kpopreviewed

[Album Review] The Star Chapter: SANCTUARY (7th Mini Album) – TXT

December 12, 2025December 12, 2025Posted in Album Reviews, KPOPTagged TXT2 Comments

A year on from its release, it is finally time for a review of TXT’s 7th mini-album, The Star Chapter: Sanctuary. Led by the single Over The Moon, the mini-album features 6 songs in total. Overall, it was a really strong effort from TXT. Had some of the songs been longer, as I was left wanting more from most of the songs, I think the mini-album would have been much stronger. But as is, it was still an excellent mini-album to check out.

Earlier in 2024, TXT released their 6th mini-album, Minisode 3: TOMORROW (led by the single Deja Vu). Since the release of The Star Chapter: Sanctuary, TXT has returned with the digital single Love Language; their 4th Korean studio album The Star Chapter: Together (led by the single Beautiful Strangers); and their 3rd Japanese studio album, Starkissed (led by the single Can’t Stop).

*The Star Chapter: Sanctuary* Album Cover

1. Heaven – For me, Heaven was a really nice pop song. I liked the dreamy atmosphere within the song and the stunning vocals from TXT throughout this opening track. I also love that the melodies were pleasant and hummable. While I want to give Heaven a 10/10 because it deserves it, I am not sold on the way it ends. In a matter of seconds, the momentum building in Heaven was cut short, and it felt deliberate, as if the producers were told the song could only be in the 2:30-minute range. I was left wanting more, so I don’t think I can give Heaven its 10/10 it truly deserves. (9/10)

2. Over The Moon (Title Track) – Click here for my full review of Over The Moon. (7.5/10)

3. Danger – Following on the title track, we see TXT take on an edgier vibe with Danger. I really enjoyed the low-key chorus, with the really catchy “You got me in Danger, Danger, Danger” on repeat in my head. I also enjoyed the very sexy, deep, raspy ‘What you doin’ to me?” that followed the choruses. This definitely takes me back to some of the music I grew up on. The subtle, groovy underlay in the instrumentation ties everything nicely together and also helps make Danger sound alluring. (9/10)

4. Resist (Not Gonna Run Away) – The “I can resist” line is quite a memorable opener and makes quite a presence in Resist. The instrumental was also quite cool, with the fresh guitar, thumping beats, alluring synths and (what sounds like) hand drumming. It all came together to create a stunning backing for TXT to bring Resist (Not Gonna Run Away) to life. (8/10)

5. Forty One Winks – Forty One Winks is quite a groovy R&B dance number. I do like the old-school vibes of the song, as well as how consistent the track is. TXT executed their vocals well, especially those small ad-libs throughout the song. I would have liked to hear more of Forty One Winks, given its short length of just 2:30 minutes.(8/10)

6. Higher Than Heaven – Finishing off the mini-album is Higher Than Heaven, a bright and fun rock track. Everything about the track is dynamic, and I love that consistent aspect of Higher Than Heaven. TXT’s vocals were very refreshing, and the instrumentation was just so uplifting and energetic. My favourite bit has to be the post-chorus, with the ascending ‘High’, which leaves quite a strong impression. (10/10)

Overall Album Rating – 8.6/10

TXT’s teaser image for The Star Chapter: Sanctuary

[Review] NOT CUTE ANYMORE – ILLIT

December 11, 2025Posted in KPOP, ReviewsTagged ILLIT1 Comment

Two weeks ago, ILLIT made their surprise comeback with NOT CUTE ANYMORE. Well, it was a surprise, for me at least, because I didn’t see any pre-comeback promotions for this release. NOT CUTE ANYMORE is ILLIT’s first Korean comeback since Do The Dance earlier this year.

NOT CUTE ANYMORE takes on reggae-pop, but in a very beige manner. For a group that has been dependent on a cute sound since their debut, the reggae-pop could have been a very unique direction for them and/or their discography. Considering the intent of the song, making NOT CUTE ANYMORE sound beige was intentional (more on this in the music video section). But this ‘beige-ness’ ends up being so thick in NOT CUTE ANYMORE that it makes it challenging to engage with the song, even for the purposes of this review. It extends from the minimalist instrumentation to the small vocals the members deliver in this song (which, in the end, make them sound cute). One thing that did come out of this, though I am not sure it is a positive, is that the beige is so prevalent that it does become a memorable part of the song. On a more light-hearted note, the combination does give NOT CUTE ANYMORE the catchy line “I’m not cute anymore” from the chorus, but that doesn’t do enough to make up for the rest of the song.

Despite trying to leave behind their cute image in the music video for a more edgy and mature look, the video for NOT CUTE ANYMORE portrays their attempt as a cute act and shows us that ILLIT cannot simply shake this cute image off. This was the whole point of the song, and so what we see in the music video is a strong portrayal of this concept. I just wish the song did this more engagingly. I liked how colour-wise, the music video is very toned down, complementing the beige sound, but also the notion that looking edgy and mature is not a colourful thing.

Watching the performance, I find myself smiling at their failed attempt at being edgy and mature. I liked how some of the members smile in one moment and, the next, are expressionless and serious. It brings the concept into the performance quite well.

Song – 6/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.3/10

[Review] Put It Back – ONF

December 10, 2025Posted in KPOP, ReviewsTagged ONFLeave a comment

Another mid-November comeback that I have yet to review (until today) is ONF’s Put It Back, the lead single off their 9th mini-album, UNBROKEN. Put It Back follows the release of the first part of their 2nd studio album, ONF: My Identity, and its title track, The Stranger.

Put It Back is good, but not great compared to ONF’s past hits. There are some elements that I really like that have me coming back to Put It Back. The super funky instrumental was the first thing that really jumped out at me. The concentration of prolific guitar twang and plucks makes Put It Back super cool and groovy. The hip-hop elements were also nicely handled throughout the song. Clear vocals and rapping are also present. The biggest problem I have with Put It Back is the lack of that really memorable hook and/or melody that becomes a defining feature of the song, as per their past hits. The “Put It Back” line that opens the chorus and its repetition as the post-chorus hook just doesn’t have that same ONF feel and boldness to stick with you, even after the song ends. This is most likely the result of decoupling ONF from Hwang Hyun, a long-term collaborator with ONF who has been behind many of ONF’s past songs.

The music video for this comeback was fairly straightforward, which I suspect is because budgets were cut back. For the most part, it featured close-up shots of the members, with the camera very close to them, as well as choreography shots around the stadium. The former offers what felt like a direct, unfiltered view of the members, which is a cool aesthetic. At the same time, with the latter, I appreciated how the production team used lighting, post-production and the outfits to give off different vibes and make it seem like entirely different locations.

ONF’s synchronisation and the smoothness of the ‘Put It Back‘ moves at the start of the chorus were the standout elements of their performance. Both were very cool to watch and appreciate.

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

[Special] 2025 KPOPREVIEWED Awards – Coming Soon

December 10, 2025December 15, 2025Posted in KPOPREVIEWED Awards, SpecialLeave a comment

With the end of 2025 fast approaching, it is time we celebrate the year that has just passed. And what better way to do that than by the 2025 KPOPREVIEWED Awards! Welcome to the annual event, where you (yes, YOU!) get to choose who were the best of the best in the year that has just passed.

What does the 2025 KPOPREVIEWED Awards entail?

Per usual, I have done the hard and challenging job of selecting the nominees for the 2025 KPOPREVIEWED Awards. In a couple of days, the nominees will be announced and the voting form will open. Your votes (and your votes only) will determine who is the best of 2025 in the following categories:

Best Group/Soloist (Female/Male)
Best New Group/Soloists (Female/Male)
Best Subunit
Best Delivery (Vocal/Rap/Band Performance)
Rising Star
Most Underrated Artist
Best Non-Korean Artist in KPOP
Best Group Dance Performance (Female/Male)
Best Solo Dance Performance (Female/Male)
Best Special Performance
Best ‘Return to Stage’
Best Stage Presence

Best Looks
Best Concept
Best Music Video
Best Cover
Best Western Song By a KPOP Artist
Best Japanese Song by a KPOP Artist
Best Collaboration
Best Song per Genre (Ballad/Electronic/Pop/R&B/Rock or Band/Rap or Hip-Hop)
Best Remixed Version
Most Underrated Song
Best Album

Per usual, Best Song and Artist of 2025 award winners will be decided based on fan nominations (you will be able to pick up to 3 songs and 3 artists each when voting opens) and my Weekly KPOP Charts. Both will be weighted equally (50% each). Your nominations will also help determine the Most Popular Song and Artist of 2025 awards. More details regarding voting will be published when voting opens!

Make sure to follow me on Twitter (I know it is called X, but I still call it Twitter), Facebook and Bluesky (this is a new one for me!) for updates and reminders to vote.

When will it all occur?

Key dates for the 2025 KPOPREVIEWED Awards include:

Announcement Post – 10 December 2025 (this post!)
Nominations Announcement and Voting Opens – 17 December 2025 [DATE UPDATED!]
KPOPREVIEWED’s Choice (My choice!) – 31 December 2025
Voting Closes – 17 January 2025 [DATE UPDATED!]
Winner Announcement – 15 February 2026

What is the eligibility period for the 2024 KPOPREVIEWED Awards?

An artist is eligible for nomination in any category (including Best Artist of 2025) if they had a comeback between 1 November 2024 and 31 October 2025 (inclusive).
A song is eligible for nomination in any category (including Best Song of 2025) if it was released between 1 November 2024 and 31 October 2025 (inclusive).
An album is eligible for nomination provided it was released between 1 October 2024 and 30 September 2025 (inclusive).
A performance is eligible for nomination provided it was performed between 1 November 2024 and 31 October 2025 (inclusive).

What will fans not be voting on?

Any category based on the blog (i.e., Most Viewed Song and Album Review in 2025) and my Weekly KPOP Charts (i.e., Most Number 1 Songs in 2025), as well as Best Side Track of 2025. That’s all me!

Next up: Check the blog on 17 December 2025 for the nominees and voting form (which will open on the same day and remain open for a month)!

[Review] LOOK AT ME – ALLDAY PROJECT

December 9, 2025December 9, 2025Posted in KPOP, ReviewsTagged ALLDAY PROJECT1 Comment

Making their comeback yesterday was ALLDAY PROJECT, with their self-titled debut mini-album. The mini-album does feature their recent single release ONE MORE TIME, but it is led by the single LOOK AT ME, which also dropped yesterday.

After a successful debut with FAMOUS and a comeback with ONE MORE TIME, I am disappointed with LOOK AT ME. From the nursery rhyme-based chant in the chorus (which makes the song sound childish) to the plain instrumental elsewhere in the song, everything pretty much felt a downgrade in comparison to their previous singles. LOOK AT ME is also relatively short in length, and that hindered its ability to actually develop into something decent. On the flip side, I did find some aspects of LOOK AT ME to be decent, so it isn’t all bad news for the song. The bass was appreciated, as was the rapping by ANNIE, BAILEY and TARZZAN in the second verse. TARZZAN also does well in the bridge. But overall, I very much prefer their more recent single ONE MORE TIME over LOOK AT ME any day.

From what I can gather from the music video, ALLDAY PROJECT is the centre of attention, breaking free from the rest of the world and garnering attention in the process. Some trampoline bounces, cool-looking close-ups, and nice editing/post-production make for a decent video. I felt the song limited the video’s potential. For example, the brown tones of the video complemented the music, but felt so boring and dull.

While the performance has been a strong point for ALLDAY PROJECT, I don’t necessarily think it was much of a highlight in this comeback. While we have not seen a performance for LOOK AT ME yet, the music video usually steps in to highlight the key points of the choreography. But aside from the ADP signage, I don’t remember much of the choreography from the video. I might return once we see a performance, in case there is more to it.

Song – 5.5/10
Music Video – 7/10
Performance – 7/10
Overall Rating – 6.3/10

[Review] Lemonade Fever – CRAVITY

December 8, 2025Posted in KPOP, ReviewsTagged CRAVITY1 Comment

Despite CRAVITY’s Lemonade Fever being out for a month now, I am actually excited to finally get a chance to review the new single. Lemonade Fever is the title track of CRAVITY’s Dare to Crave: Epilogue, the repackaged version of their 3rd studio album, Dare to Crave, that was released in June this year. Alongside that album, CRAVITY released Set Net G0?! as the title track.

Lemonade Fever stands out of the pack with its energetic groove and funky underlay, pushing forward a dynamic and upbeat dance profile. Great rapping and vocals feature throughout Lemonade Fever, with easy-on-the-ear pop melodies that help make the song approachable. Lemonade Fever is very much an underrated track and should have received more attention. Needless to say, CRAVITY did well with the song, but it wasn’t any of the already mentioned aspects of Lemonade Fever that grabbed my attention. That came down to the second half of the chorus, with the distorted guitar. The deepness, the harshness and abrupt nature of this second half was such an unexpected change up and contrasting element to the rest of Lemonade Fever. Yet, it works extremely well as a centrepiece to the song. Overall, I enjoy repeating Lemonade Fever, but there is something about that second half of the chorus that just manages to tickle my brain, particularly when it comes out of the blue.

The music video and lyrics to Lemonade Fever sees the members liken the attraction and pull towards a lover to the sweet taste of lemonade. The music video features the members enjoying the sweet taste of the beverage and shares this enjoyment with the people around them. Though, I think it gets out of hand at a certain point, with lemonade leaking all around the station, and it turning people exposed to a zombie. Slightly confusing, but still a fun and lighthearted video to enjoy.

The performance for Lemonade Fever encapsulates the funky and groovy elements of the song for majority of the choreography. But when it comes to the contrasting sequence of the song, the members turn serious (to complement the deepness and harshness) and give off more mature vibes. I did enjoy the entire performance, but particularly that same part in the routine.

Song – 10/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 9.2/10

[Album Review] DRIP (1st Studio Album) – BABYMONSTER

December 7, 2025Posted in Album Reviews, KPOPTagged BABYMONSTERLeave a comment

Less than a year since their debut, BABYMONSTER released their 1st studio album, DRIP, in November 2024. And more than a year later, I am finally reviewing it. DRIP featured two title tracks: one sharing the same name as the album and CLIK CLAK. The album also features the pre-release track FOREVER (released in July 2024), a remix of their debut single BATTER UP, and 5 side tracks. There are some terrific songs on the album, and others that were questionable. But I was nonetheless excited for their first studio album and satisfied with how far they had come in the first year of their career.

Since the release of DRIP, BABYMONSTER embarked on their first world tour, released the single HOT SAUCE (which I have yet to review) and returned with their second mini-album, WE GO UP, featuring the title track of the same name.

1. CLIK CLAK(Title Track) – Click here for my full review of CLIK CLAK. (5/10)

2. DRIP (Title Track) – DRIP has definitely grown on me since its release. Thus, I am willing to bump the song rating by 0.5. Click here for my full review of DRIP. (8/10)

3. Love, Maybe – Following the two title tracks, I did not expect to hear an intimate ballad. But that is what Love, Maybe is. BABYMONSTER puts their stunningly emotional vocals over a minimalistic guitar-led instrumental to make a beautiful track. I don’t have much to say aside from that BABYMONSTER nailed it. (9/10)

4. Really Like You – I quite like the old school hip-hop vibe that Really Like You gives off. The track is softer than the title tracks, serving as a nice bridge between the ballad preceding it and the rest every time I listened to Really Like You. The same goes for the music video that I forgot to review. (8/10)

5. Billionaire– Billionaire was quite a surprise for me. R&B kicks off the song, and I really enjoyed the guitar work in the track. It gives off a distinct Latin flair that feels very unique and mature. I also really enjoyed the vocal work in this one, with the members keeping their voices low. It adds to those mature vibes already mentioned. The rapping gives Billionaire its edge and reminds us of BABYMONSTER’s hip-hop roots. The deep vibrating synth during this part and the bridge was spectacular. (9/10)

6. Love in My Heart – Click here for my review of Love in My Heart. (7/10)

7. Woke Up in Tokyo (Ruka & Asa duet) – The rappers of BABYMONSTER come together to give the album, and us, an English/Japanese track. With RUKA and ASA at the helm, I expected something powerful. What I didn’t expect was a hip-hop rendition of a nursery rhyme. Safe to say, Woke Up In Tokyo is not my cup of tea, and I’m not sure the album needed this track. But here we are. (5/10)

8. FOREVER – Click here for my review of FOREVER. (8/10)

9. BATTER UP (Remix) – Per usual, I don’t review remixes and include a rating for them on album reviews. But I would like to point out how much 2010s nostalgia the remix instrumental brings to me. For my thoughts on BATTER UP, click here for my review of BATTER UP.

Overall Album Rating – 7.4/10

[Weekly KPOP Chart] Week 1 of December 2025

December 7, 2025December 7, 2025Posted in Weekly ChartsTagged Stray Kids1 Comment

Welcome to the next Weekly KPOP Chart post for Week 1 of December 2025, which spans from November 30 to December 6 2025.

Okay, that fourth thing from last week kind of did snowball this week. But I did manage to get a little more out than last week, so that should count for something. Anyhow, in addition to (hopefully) more reviews this week, keep your eye out for a special announcement on 10 December 2025 (this coming Wednesday). Until then, here is the Weekly KPOP Chart post for Week 1 of December 2025.

What else am I listening to?

Each week, I spotlight a song not on the Weekly KPOP Charts that I’ve been listening to over the past week. This week’s song is aespa’s Drama.

Non-Korean Song of the Week

Each week, the top-ranked non-Korean Song on the Weekly KPOP Chart is spotlighted (as this is an area I haven’t been focusing on as much on my blog lately). The non-Korean song of the past week is, once again, CLOSE YOUR EYES’ SOB (with IMANBEK).

The Chart

Stray Kids’ second lead single from their mixtape DO IT, DIVINE, ranked in the top spot this past week. Congratulations again to Stray Kids!

Pos.	Title	Artist	Status
1	DIVINE	Stray Kids	(▲ 1)
2	Do It	Stray Kids	(▼ 1)
3	Lemonade Fever	CRAVITY	(▲ 8)
4	ONE MORE TIME	ALLDAY PROJECT	(▲ 2)
5	Say My Name	MIYEON (i-dle)	(▲ 13)
6	Beat It Up	NCY DREAM	(▼ 1)
7	Panorama	TAEYEON (SNSD)	(NEW)
8	Blue Valentine	NMIXX	(▲ 13)
9	Talk To You	YEONJUN (TXT)	(▲ 4)
10	TUNNEL VISION	ITZY	(▼ 6)
11	PUT IT BACK	ONF	(▼ 2)
12	Saturday Preacher	CHA EUNWOO (ASTRO)	(RE-ENTER)
13	Pinocchio	AHOF	(RE-ENTER)
14	White Memories	fromis_9	(NEW)
15	Choose	ATEEZ	(NEW)
16	SOB	CLOSE YOUR EYES (with Imanbek)	(▲ 7)
17	Can’t Stop	TXT	(RE-ENTER)
18	RAINBOW	HIGHLIGHT	(NEW)
19	OVERDRIVE	TWS	(▼ 3)
20	SPAGHETTI	LE SSERAFIM ft. j-hope (BTS)	(RE-ENTER)
21	Fame	RIIZE	(▼ 18)
22	FOCUS	Hearts2Hearts	(▼ 8)
23	Hollywood Action	BOYNEXTDOOR	(▼ 8)
24	WE GO UP	BABYMONSTER	(▼ 7)
25	I DON’T CARE	Baby DON’T Cry	(RE-ENTER)
26	PSYCHO	BABYMONSTER	(▼ 4)
27	Stretch	U KNOW YUNHO (TVXQ)	(NEW)
28	Sugar	JUNGWOO (NCT)	(▼ 21)
29	Good Stuff	Karina (aespa)	(NEW)
30	NOT CUTE ANYMORE	ILLIT	(▼ 22)

[Album Review] Tipi-Tap (6th Mini-Album) – Kep1er

December 6, 2025Posted in Album Reviews, KPOPTagged Kep1erLeave a comment

Next up for an album review is Kep1er’s Tipi-Tap mini-album, the group’s 6th. Leading this five-track mini-album is the title track, which gives the album its name. Both the Tipi-Tap song and mini-album mark Kep1er’s first Korean release since June 2024’s Shooting Star and the studio album Kep1going On, as well as Kep1er’s first release as a 7-member group (following the departure of MASHIRO and YESEO, who redebuted as part of MADEIN).

More recently, Kep1er released their first Japanese mini-album, Against the World (led by YUM), and their seventh Korean mini-album, Bubble Gum, (led by the single of the same name).

1. sync-love – First song out of the gate is sync-love, a hyper-pop track, which features some really cool synth work and rapping work from HIKARU.I really liked how pronounced both these elements were throughout the track. Contrasting them are the less-pronounced vocals and the backing to the vocal’s sequences, but they bring such a nice grounded and R&B touch to the song. I also really enjoyed the outro, with the autotune filtering of DAEYEON’s lines and HIKARU’s acapella line. Overall, a strong start to the mini-album. (9/10)

2. TIPI-TAP (Title Track) – Click here for the full review of TIPI-TAP. (6/10)

3. Drip – Out of all the different aspects that make up Drip, it is the chorus that speaks the most to me. It is so catchy and addictive, even though the main hook is just simple repetition. That and the combination of the tight beats during the refrain was super cool. I did wish there was a bit more to the rest of the instrumentation. I also like the mature vibe of the vocals, which complements the mature-leaning lyrics well. Also, Drip has HUENING BAHIYYIH performing the more substantial rapping part and completely nailing it. (8/10)

4. Bitter Taste – Aside from the title track, Bitter Taste is probably the second most skippable song to me. I just don’t remember anything from it, even after listening to the song to write this review. After really focusing in on the song, the only thing I do get out of it is that it has dreamy instrumental and vocal moments. Unfortunately, nothing else stands out to me that I find worth mentioning here. (6/10)

5. Heart Surf – Heart Surf also has a dreamy and soft vibe to it, but it is the vocal work and harmonies in this song that set it apart from the previous song. The flow of the vocals and the song overall was extremely nice. I love the subtle piercing nature of the ‘Just stop the motion’ line just before the choruses. (8/10)

Overall Album Rating – 7.4/10

[Review] Panorama – TAEYEON (SNSD)

December 6, 2025Posted in KPOP, ReviewsTagged SNSD, Taeyeon (SNSD)1 Comment

Earlier this week, TAEYEON made her comeback with her first Korean compilation album, Panorama: The Best of TAEYEON, to celebrate 10 years as a solo singer. That was 2015 with the I (ft. Verbal Jint), though this album only features a solo version of her solo debut track. Leading the 23-track album of TAEYEON’s past hits and title tracks is the new single, Panorama. This comeback comes 1 year after her Letter To Myself comeback in November 2024.

Panorama starts off with soft piano and guitar in a ballad-like intro. It slowly builds towards the first chorus, which adds in the presence of drums before slowly building up again and bursting into the proper form of Panorama – a pop-rock single. From there, Panorama maintains the same momentum and energy before easing out at the end. The second chorus, however, launches right into the pop-rock sound and doesn’t feature a build-up in its first half. As with any of her solo songs, each section features her stunning vocals, keeping you engaged and entranced. While I quite enjoyed the choruses’ melodies, I wished the verses had something similar. The chorus really takes away a lot of the focus, and while the verses were good, they just didn’t have the same impact as the chorus. Overall, it is rare for any of TAEYEON’s songs to go wrong, and Panorama is another song that proves it.

The music video opens with a young female entering TAEYEON’s bookstore. The latter hands the younger a book and proceeds to stare at the younger customer whilst she reads it. Not creepy, but this sparks a smile from the younger customer and a friendship blooms from there. As they go on a road trip, it becomes clear that the pair share common interests and care for one another (particularly TAEYEON). As the video goes on, it is revealed that the younger girl is, in fact, the younger version of TAEYEON, taking possession of TAEYEON’s red umbrella that we see TAEYEON use at the start and throughout the video. While this felt very apparent from the onset of the video, I did quite like the reveal. I also like the scene where TAEYEON holds a battered version of the umbrella as she watches the younger girl, symbolising the hardships she endured on her journey to where she is today.

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

[Review] TUNNEL VISION – ITZY

December 5, 2025Posted in KPOP, ReviewsTagged ITZYLeave a comment

It has been almost a month since ITZY made their comeback, but I am finally getting around to reviewing their comeback single. The five-member group from JYP Entertainment returned in November with their 11th mini-album, TUNNEL VISION, led by the title track of the same name. It is the group’s first release since their Korean comeback with Girls Will Be Girls in June and their Japanese comeback with ROCK & ROLL in October. The group will also be embarking on their third tour next year.

Even after a couple of weeks after the release (enough time for the song to grow on me), TUNNEL VISION (as a song) doesn’t do it for me. The opening vibrant synth is intriguing enough to get me started on the song, and the edgy vibes and hefty beats of the instrumental were promising. But once the song ends, I find myself moving on from TUNNEL VISION as if it didn’t just play, or it never really existed. One of the most significant issues with TUNNEL VISION is its overly consistent nature, in which the song feels the same from start to finish. There is no buildup of momentum and/or energy, which holds back and exacerbates the lack of appeal of TUNNEL VISION for me. Similarly, the members fail to stand out in the song. The chorus and hip-hop influences were probably the most pronounced aspects of TUNNEL VISION, but the choruses’ chant felt dull and unexciting, and the hip-hop influences didn’t stick with me. I know I sound negative about TUNNEL VISION. But given that the song hasn’t grown on me or left any impression, I don’t see how I can be anything but that about it.

The song’s lyrics are about staying focused and not letting others cloud your line of sight to the ‘light at the end of the tunnel’. Conceptually, this was another interesting aspect of the song. With this in mind, the music video shows paparazzi, darkness, GPS systems blowing up, and other obstacles that prevent the members from moving forward. But this doesn’t stop them; the members push through everything. Even after the car accident and almost getting run over by a train (representing the hurdles to achieving their goals), they demonstrate their unrelenting focus, no matter what happens. I have to say, the car accident scenes, where the members are flying out of the car, and the train scenes were pretty epic moments in the music video and looked really cool. Likewise, the ending shot (see featured image) of the members at the tunnel’s end was super cool. The eyeball scenes though, had a creepy vibe, which is right up my alley.

As for the performance, ITZY does it again with their strong choreography skills. I really liked the ‘tunnel vision’ moves they did in the chorus. Two of them are memorable: one hand kept straight and the other in a wavy motion, raised to their face along their line of sight, while the other involves the members looking through a triangle formed by their hands. I also like how they incorporate the ‘crown’ at the end of the routine – it keeps me sticking around to the end.

Song – 6/10
Music Video – 8.5/10
Performance – 9/10
Overall Rating – 7.4/10

[Review] DIVINE – Stray Kids

December 3, 2025Posted in KPOP, ReviewsTagged Stray Kids4 Comments

ICYMI – Stray Kids’ latest mixtape, Do It, features double title tracks. The first shares the same name as the mixtape and I have already reviewed it. The second is titled DIVINE, which will be the focus of this post. A music video for DIVINE was finally unveiled at the end of last week and was later performed for the first time at the 2025 MAMA Awards, where the group clinched onto the Album of the Year award for KARMA (led by CEREMONY).

DIVINE was an instant favourite of mine when Do It first dropped. Opening the track up was impressive vocals from SEUNGMIN, which I cannot help replaying constantly. My bias could be peeking through, but objectively, I found it to be a memorable and powerful opening. Similarly, the ending sees BANGCHAN come into the song for the first time with a really sleek and nice ‘Ooh-Woah‘ ad-lib. It would have been nicer with less autotune, but definitely ends DIVINE in a pleasant manner. In between the opening and ending is a hip-hop motif that I really enjoyed. There was a really strong yet simple rhythm and beat to the chorus that was appealing, and I liked the addition of the traditional Korean instrument to the mix. The combination of folksy and modern always comes off as unique to me. All of the hooks to DIVINE were super catchy, especially the traditional Korean chant that Stray Kids infuses effortlessly in this hip-hop influenced song. The rapping in the verses follows a similar straight forward, yet lowkey, beat and rhythm. I did make a side comment about autotune earlier, but I really liked its presence, and the descending melody, in the pre-choruses. It is such an interesting effect that helps boosts the song in the memorability department. Overall, DIVINE is quite charming and continues Stray Kids’ consistent high-quality title track output.

In the DIVINE‘s lyrics, the members rap and sing about creating a new world with their music. For the music video, we see Stray Kids co-exist in ancient Korean times, seeking to trap an evil spirit in a bottle to reinstall order in the world. While Stray Kids have used the traditional concept before through their Thunderous comeback, DIVINE‘s music video leans quite heavily into the concept. And I quite liked how all of the traditional elements were presented in the music video. My biggest problem with the music video is the screen time of some of the members. It appears each member only appeared during their parts of the song, which does make sense to a degree. But I think each member deserved a more substantial presence – maybe they could have featured another member in the background of some solo shots to boost each members’ presence in the video. This would also fit some of Stray Kids’ music video aesthetics.

The only performance of the DIVINE so far is at the MAMA awards. You can really see the hip-hop influence, as well as their stage, presence in action. Though part of me thinks the performance only has this grandness to it because of the many dancers that were on stage. However I must give mad props to both LEE KNOW and SEUNGMIN who performed despite being injured. If you really pay attention to LEE KNOW during the DIVINE segment, you can see how much pain he was in and how he pushed through the entire performance.

Song – 10/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 9.3/10

[Album Review] 導火線 (TRIGGER) (9th Mini Album) – THE BOYZ

November 30, 2025November 30, 2025Posted in Album Reviews, ReviewsTagged THE BOYZLeave a comment

Released at the end of October 2024 is THE BOYZ’s 9th mini-album, 導火線(TRIGGER). Over a year later, I am finally getting around to reviewing the mini-album (sorry about that). Led by the single that shares the same name as mini-album, the release features a total of 6 songs and is a fairly consistently good mini-album from the group.

A lot has happened with THE BOYZ since the release of 導火線(TRIGGER), including the release of a studio album (Unexpected, led by VVV) and another mini-album (A:effect, led by Stylish), a change in label to ONE HUNDRED, and line-up changes due to military enlistment, health issues and other matters.

1. Bite Back – Bite Back sets the intense scene that is the TRIGGER mini-album with atmospheric choir, before switching into a hip-hop track featuring afrobeats. I really liked the chorus for this track, with the afrobeats, the members’ husky vocals and simple repetition of the song’s title creating quite a catchy hook. The rapping was also quite cool in this track, with SUNWOO and ERIC taking the spotlight with their parts. I wish the rest of the vocals in Bite Back were more prolific, as they gave off a one-dimensional feel. (8/10)

2. TRIGGER (導火線) (Title Track) – Click here for TRIGGER’s full review. (9/10)

3. bAd – THE BOYZ continues with the hip-hop influence through bAd. I liked how bAd contrasts with the preceding songs by having a more minimalistic instrumental. I really liked the beat to the chorus – it brings forth an old-school vibe and the rhythm was catchy. I also appreciated that the vocals had a larger part to play in the song, and that they were a lot stronger on this single. (8/10)

4. Slip Away (숨바꼭질) – Slip Away is a R&B track, with sensual vibes oozing out of the song. I love the different paces of vocal delivery, the higher tones and harmonies throughout the track. This gives Slip Away a little more intriguing factor and colour, which is beneficial for a genre that can easily come off as flat. Whilst toned back, the rapping does go hand-in-hand with the R&B colour and vibes. But there was a risk that did eventuate as a result of toning back – the raps were lost to the rest of the song. (8/10)

5. Re-Wind – Re-Wind combines the R&B and hip-hop influences we have heard thus far on the mini-album, creating a groovy and sleek intersection. I enjoyed the smoothness, and the brighter feel-good vibes, that the song gives off. The opening line “Can you re-wind it again?” is also another catchy one-liner on the mini-album. Definitely an enjoyable song, and my second favourite off the mini-album. (9/10)

6. They See Me Dream – They See Me Dream stands in place of the mandatory ballad that usually appears at the end of an album. But THE BOYZ takes the vocal focus forward into this track, combining it and their emotions, with an atmospheric instrumental that changes momentum slightly on a number of occasions to keep the track dynamic. I like how the vocals and harmonies pull the song together, while the instrumental was refreshing and dreamy at the same time. (8/10)

Overall Album Rating – 8.3/10

THE BOYZ teaser image for 導火線 (*TRIGGER)*

[Weekly KPOP Chart] Week 4 of November 2025

November 30, 2025December 7, 2025Posted in Weekly ChartsTagged Stray Kids2 Comments

Welcome to the next Weekly KPOP Chart post for Week 4 of November 2025, which spans from November 23 to November 29 2025.

Between the first part of the final season of Stranger Things, trying to progress the end-of-year events for the blog, the MAMA Awards and just good old dissociating from life to think about life, I didn’t turn anything around this week for the blog. With two of those things out of the way (I will leave you to guess which two – they are obvious) and another on the way to completion (I will let you work out which one), I should be able to churn out some reviews this week. Unless that fourth thing snowballs and takes over my life…

Guess we will find out in the week ahead. Until then, here is the Weekly KPOP Chart post for Week 4 of November 2025.

What else am I listening to?

Each week, I spotlight a song not on the Weekly KPOP Charts that I’ve been listening to over the past week. This week’s song is SEVENTEEN’s Rock With You.

Non-Korean Song of the Week

The Chart

Stray Kids’ lead single of the same name from their mixtape DO IT ranked in the top spot this past week. Congratulations, Stray Kids!

Pos.	Title	Artist	Status
1	Do It	Stray Kids	(▲ 5)
2	Divine	Stray Kids	(NEW)
3	Fame	RIIZE	(NEW)
4	TUNNEL VISION	ITZY	(▲ 25)
5	BEAT IT UP	NCT DREAM	(=)
6	ONE MORE TIME	ALLDAY PROJECT	(▼ 5)
7	SUGAR	JUNGWOO (NCT)	(NEW)
8	NOT CUTE ANYMORE	ILLIT	(NEW)
9	PUT IT BACK	ONF	(▼ 7)
10	PUSH BACK	IDID	(NEW)
11	Lemonade Fever	CRAVITY	(▼ 7)
12	SPINNIN’ ON IT	NMIXX	(▲ 16)
13	Talk To You	YEONJUN (TXT)	(▼ 6)
14	FOCUS	Hearts2Hearts	(▼ 6)
15	Hollywood Action	BOYNEXTDOOR	(▼ 12)
16	OVERDRIVE	TWS	(▼ 5)
17	WE GO UP	BABYMONSTER	(▲ 2)
18	Say My Name	MIYEON (i-dle)	(▲ 8)
19	Reno	MIYEON (i-dle) ft. Colde	(▼ 2)
20	F.F.L.Y	MIYEON (i-dle)	(NEW)
21	Blue Valentine	NMIXX	(▼ 9)
22	Psycho	BABYMONSTER	(NEW)
23	SOB	CLOSE YOUR EYES (with IMANBEK)	(▲ 7)
24	HomeRUN	NOWZ	(NEW)
25	Fly Up	tripleS msnz neptune	(NEW)
26	Heart Drop	RESCENE	(NEW)
27	Q&A	tripleS msnz zenith	(NEW)
28	Christmas Alone	tripleS msnz	(NEW)
29	Bloom	RESCENE	(NEW)
30	Cameo Love	tripleS msnz moon	(NEW)

[Review] SUGAR – JUNGWOO (NCT)

November 29, 2025Posted in KPOP, ReviewsTagged JUNGWOO (NCT), NCT1 Comment

Ahead of his upcoming military enlistment in December 2025, JUNGWOO has made his solo debut with the single SUGAR. This is his first music release in over a year – his last was through his participation in NCT 127’s Walk studio album. Since then, NCT 127 embarked on a world tour, Neo City – The Momentum, which ended back in May this year.

For me, I found SUGAR to be a decent listen despite the unfavourable lead-up to the release. The less-than-a-week notice of the release and lack of marketing didn’t build much hype for the song, and SUGAR lacks standout features. But SUGAR still had enough to feel and sound sweet and pleasant. JUNGWOO’s vocals bring the sweetness to the table, while SUGAR‘s melodies and the subtle grooviness in the instrumental were the pleasant aspects of the song. The rapping in the second verse was a neat addition to the mid-tempo track. There is also a refreshing tone and foot-tapping upbeat nature that makes SUGAR feel more suited during the summery periods, and would have been a likable hit had it been released during that period. But irrespective of its release date, SUGAR is still a nice listen overall.

The music video sees JUNGWOO visit the dentist, after which he indulges in sugary treats – so much so that he turns into a working piece of art. Talk about trajectory! But upon reflection on the lyrics, there is probably more to the video than what meets the eye. The sugar most likely represents his fans. He enjoys being in their presence (i.e., he is the centrepiece of the artwork) and they bring him comfort (i.e., the scenes where he is enjoying the lollies and soft drinks). The dentist appointment can be seen as his military enlistment – a period of time where he can’t be with his fans (i.e., the sugar), with the subsequent scenes about him eating the sugary treats and the artwork also doubling up to represent his hopes that, following his military enlistment, he would be able to continue making sweet memories with his fans.

For the performance, I really liked the bubbly and bright energy he brings, personality wise, to the routine. It makes the whole routine feel comforting, familiar and enjoyable, which I am sure JUNGWOO’s fans like. There is a bit of a mature/sensual vibe behind some of the moves – these appear primarily in the second half of the chorus, and I enjoyed kicks that follow.

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

[Album Review] Whiplash (5th Mini Album) – aespa

November 25, 2025Posted in Album Reviews, KPOPTagged aespaLeave a comment

aespa really hit it big last year with their lead singles. After the likes of Supernova (which took the industry by storm), followed by their Armageddon title track and studio album, aespa also returned in October 2024 with another hit – Whiplash. Just over a year after its release, I have finally gotten around to reviewing the mini-album of the same name, which features 6 songs (including the title track itself). And it is a super excellent mini-album, ranking quite highly on my list of album releases. All tracks on this mini-album are highly recommended for you to check out if you haven’t already!

Since Whiplash, aespa has released one digital single (Dirty Work) and a new mini-album, Rich Man, featuring the title track of the same name.

1. Whiplash (Title Track) – Whiplash definitely grew on me after I posted my review for the track. Given the growth, I am bumping the original review score to 8/10, though most of my thoughts remain the same. Click here for Whiplash’s full review. (8/10)

2. Kill It – The intensity and powerful energy from Kill It’s instrumental brings me to the edge of my seat each time the song plays. Combined with aespa’s commanding presence and strong vocals, aespa presents us with a killing combination that feels like a natural follow-up to 2023’s Drama. (10/10)

3. Flights, Not Feelings – If there is one sequence within Flights, Not Feelings to recommend you check out, it is definitely the chorus. Sure, the centrepiece is meant to be the most memorable part of the song. But the all-member vocal delivery of it, as well as the steady R&B beat of the entire length of the chorus, was just stunning. I find myself vibing to the song every time it comes up in my Spotify queue. Elsewhere in Flights, Not Feelings, you have some equally stunning harps and piano, and a consistent presence of amazing vocals from the members. (10/10)

4. Pink Hoodie – Seeing Pink Hoodie on the tracklist and the fact that the first two words of the song are ‘Baggy Jeans’ instantly remind me of NCT U’s Baggy Jeans. While there are some similarities between the two songs (i.e., both fall under the hip-hop and dance genres), Pink Hoodie is definitely more palatable. The execution of the chorus was much better – there was such a cool vibe to it that I couldn’t help but nod along to the beat. The bridge has a soothing presence, driven by vocals, contrasting with the rest of the hip-hop-based track. I also liked how intense the final chorus got, giving Pink Hoodie a final push to close out the song. (9/10)

5. Flowers – Flowers put the mini-album back in the R&B genre. I like how this is more of the classical R&B, with the prominent guitar riff in the background. The members sound stunning throughout the track, and I like how the melodies create a swaying effect. I also really enjoyed the subtle presence of autotune in the bridge, giving the track a little extra to offset it from being overly consistent. (9/10)

6. Just Another Girl – Hearing aespa have another go at the pop-rock genre is exciting. Whilst writing this review, I will admit I got slightly distracted and found myself checking out Live My Life. While not as explosive as the former track, aespa still does a great job with Just Another Girl. The deep vocals they used were intriguing, but I guess they were being nonchalant about calling out a cheating partner. The bridge is definitely the strongest and best sequence of the track. (8/10)