There have been too many K-pop releases recently for me to make individual posts on each of them, so I decided to compile a series of mini-reviews on these songs I have yet to cover. They will be significantly shorter than the typical review, but they will also help me improve my summarising skills as I still struggle to be succinct at times. Hope you enjoy!
Cream Soda – EXO
I have very mixed feelings on this song.
On one hand, it plays around with one of my favourite production traits that led me to evaluate the controversial ‘ZERO‘ by NewJeans quite highly- placing the emphasis on the first beat of the percussion rather than the second in certain sections. This makes the song’s rhythm feel playful and innovative, which in theory should really tick my boxes. The vocal harmonies are strong, as expected, and the melodies were carefully crafted.
Yet, I cringe immensely every time the hook comes running. I usually don’t pay much attention to lyrics in K-pop songs, but I cross the line if they either greatly enhance my listening experience- or ruin it.
I’m sorry, but one more time I have to hear ‘Cream Soda’ sang in a song unironically, I might have to puke. I cannot take any song with this hook seriously. None whatsoever.
Not only that, but I am quite mad that the main hook was sung in falsetto, which is not even where the strength of EXO’s vocal’s lie. They excel the most in mid-upper belts, most apparent in the likes of ‘Miracles in December‘. It is objectively good, but definitely not great or excellent- especially because I know exactly what they are capable of.
All in all, far and away their best title track, and surprisingly, both ‘Hear Me Out‘ and ‘Let Me In‘ remain superior songs in my opinion. I’m highly disappointed.
Hooks – 5
Production – 9
Vocal Delivery – 8
Rap Delivery – 8
Overall – 7.5
One and Only – ENHYPEN X Pokemon
ENHYPEN collaborating with Pokemon, which coincidentally happens to be my favourite game my whole childhood, was the last thing I expected to witness as a K-pop fan. However, what shocked me even further was the fact that vocal mixing and compression within this collab song is actually cleaner than many of their original songs (I side eye you, ‘Sacrifice‘). Their distinct vocal colours are on full display, and they sound some of the best they ever have. The power of GOOD vocal mixing is extraordinary, and this song is living proof.
Better yet, the melodies are surprisingly well-written and flow very nicely from section to section. The chorus is potent, throwing hook after hook. Time will tell if it will hold up, but nevertheless, it really shocked me. I already like this a lot more than I ever liked ‘Bite Me‘. Guess I have to deeply thank Pokemon for requesting a collaboration with ENHYPEN to deliver a great song, in addition to giving my childhood many fond memories. Pokemon, I sincerely thank you.
Hooks – 9
Production – 9
Vocal Delivery – 9
Overall – 9
ODD EYE CIRCLE ‘Air Force One’ – ARTMS
I wasn’t sure how to feel about it at first listen, but after the 2nd listen, I’m taken by its appeal.
‘Air Force One’ certainly falls within the realm of ‘experimental’, and it was executed with flair. The verses are actually much more instantly memorable than its repetitive chorus, but the production simultaneously becomes a lot more interesting in the chorus in comparison to the verses. Its quirks constantly exchange as the song alternates between the two sections, and it certainly makes for a unique listening experience. I don’t know if it is something everyone can necessarily enjoy, but most can at least appreciate listening to it once.
What I’m particularly surprised about though, isn’t even the production. It is how much I enjoyed the vocal performance of the former LOONA members. None are technical vocalists, nor have they made much of an impact to me when I have listened to LOONA’s songs, but I was very charmed by how gripping their performance here is. They played a major role in selling this weird and wonderful song, and I have to give them major props.
Hooks – 8
Production – 9
Vocal Delivery – 9
Overall – 8.75
Small Talk – Kim Sung Kyo (INFINITE)
The main reason why I wanted to write about this song (for a while already) is because of how perfect Sung Kyu’s vocal delivery is. This is the standard of a perfect vocal delivery from a main vocalist not only technique-wise, but in feeling. He really upgraded this good, but not exceptional song, into something great. There was already a strong foundation, especially with regards to its hooks, with its strong chorus, but it isn’t consistent as its verses are noticeably weaker. Additionally, the production was also solid, but it wasn’t ground breaking either. The charismatic delivery kept the song interesting from the start. This is proof of the importance of incorporating both technique and style to make for an effective overall delivery.
Hooks – 8
Production – 8
Vocal Delivery – 10
Overal – 8.5
The Wonderful Escape – U-KISS
I have never ever listened to a U-KISS song in my entire life, but ‘Wonderful Escape’ makes for a more-than-great first impression. The production drives itself in unshakeable propulsion from beginning to the end, and just like any ‘older’ song, it allows for moments to let it shine by itself without vocals. The vocals are all delivered earnestly, and its melodies sound like the epitome of old-school K-pop. I don’t have much more to say except that it is done exceptionally well.
Hooks – 10
Production – 10
Vocal Delivery – 10
I WANT – IVE
Who knew a Pepsi commercial song would be so good? IVE does it again.
Interestingly enough, the full spotlight of this song was given to the vocals and the melody. The main hook actually borrows the melody, almost note by note and beat by beat, of the chorus of Coldplay’s iconic ‘Viva La Vida’. As someone who really loves the song, I see this as a win. It fits right in perfectly. Yujin and Wonyoung sound amazing when they sing the melodic riff throughout, continuously proving that they are effective studio vocalists. Actually, pretty much all of the sound great, and the vocal mixing (like every IVE song) flatters their vocals immensely. I’m also particularly fond of the second part of the chorus, as the producers managed to find another great melody that seamlessly transitioned from the Coldplay sample. If I had never heard ‘Viva la Vida’ before, I would have believed that the chorus in its entirety belonged to an original song. I think this is something worth praising.
The production takes a backseat, perhaps almost too much. It makes the song very breezy and easy to listen to, but not interesting. There are barely any dynamics within the whole song. I think that the balance between ‘commercial and to easy to listen to’ against ‘musically interesting’ was heavily tilted to favour the former. It is a shame, because their last title track ‘I AM’ struck it perfectly.
Nevertheless, at the end of the day, it is a commercial collaboration song, and it already more than surpassed expectations for what it is.
Hooks – 10
Production – 7
Vocal Delivery – 9
Overall – 8.75
Party O’Clock – NMIXX
I quite disliked ‘Party O’Clock’ at first listen because too many elements felt jarring and incompatible with each other. There was a lot more talk-rapping then I had hoped, which became more apparent because of its contrasting nature to the song’s chorus, which has a wispy and ephemeral quality similar their other title track ‘Rollercoaster‘.
Yet, it got me thinking. Is this possibly the first time talk-chanting was incorporated in a song which has a smooth and flow kind of melody, very much what I would call a ‘feel-good’ melody that is difficult to dislike? Possibly. It tried to seek compromise between two distinctly different styles, which is obvious in the way every phrase in the verses would alternate between some form of talk-chanting and singing. It tried to make the transition the least jarring as it can be. And you know what? I appreciate this attempt to break boundaries. The more I listen to the song, the more I can appreciate it. I would say ‘Rollercoaster’ is stronger, but I think ‘Party O’Clock’ will definitely grow on me. The melodies which are present are strong. It just can get lost within all the chanting.
Perhaps the reason why these kinds of songs are not complete disasters at first listen and end up growing on me is because the sheer strength of NMIXX as performers, who are especially adept in vocal technique. Without their proficiency, I am quite sure that they would be nowhere near as successful as they are today. And I think a group like NMIXX is needed in K-pop, to keep pushing the conventional boundaries of music.
Hooks – 8
Production – 8
Vocal Delivery – 10
Rap/Chant Delivery – 8
Overall – 8.5
K-pop Evaluated 
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