, the group’s embracement of the song’s intensity by incorporating vibrations into their performance and the group’s command of the stage.
Overall Rating – 9/10
MOONLIGHT SUNRISE – TWICE
Language: English Release Date: 20 January 2023 Album: Ready To Be (12th Mini Album)
Another reason to why I am looking at 2023 releases now in this segment is that I am slowly getting around to writing album reviews for certain releases which include an English song that was pre-released or promoted as part of the comeback, which is very much a growing trend in KPOP nowadays. And TWICE’s MOONLIGHT SUNRISE is on that list of songs that I need to review before I write the album review. All my thoughts on MOONLIGHT SUNRISE in this review comes after the song has grown on me a lot. MOONLIGHT SUNRISE does indeed sound pleasant and has a decent ring to it. But my craving for something more out of MOONLIGHT SUNRISE still stands. However, it lacks the energy and punchiness that makes it a prolific TWICE track. It feels constricted and limited, which leaves the song deflated and monotonous (but not in a good way like in POPPY). As the song progresses towards its end, we do get a teaser of what MOONLIGHT SUNRISE potentially could have been like, with JIHYO and NAYEON’s soaring vocals and ad-libs really helps bring life back into the song. Had the song mirrored similar energy in its body and gone further in the end, then MOONLIGHT SUNRISE would have been set up to be a much better track. But as it is, even though decent enough, MOONLIGHT SUNRISE still feels lacking. For the music video, it showed off the visuals of the members really well and I enjoyed the purple hue that was quite prominent. The group appears to be appealing to their lover to come by, which we do see happen at the end with the car rolling up by the love heart lock house. Honestly, however, I haven’t really returned to the music video since its release, just because there isn’t too much in it to pull me back. On the other hand, the choreography was a very big positive for this pre-release. The group shows a more mature energy and executed the moves so well. I also enjoyed the synchronisation and smoothness, particularly during chorus.
Making their comeback earlier today is TWICE, with their latest single SET ME FREE and their 12th mini-album since debut, Ready To Be. The massively popular female group from JYP Entertainment was last seen on the Korean stage promotion their 2022 single Talk That Talk and their 11th mini-album BETWEEN 1&2. More recently, we have seen TWICE through their second English track, Moonlight Sunrise, which serves as the pre-release single to Ready To Be. I have yet to review the track, but will do so in the near future. Upcoming for TWICE is the impending debut of the group’s first unit in Japan – MISAMO (consisting of Mina, Sana and Momo). But for now, here is my review for SET ME FREE.
SET ME FREE is a solid comeback, bringing back a mature sound to their main promotional track. A heavy yet groovy bassline kicks off the song as the main drawing point of the background of SET ME FREE. I liked how the song builds on this as it flows into the chorus, which combined the aforementioned bassline with bursts of synth strings to create a suspenseful yet enjoyable instrumental for the background of the chorus. Along with the pop energy that the members brought to the chorus/post-chorus, SET ME FREE definitely had a lot of charisma and appeal to it thus far. The second verse featured a peak moment through Nayeon’s vocals, which helped drive the song forward. From here on out, however, SET ME FREE fails to really continue that forward trajectory and the song ends up falling a little flat in my opinion. The second run at the chorus had the exact same momentum as its first run. Similarly, the final chorus didn’t offer any highs than what we heard previously. There was a high note, but it was brief and didn’t make much of a splash. I wished both the second and final choruses had suitable levels of oomph to them to help drive the song forward. SET ME FREE would have really benefited from this. The bridge opts for a a trap-based sequence featuring rapping from Dahyun, Momo and Chaeyoung, which I was totally for. But the transition between bridge and final chorus was pretty much absent, and so there wasn’t any satisfying move that signals the end was coming for SET ME FREE. While these are pretty big missteps for the song, SET ME FREE did do just enough to sell itself to me, hence why I still described it as a “solid comeback” despite the flaws discussed above.
The music video did help facilitate some of that missing momentum through the explosions at the start and following the bridge/fake end to the video. After all, I do like a good explosion in a music video. And two does bring a slight edge. I liked how elsewhere the video depicts the message behind the song – putting everything on the line for love to unlock one’s true self. We saw the members driving/running away, escaping holographic containments, the ripping of jewelry and performing a pyrotechnic magic trick to change outfits and be freed from the strings that bound the member. They are very determined. The latter was Tyuzu’s solo scene and it was super cool to watch. I also quite enjoyed that spacy moon choreography backdrop. Not sure about its relation to the concept, but it was a really memorable look. Overall, a cool video to watch.
The choreography for this comeback shows a mature vibe from the group. A tad bit sensual, a tad bit charismatic, and a tad bit of attitude. I really liked it. There was some strong moments that were highlighted in the music video, such as Sana’s moment in the second verse and Momo’s forward movement during the bridge. I also liked how the members used a handcuff action to emphasis the title of the song when it was repeated in the song.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Welcome back to the another round of reviews for songs by our favourite KPOP artist that aren’t in Korean. Firstly, I want to apologies for completely dropping the ball on these reviews last year, which resulted in a backlog that just unmotivated me to write the posts. I have been doing some thinking about how I can revive the segment on my blog, and have landed on the idea of shorter posts. This hopefully should mean less time to write up one of these, which in turn would make them less draining. They used to be four of five in one post, which was manageable at first. But they just took up sooo much time. So, here we go. To catch up on the reviews, I will be focusing on three releases. For this post, the focus will be on THE BOYZ, TWICE and BoA.
SHE’S THE BOSS – THE BOYZ
Language: Japan Released: 27 May 2022 Album: She’s The Boss (2nd Japanese Mini Album)
If I recall correctly, THE BOYZ’s last Japanese single (Breaking Dawn) only had a small portion that was in Japanese with the balance in Korean. That followed on from the group’s initial Japanese debut single (Tattoo), which only had a line of Japanese. SHE’S THE BOSS is a definite improvement in the language department based on what I can hear, as majority of the song is in Japanese (with the song’s main hook being in English). Anyhow, for me, the rappers really stood out in this track. Their segments really aligned with the song’s main chanty hook. The repetition really sold it to me. Similar instrumentation (i.e. crunchy synths and metallic skittish elements) and the rough tone was present in both, and I liked this commonality between the two sides. I also feel the intensity and force behind their parts. The vocals were nice and brought smoothness, but they don’t offer as much to SHE’S THE BOSS as the rappers did. Actually, I felt the vocals really stepped away from the crunchiness and roughness of the more memorable aspects of the song. I appreciate the contrast, but I wished more happened with the vocals than just smoothness. Overall, SHE’S THE BOSS was a decent track and a good listen, though SHE’S THE BOSS is another case of “more could have been done”.
The music video consists of smoldering closes up of the members and choreography shots. The sets were super cool and I quite like the brown marbling background used for one of the choreography dance sets. A bit dry, otherwise. As for the choreography, I really liked the intensity they put behind the routine for the main hook of the song. I also enjoyed the smoothness they brought to the routine during the song’s smoother moments. The contrast between the two was an interesting mix. But visually, it works.
Overall Rating – 7.6/10
Celebrate – TWICE
Language: Japan Released: 15 July 2022 Album: Celebrate (4th Japanese Studio Album)
Days following the news of TWICE renewing their contracts with JYP Entertainment to continue group activities, the group returned with a very fitting track in Japan titled Celebrate. When I read through the lyrics for the song, I do feel like it is a song for fans, celebrating the time TWICE and ONCE have spent together over the last seven or so years. I mean, Chaeyoung’s opening line “Tonight, we’ll celebrate our love. After all this time, We’re still together” kind of says it all. Celebrate is a straightforward pop track that feels very cheerful, bubbly and bright. All of which we have heard from TWICE previously. However, Celebrate is more geared towards a pleasant effect, which I find to be fitting for the message. It is quite obvious that this song isn’t the most TWICE song we have ever heard. Nor is it the group’s most catchiest single yet. But the pleasantness, combined with the other aforementioned effects, helps create an enjoyable listen. That being said, Celebrate does have some catchy hooks and melodies, and I feel like the members executed the song extremely well. Overall, another enjoyable listen from TWICE.
The music video for Celebrate was quite colourful, despite black and pink being the dominant colours in the video (i.e. see what the members are wearing). There isn’t too much to the video, apart from smiles and the members having a great time with each other. It is pretty much lighthearted, which matches up with the song’s message quite well. The choreography is quite good. Nothing catchy or mind-blowing here, but it was satsifying to watch and looks fun!
Overall Rating – 8.3/10
The Greatest – BoA
Language: Japan Released: 23 May 2022 Album: The Greatest (20th Anniversary Japanese Compilation Album)
To celebrate her 20th anniversary since her Japanese solo debut, BoA, the Queen of KPOP, released the single The Greatest as part of a compilation album that was released to celebrate the milestone. However, as far as I am aware, the release was pretty much swept under the rug as soon as it was released, which was rather disappointing. I will be honest, I didn’t pay attention to The Greatest that much at the time of the release either, and the song only grew on me in the months after. Luckily, it did so in time to earn a nomination from me for the Best International Song by a Korean Artist (Japanese) in the 2022 KPOPREVIEWED Awards. There is a lot to enjoy in The Greatest. My pick would have to be the monotonous post-chorus hook, where “Greatest” was spelt aloud. There is something so charming with this hook. I definitely would have liked more to and of it, though. She does something similar in the bridge, just prior to jumping back into the chorus to complete the song. BoA puts her vocals on display during the choruses, which was another great segment in the pop song. The instrumental falls into the electropop genre and the crunchy synths really gives the song character and something for her to work with. My critical comments relate to the verses, which felt ordinary and lacked flair. Despite that, I think The Greatest is underrated and underappreciated.
The music video is pretty much has that modern SM Entertainment flair that the company has been pushing greatly (and seemingly dumped in 2022) with the whole futuristic and virtual KWANGYA universe. However, from what I can tell, this video doesn’t have a connection to the wider universe. Instead, the universe we see in this video belongs to BoA and it is evident that she is quite up there in the society (with her name plastered on top of the city’s tallest tower and The Greatest or GRE plastered throughout). I did like the purple and pink dominant colours of the video. Whatever BoA wore in this video made her pop out right at you, showing off her visuals and charms. As for the choreography, it was a pretty good one. Again, not her most mind-blowing one yet. But the electropop side and those synths mentioned earlier gave her an opportunity to showcase her performance skills and create a piece that reiterates her status in the field.
The next album to be reviewed on the blog is TWICE’s BETWEEN 1&2, which is the group’s 11th mini-album since their debut in 2014. It was released at the end of August and is lead by the title track Talk that Talk. The release follows a few key milestones and comebacks, including the full group’s contract renewals with JYP Entertainment, Nayeon’s solo debut with POP! and a string of a few Japanese releases. It is also the group’s first release since last year’sSCIENTIST and Formula of Love: O+T=<3.
The name of the album, BETWEEN 1&2, feels quite fitting for the groupc, given the news that it comes about from the recent news that the all members of TWICE had renewed their contracts with JYP Entertainment. It possibly signifies that the group is currently about to embark on a second stage of their careers, with the first stage being the seven years that have just past. Others have speculated the album’s title refers to the bond that TWICE (i.e. 2) shares with their fandom, ONCEs (i.e., 1). Whatever the meaning, it is definitely something special for the group. As for the mini-album, I felt like it was somewhat of a mix bag. Some really good songs and less memorable songs. Give BETWEEN 1&2 a listen below and let me know if you agree or not.
2. Queen of Hearts – The second track on the album is an all-English track, delving into the pop-punk side of music. I love the instrumental for Queen of Hearts, especially for the chorus, which went for a rock-like head-bang type of feel. The members handled the vocals quite well, overall, exuding a whole lot of confidence. Those high notes, whilst felt screechy at first, ended up being a highlight that I look forward to each time I play Queen of Hearts. However, I wished they went harder for the chorus, just to better complement the instrumentation. (9/10)
3. Basics – Basics is a little basic for my liking. It goes for a dance pop vibe, which I am completely fine about. Unfortunately, I didn’t really get much out of the track, as compared to the songs on this mini-album. I did like the more retro touch given by the synths at the start of the song and the beat when it came to the chorus. But the rest of the song, vocals and rapping felt plain to me. It is still a pleasant number, just not memorable enough. (6.5/10)
4. Trouble – Trouble is a very upbeat track, diving into the dance pop genre. This time around, however, the instrumental had a super lively and dynamic disco-like beat to it that made it so riveting and enjoyable to listen to. The choruses had a slightly explosive atmosphere to it, while the hooks made the song quite addictive and standout for me. The vocal work was solid. When it comes to the raps, Trouble takes me back a few years thanks the trap instrumental backing. It does detract from the momentum of the rest of Trouble, but I still enjoyed it. (8/10)
5. Brave – Brave tones down the mini-album once again with a less punchy track. But that doesn’t mean the song is a bad one. I actually quite enjoyed Brave. It opts for the synthpop genre and features a consistent set of vocals. It is still upbeat, but I would imagine a more delicate routine to accompany Brave and its vocals. Though it is still powerful enough to leave an impression, especially during the chorus. I really liked the percussion in the bridge, just because it adds some oomph to the song and gives the end a more fulfilling finish. (8.5/10)
6. Gone – The synth strings that begin Gone and are present during the verses are quite intriguing. It alludes to the electropop genre that the chorus deep dives and the song falls into. I do think this backing to the chorus was a bit much and at points overwhelmed the vocals. I kind of wished it was toned back slightly, just so the members are not competing with the instrumentation as much. However, I really liked the members’ use of lower tones throughout the single. (7/10)
7. When We Were Kids – Finishing off the mini-album is When We Were Kids, which falls into ballad territory. Despite the ballad label I have given the song, we are not talking about slow or classical instrumentation. The instrumentation features a paced beat that pulses along in the background, while the vocals were dreamy and invokes a nostalgic tone to come to life. I love the harmonies when the title is repeated. Overall, When We Were Kids felt fitting as the final song on an album that is between two segments of their career. (9/10)
Majority of the post this week will be album reviews, as I am out of town and have decided to take a break as well. As a result, I have scheduled a bunch of album reviews for this week – through to the start of next week. So prepare yourselves for the onslaught of album reviews. First up is NAYEON’s self-titled debut mini-album, IM NAYEON, which was released in June of this year. Leading the charge on this mini-album is the title track POP!. There are an additional six tracks on this mini-album.
M NAYEON is another fairly decent album release. I also feel that this description of the mini-album could be applied to her debut, as a whole as well. There are a few strong tracks, like the last few mini albums I have reviewed. I might be able to be persuaded to include the title track in that grouping as well (but I won’t change my original rating just yet) But overall, IM NAYEON was average, at best. Let me know if you agree with my thoughts or not.
2. NO PROBLEM (ft. Felix of Stray Kids) – I am completely in love with NO PROBLEM. The English lyrics to NO PROBLEM are one aspect of this track that I am totally enjoying. Another is the electro-pop instrumental. It was just so vibrant and there was a nice disco vibe coming from the song. The same vibrancy is aided by Naeyeon’s vocals, which just gave the song an extra pop of freshness. The melodies also add to this. Felix’s deep voice appears in the bridge and his rapping helps offset the brightness of the song, allowing NO PROBLEM to feel balanced. I also liked how his featuring is not kept to just one section of the song, allowing him to contribute to the closing moments and give NO PROBLEM some depth. (10/10)
3. LOVE COUNTDOWN (ft. Wonstein) – LOVE COUNTDOWN stays in the realm of pop. The instrumental feels a bit punchier and bouncier with a lively beat and percussion, while the melodies are more pleasant and mellow. NAYEYON’s vocals brought a nice colour to the track, while Wonstein’s featuring adds a bit more bite to the song. His rapping brought a dynamic factor to the track. Again, I liked that he is not constricted to one section of the song. Wonstein, although subtly, provides harmonies to the second choruses and adds ad-libs to the final chorus. A neat track, overall. (8/10)
4. CANDYFLOSS – Just like the title, this song features a dousing of sugar. NAYEYON executes this song perfectly, with her bright and sweet vocals shining throughout. Even though the song does go down that saccharine path, which might not be everyone’s cup of tea, I still found CANDYFLOSS to be quite a catchy and fun number to listen to. I find it hard to emerge from this song without smiling. (9/10)
5. ALL OR NOTHING – ALL OR NOTHING enters R&B territory with its instrumental. It is fairly simple instrumental and brings a touch of extra oomph than compared to café style of music (but it is still pleasant enough to be heard in that type of environment). The vocals, whilst nice, do not really elicit much thought from me. I am not as drawn to them as I was with other songs on this mini-album. (7/10)
6. Happy Birthday To You – Happy Birthday To You follows a similar vein as the previous track. However, I note that there was a fair amount of synths throughout the track. To be honest, the synths felt a bit odd, to me. They sure brought texture to the song, but the abundance of synths felt unnecessary and I am unsure of their value in this song. NAEYEON had nice vocals, but again, she does not do much to captivate me nor elicit a response from me. The melodies felt plain, as well. (6.5/10)
7. SUNSET (노을만 예쁘다) – SUNSET is more of a ballad. More importantly, I feel it is an improvement following the previous tracks. I really liked the breathy backing vocals and the harmonies that NAYEON and the backing vocals share. This combination helped create a soothing piece. There was a bit more to the song’s instrumental than your standard ballads and the swayable melody was definitely there. I am quite satisfied that the album ends on a more positive note (musically) with such a piece. (8/10)
TWICE ends this week with their long-awaited comeback with Talk that Talk and their 11th mini-album since debut, Between 1&2. This is the group’s first comeback since the release of SCIENTIST last year, the announcement of their full-group contract renewal with JYP Entertainment, their fourth world tour and another string of Japanese release (some which I have reviewed, and others I have yet to).
Talk that Talk, for me, is a great release. Out of the pop releases that I have reviewed recently, TWICE’s song was definitely one which shined brightly. And this comes as no surprise to me, given TWICE has excelled with pop tracks in the past. So what sells me Talk that Talk? Firstly, I found the feel good energy of Talk that Talk to be stickler. The explosion of energy at the start of the choruses was effortless and helped make the track satisfying. Even though the song has been released just a few hours back, I have been returning to Talk that Talk just for this aspect alone. Secondly, the melodies throughout the song (verse, chorus, bridge and all) were simple and straightforward. There isn’t any messing around with the vocals or the instrumental. Everything was clean, neat and embodied the energy perfectly. As a result, the melody rings on and also drives me back to the song. Thirdly, I really did enjoy Talk that Talk‘s instrumental. In addition to the already-mentioned energy, there was a dynamic factor and bounce to the backing that I really enjoyed. Fourthly, strong vocals throughout makes this song a stunner. Is there anything I wished was better executed? I think the rap lines could have been clearer and had more of a kick to them. But other than that minor detail, I am very much into Talk that Talk. It might just become one of TWICE’s best title tracks ever, in my point of view!
Once again, the members looked amazing in this video. There is this fierceness to the members’ visuals which definitely complements the fierce nature of the song (something I didn’t comment on above). However, the video does balance it out with more lighthearted and whimsical tones via the props and post-production editing (i.e. holographic love hearts, floating paw prints and emojis, teddy bears getting pierced, cat videos etc.). I also liked the mix between 90s and modern trends in the video. The QR code at the end of the video apparently takes fans to the Instagram post of when they announced the name of their fandom – ONCE! The post-production which places the video in a virtual setting was also awesome! Great video, overall!
I really enjoyed how the choreography embodied the aforementioned energy. It made for a fun and exciting choreography. The members definitely looked like they had a ball on stage! A massive pity that Jihyo was unable to participate as her absence did leave a bit of a void. But I am sure once she returns, everything about the performance would be complete.
Song – 9.5/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.6/10
After seven years, the first member from TWICE is finally making her solo debut. The honour goes to TWICE’s NAYEON, who debuted as a solo artist last Friday with the single POP! and the mini-album Im Nayeon. I personally wonder if this solo debut is a backup plan in case TWICE’s contract negotiation falls through (which I hope is not the case). I just find it suspicious that the group is only a few months out of the standard seven year contract, and suddenly one member (so far – I hope there is more solo debuts on the way) make her solo debut. But I guess time will tell. Until then, this is my review for POP!. This is also the first TWICE related release of the year, as well, following the release of Doughnut in Japan and SCIENTISTin Korea.
POP! is an okay track. Since its release, I have listened to it a few times. And while it nice and decent, I am not exactly head over heels for this solo release. As mentioned yesterday, maybe time will help make the song grow on me. But as for now, I am pretty neutral over POP!. I liked the instrumental’s percussive and upbeat underlay, which was a pleasantly consistent element in the instrumental. It brought on a refreshing vibe to the song, undoubtedly fitting for the Summer season that this comeback falls in. The brass in the verse and the electric guitar in the chorus were nice additions to add extra life and colour to the instrumental. Together, they create a relatively simple pop instrumental for the likes of POP!. As for NAYEON’s vocals in POP!, they sound good. But I am not overly excited by her vocals. They felt somewhat plain. Similar comments can be said about the song’s melodies. I just expected something more jumpy or vibrant. We get part of the way there, but it just isn’t enough. Her spoken hook (i.e. the pops) were probably the most exciting part of the song. Though, I do think POP! would have benefited from something more punchy and colourful. The rapping felt unnecessary and adds an overly cute sequence into the song that felt too sugary and saccharine for my taste. Overall, I feel the strong and weak points of POP! cancel each other out, leaving me without much feelings for the song. I neither hate nor like POP!. I am just somewhere in the middle.
The music video fairs better than the song. It is everything you can ask for in a Summer concept music video. Bright, colourful, vibrant. The sets look amazing and fun, as well. I quite like the look of the post-production treatment, as it help adds so much more life visually to the video. On top of that, Nayeon is stunning and looks amazing throughout the video. Her smiles also make the a whole lot of difference to the video, adding more to those bright and vibrant descriptors I have mentioned.
I thought the choreography was great. The small pops that come via the hips and body movements looked fantastic and adds a vibrant and fun element to the routine. I also like how the dancers made the popping come to life following the second chorus when they stand behind Nayeon (and then fan out).
Song – 7/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8/10
I am finally getting around to posting my first International Song Review post in a long while. My last post was way back in October 2021, and since then I have been fairly busy and unable to write any of these posts. But I am now back on the bandwagon. For those who may be unfamiliar with this segment, I review songs that aren’t in the Korean language (or are not marketed for the Korean music scene in some cases – such as some side tracks on Korean albums) that have been released by Korean artists (or artists that have a direction connect with a KPOP group). In this post, I will be covering songs released by MONSTA X, SEVENTEEN, TWICE, WONHO and Jeon Somi.
You Problem – MONSTA X
MONSTA X spreads the ongoing groovy and funky trend that we are currently experiencing in KPOP to the Western music scene. The group, now down to five members as Shownu has enlisted in the military, released this disco number early December 2021. It is quite unlike any of their Korean title tracks, which have been very EDM focused and performance heavy tracks. You Problem settles for a simpler approach, and one that is quite pure and fun. I love the guitar work in this backing of You Problem, along with those disco vibes we get in the chorus (as already mentioned). I also enjoyed the vocal focus of the song, which each member (even the rappers) singing in this track, complimenting the lighter than usual tone for MONSTA X. Kihyun and Jooheon’s falsettos in the chorus make the song even cooler! The hooks are super memorable, and the hooks are so damn catchy. Even after two months, I am still digging You Problem!
For the music video, it is set in a bowling alley that is reminisce of bowling alleys from the 70s. Definitely suiting the light tone, fun vibes and retro direction of the song. There are also heavy presence of other retro elements throughout the video, such as the checked pattern (commonly associated with racing) and neon lights. Even the glittery tinsel decoration behind the group when they are performing as a ‘band’ screamed out retro. The performance I saw also had a fun vibe. It was loose and fluid, as if the group was freestyling their performance. But also showed their personality, which made it even more enjoyable.
Overall Rating – 8.8/10
Power of Love – SEVENTEEN
Power of Love‘s music video officially dropped at the end of November, and closes out their Power of Love project that started earlier in 2021 with the release of Mingyu and Wonwoo’s Bittersweet (ft. Lee Hi). It is a neat ballad with a really meaningful message that even in difficult times, having the Power of Love can help you through it. I liked how even though the instrumental had sleigh bells ringing throughout the whole instrumental, Power of Love doesn’t feel constricted to just Winter or the Christmas season like other songs that ultilises sleigh bells. It was also quite soothing and it was a nice display of all the members’ vocals. Unfortunately, however, Power of Love doesn’t fair well in the memorable arena. It is a good ballad, but I am not necessarily looking for the song when I feel in a mood for ballad. I guess Power of Love was produced to be more on a sweet side. I do think there could have been room towards the end to oomph up the ballad a bit, just so it didn’t feel the same from start to end. I think Power of Love would have come off better if it went down this path.
The parts of the video where some of the members were in built sets (I believe it was just limited to Joshua, DK and Vernon) looked quite cool, and I wished the video had more built sets (as it felt stylish and modern). But instead, the producers for this video chose to just use green screen, and I felt this really cheapened the video. While the actual backgrounds applied through the use of the green screen looked aesthetic and the members look good as always, I wished the post-production team incorporated the members better. We have seen great use of green screen in the past, and this is just not one of those instances. It is just quite unfortunate.
Overall Rating – 6.2/10
Doughnut – TWICE
Doughnut was released on 15 December 2021 and the track itself comes in the form of a ballad. Not exactly the first genre of music you think of when you hear of a sugary treat. But it does create an abstract appeal, which makes Doughnut memorable for me. Talking about abstract, I also like how the members likened the void they experience without their partner, and the constant looping they refer to in the lyrics to the shape of a doughnut. To me, the song definitely needed this extra appeal, especially since I thought it was a bit of a blur. Everything from start to end felt similar, and I couldn’t work out where the chorus was in the song had it not been for the music video. While I did like the city-pop direction the instrumental was going and the delicate nature of their voices (which isn’t something we get in TWICE title tracks that much), I just wished parts of Doughnut were more distinct. The most significant distinct moment of the song was during the finale sequence with the use of synths to give off textures. But it was too late to really sell Doughnut to me.
Visually, I thought this was a very neat video. The snow, warm indoor settings and dress colours compliments the Winter season in which the song was released. That scene in the bridge where Mina and Chaeyoung are lying on the ground over a wreath was extremely memorable for me. I am a bit confused about the start and end of the video, with the ‘doughnut crime scene’. My guess is that the crime scene symbolises that the loop and void represented by the shape of doughnut is broken and that the members had moved on from what they thought were ‘the only one in the world’. Though, I am more confused about the amount of jam spilling from the doughnut (How did they get so much in the doughnut to begin with? And in a doughnut with a hole?). As for the choreography, it felt fitting for the balladry nature of the song.
Overall Rating – 6.8/10
ON THE WAY～- Wonho
Wonho’s Japanese debut single, ON THE WAY~, is actually the oldest song in this review post as it was first unveiled on 27 October 2021. It is a decent track that pleases with its sweet lyrics, thanking fans for staying by his side and that he treasures them greatly. Don’t be fooled though. ON THE WAY~ is no typical ballad. Instead, it features a satisfying band instrumental that really makes this song more appealing. I also like how amped the chorus gets. It did feel somewhat overpowering at first, but Wonho manages to shine throughout ON THE WAY~ with his blissful and honey-like vocals. I did wish there was something more to the song, like a more profound electrical guitar solo sequence (we did get an instrumental break, but it did feel enough) to make it even more satisfying.
The accompanying video was also quite nice. Not one that I see myself going back to however, since it just Wonho acting sweet and grateful to match the lyrics of the song. There are also some band shots and some decent outdoors shots. I am sure fans would adore this video.
Overall Rating – 7/10
Anymore – Jeon Somi
The final song on this post is Jeon Somi’s Anymore. You would have heard Anymore way before the music video dropped (which occurred on Christmas Day), as it was originally featured as a side track on Jeon Somi’s first solo studio album, XOXO, which dropped at the end of October (the 29th to be exact). It is an all-English track that delves into pop-rock territory. I quite like this song because it doesn’t feel complicated or difficult to navigate like EDM tracks. Anymore just sounded pure and doesn’t mess or fluff around. The soft pop rock sound that we hear in this song just suits Jeon Somi’s tone and she sounds very good. The melodies were also very memorable and satisfying, as well.
I need to applaud Jeon Somi’s visuals and acting in this video. Both were highlights that draw me back to the music video. I liked how she well she portrayed her heartbreak and emotions, whilst looking stunning as always. As for the music video concept, all looked terrific and worked extremely well with the song. I liked how chaotic the chorus appeared to match the increased energy we get from the chorus, while the verses were more still.
TWICE is nominated for Best Outfits (for their attire during their Alcohol-Free promotions) and Best Female Choreography (Group) for Cry For Me in the 2021 KPOPREVIEWED Awards. Support TWICE in their categories by clicking here to vote for them.
The first album for review this weekend is TWICE’s Formula of Love: O+T=<3, their third studio album since debut. It features the title Scientist (previously reviewed and factored into this album review), a remixed version of the title track (not reviewed) and the English (factored into this album review) and Korean version of their single The Feels (not reviewed), and 13 new tracks (all reviewed below and factored into the album review). That is a whopping 16 tracks in total. This new album tackles the funky and groovy side of music, with a few distinct outliers. Read on to find out which ones are ‘funky and groovy’ and which ones are the outliers.
2. MOONLIGHT – Following the title track is the all-English MOONLIGHT, which is reminiscent of 80s/90s female pop groups. There is this twinkling touch on top of the groovy disco influence that feels appropriate for that era. It is a pretty smooth and pleasant number, with nice melodies and innocent vocals from the members. I did wish it changed it up a bit towards the end, as I feel MOONLIGHT is a tad too consistent. But overall, an enjoyable listen. (8/10)
3. ICON – ICON is the second all-English track on the album. I really liked the confidence and empowering nature behind the English lyrics of ICON. And I get that same exact feeling from the members as they exclaim the ‘’Damn, I got it, I’m iconic!’ line (which is a very catchy and memorable hook, by the way). Instrumentally, I thought ICON was a bit meh and wished it enable a more sassy vibe. (8/10)
4. CRUEL – CRUEL is a very sleek and sexy pop number. TWICE’s vocals really standout in this song, especially during the chorus where they use falsettos to make CRUEL iconic (relative to the rest of the album). I was totally digging it! I also like the subtle groovy touch to the instrumentation, which made me want to get up and dance. (10/10)
5. REAL YOU – Another track that I am very willing to get up and dance to. But it isn’t as great as CRUEL was. My first impression of REAL YOU was that there was a fair bit going on when it came to the instrumentation. Repeat listens since the album was release have neutralised that thought. Now, I like the grooviness and upbeatness that the instrumental brings, even though I find it a tad squeaky. All the members sound great, as well. (9/10)
6. F.I.L.A (FALL IN LOVE AGAIN) – TWICE is nailing the groovy and funky sounds on this album. F.I.L.A is a disco pop song, which chorus reminds me of Saturday Night Fever. I like the softness of the vocals in this song during the verses, and the deep rapping that we got. It contrasts well with the higher pitched and much more powerful vocals during the chorus. (10/10)
7.LAST WALTZ – LAST WALTZ gives off a mature vibe that hasn’t been heard on the album yet. It is sensual, but also adds onto the album’s funky direction in a subtle manner. The members sound great in this track, though I wished the flow of their lines was a bit more cohesive. They sound rather jaggered, and this didn’t come off as pleasant as it could have. The rapping stands out in this track, with the relevant members slaying their delivery! (8/10)
8. ESPRESSO – Whatever I had in mind for ESPRESSO, the final product was not it. I expected café style music for some reason, but instead we got a heavy dance club track. I like this change in sound. Its even more mature than the previous track, and I can imagine a very classy and mature performance concept for ESPRESSO. The song contains some really good hooks that make it even better, such as ‘E.S.P.R.E.S.S.O That’s who I am’. (8.5/10)
9. REWIND (알고 싶지 않아) – TWICE tones down the music with the presence of REWIND, a R&B number. A very typically instrumented R&B track in my opinion, but the vocals are very soothing and gentle in REWIND. A nice relief after such energetic, upbeat and funky tracks. (8/10)
10. CACTUS (산인장) – CACTUS continues this subdued corner of the album. This time around, the song opts of a pop rock ballad. It sounds stunning. I really like the softer moments of the song, which align itself to more so the ballad style, while the chorus brings forth a rock influence to the ballad. The members sound amazing , with the harmonies being a strong aspect of CACTUS. (10/10)
11. PUSH & PULL (Sana, Jihyo, Dahyun) – Starting off the series of unit tracks is Sana, Jihyo and Dahyun with PUSH & PULL. It is also a return to the album’s funky and groovy roots. It is a neat track and is a great return to the upbeat side of the album. I like the rapping in this song, which made it dynamic and appealing. I also really like the defined percussion when it came to the pre-chorus, Definitely hyped up the song for me. (9/10)
12. HELLO (Nayeon, Momo, Chaeyoung) – Nayeon, Momo and Chaeyoung delves into hip-hop roots, which is a definite change in direction from the group’s usual work. While I am a strong advocate for changing up sounds once in a while, I am not entire sure of what to think about HELLO. The last two things that should go together is TWICE and hip-hop. I just feel like they are two extremes that so far apart. However, HELLO is decent track. It is also rap heavy, as you would expect with most hip-hop centric songs, but this one isn’t as good as compared to the previous song. (7/10)
13. 1,3,2 (Jeongyeon, Mina, Tzuyu) – The final unit track on the album is 1,3,2, which comes courtesy of Jeongyeon, Mina and Tzuyu. The song is a dance track with reggae influences and I feel this is a really good sound for not just the unit but possibly the rest of the group! Overall, 1,3,2 comes off a mature track, with strong and catchy melodies, neat vocals and very intriguing rapping. I think 1,3,2 is probably the strongest and most innovative unit track on this album. (9/10)
14. CANDY – CANDY is the final new offering from TWICE on this album (the songs that follow are songs we have previously heard from the group). It is a dreamy ballad, with a melody that felt very sweet, like the title of the song suggests. It also reminds me of the 90s R&B. The vocals are nice and I like the high falsettos/harmonies that CANDY had. It made everything sweeter! (8.5/10)
15/16. The Feels – I previously reviewed The Feels as part of the International Song Review segment. This album features a Korean version (only on the physical version) and the original version. Click here for my review for The Feels.(9/10)
17. Scientist (R3hab Remix) – Refer to my review for Scientist above.
KPOPREVIEWED 