Casual reviews of KPOP songs, music videos & dances
Author: kpopreviewed
Hi, my name is Tony and I am the man behind the site, kpopreviewed. Currently an university student who wants to introduce people to KPOP and if you are already into KPOP, different groups and bands.
Welcome to the next Weekly KPOP Chart post for Week 2 of January 2026, which spans from 11 to 17 January 2026.
FYI – Voting has now closed for the 2025 KPOPREVIEWED Awards
As per the subheading, voting for the 2025 KPOPREVIEWED Awards has now closed. Thanks to all who voted.
I will now spend some of the following weeks working on the post announcing the winners you voted for and doing some maths to determine Best Song and Artist of 2025.
Check back mid-February for the winners! The post’s date is TBC, at this stage.
What else have I been 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, thanks to their comeback, is ENHYPEN’s Drunk-Dazed.
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, KATSEYE’s Internet Girl.
The Chart
DxS (DK x SEUNGKWAN)’s Blue is in the top spot this past week. Congratulations to DxS!
Following the hyperfocus on 2024 albums, it is back to 2025 albums. Thanks again for your patience on that front. Kicking things off in the restart of the coverage of 2025 albums is HxW (HOSHI x WOOZI)’s single album, BEAM. The single album features 3 songs, one of which is the title track 96ers. Based on my thoughts below, the title track weighed down the single album, while the other tracks were stronger, though each could have been enhanced through a stronger presence of both HOSHI and WOOZI.
Following the release of the single album, the pair participated in SEVENTEEN’s 5th studio album, HAPPY BURSTDAY (led by title track THUNDER), before enlisting in the military in September 2025.
BEAM Album Cover
1. Pinocchio (ft. So!Yoon!) – The single album opens up with the too short (1:46 minutes!) yet serious Pinocchio. The song features a creepy classical background that feels fitting for a classic horror movie. And just to amp up the creepiness, a music box is also heard in the background. Once the song peaks, we are enlightened with more modern yet paced EDM synths. It is interesting that the featuring artist, So!YoON! does a great job carrying most of the song with his haunting delivery of the lyrics, with HOSHI x WOOZI having limited lines, coming in to complete some lines or serve as an echo. It is a choice, but I would have liked to have heard more of them. So!YoON!’s “I really hate you” whisper is probably my favourite part of the song. (8.5/10)
3. STUPID IDIOT – As I play STUPID IDIOT for the purposes of writing this review, I find it incredibly hard to not get up, let loose and do something embarrassing. It is a deep house track that demands you to just have fun. The instrumental is an extremely recognisable and catchy element of the song. HOSHI and WOOZI are incredibly silly in the lyrics (and on stage). However, I would have liked to have heard more from the pair, as they did a great job of selling this track. (9/10)
Overall Album Rating – 7.8/10
HOSHI’s teaser image for BEAM.WOOZI’s teaser image for BEAM.
While not technically part of the rookie fortnight coverage, coverage of a 2026 rookie group wouldn’t hurt. ALPHA DRIVE ONE (or ALD1 for short) was formed through MNET’s survival show BOYS II PLANET, which aired last year. Unlike previous iterations of the survival show, only the top 8 trainees would go on to form the project group, with this one expected to last 5 years. In the end, Junseo (member of WEi), Arno, Leo (solo artist), Geonwoo, Sangwon, Xinlong (member of BOYSTORY), Anxin, and Sanghyeon made the final lineup of the group. Earlier this week, they released their debut single, FREAK ALARM, the title track of their debut mini-album, EUPHORIA. The group had previously pre-released the single FORMULA in 2025.
Personally, I really liked the way FREAK ALARM opened. SANGWON’s slightly husky voice delivering the song’s hook, with no instrumentation, in the first couple of seconds, was actually a good opening. Then, FREAK ALARM throws us into a shouty chorus. I appreciated the bombastic instrumentation and the funky undertones. But the shouty delivery is, by today’s standards, pretty generic and lacks originality. In the context of FREAK ALARM, it is okay. But I just have a feeling this might not be the last title track from them that will feature the shouty delivery (given how mainstream the motif has become). Moving along, I liked that the funky undertones continued into the verses amid the boom-bap beats. I kind of wish they explored more of this funkiness – there is some potential there that can help ALPHA DRIVE ONE forge something of their own. I liked how stripped back the opening of the third run of the chorus was, which was a nice recall of the opening. FREAK ALARM then enters its best part, the bridge, which features a brief dreamy motif and a strikingly intense ramp up to the final chorus (which, for some reason, felt like it zipped by very quickly). Good vocals and rapping also feature throughout FREAK ALARM, but nothing really to help differentiate ALPHA DRIVE ONE from the rest of KPOP at the moment.
The music video for FREAK ALARM was quite cool. I really liked the use of the white and silver palette for most of the video – it looked very chic and stylish. The same can be said about their all-black attire at the end of the video. Some of the effects were pretty cool, like the lowering ceiling in the middle of the video during the choreography shot and the cracks that appear whilst a member was jackhammering in the kitchen (because where else do you bust out a jackhammer inside the home). But the coolest element in my personal view, which is an indication of my age, was the plentiful storage options throughout the music video.
As a whole, the choreography was intense, and the synchronisation between the members made it look very cool. But nothing stood out on its own, which I really wanted to see to set them apart from the competition.
Song – 7/10 Music Video – 9/10 Performance – 7.5/10 Overall Rating – 7.7/10
ENHYPEN is nominated for Best Male Group in the 2025 KPOPREVIEWED Awards. No Doubt is nominated for Best Dance Performance (Male Group), Bad Desire (With or Without You) is nominated for Best Music Video, while Loose is nominated for Best International Song (English). Support ENHYPEN, No Doubt, Bad Desire (With or Without You) and Loose by clicking here to cast your vote today before it closes on 17 January 2026 (which is today).
ENHYPEN marks the start of their 6th year as a group with a new comeback, Knife, featured on their latest mini-album, The Sin: Vanish (their 7th mini-album to date). Their last Korean comeback was in June 2025 with Desire: Unleash, which featured the title track, Bad Desire (With or Without You), and the follow-up promotional single, Outside.
Similar to Outside (which is probably my most controversial review in recent memory, if not ever), Knife is another hip-hop track with a trap-based instrumental. The difference between songs is that I very much prefer the new song to the old one. I liked Knife‘s hefty beat and the synth work was pretty cool. The hooks, while repetitive, do get keyed into your memory bank. I wish there were more to it, the hooks, though. ENHYPEN’s delivery in Knife was predominantly rapping – I have to give props to each member for giving it a go and sounding angsty (a style not necessarily associated with each member). However, this is where things do unravel for Knife. As the song remains angsty from all angles (including from the moment it begins to the very end), ENHYPEN pretty much stays in this mode for the duration, and so everything feels pretty neutral, overall. The thing that enables this is Knife‘s extremely short runtime, clocking in at just 2:19 minutes – there simply isn’t enough time to lay down the foundations for the song and then let it develop into something better. Had there been more time, Knife could have grown with more vocals, rapping, changes in momentum and drive. Knife was not offered that opportunity, and it suffers as a result.
ENHYPEN continues their vampire lore in this music video. But based on the news report that kicked off the video, the members have grown more confident, appearing in society and amongst the people who are out to get them. The video cuts to HEESEUNG in the barber’s chair, about to have his neck sliced open. But instead, the barber throws his razor at JUNGWON, starting a pretty cool montage where we follow knives being thrown at the members, including JAKE. The slow-motion of his coffee cup shattering and bits flying everywhere was some awesome post-production work. Elsewhere in the video, the members looked very chic and edgy, especially when they are dressed in black. And the awesome, intense visuals continue throughout the video, thanks to high-quality, well-thought-out post-production and camerawork.
The performance was just as cool as the music video. Their stage presence in this one was insane, and I liked how the song’s angst was translated into the performance, giving the routine drive and intensity. The moves were sharp, and the two-finger knife-mimic in the routine (clever!) enhanced it.
Song – 7/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8/10
IDID is the next rookie to be covered on the ongoing rookie fortnight. Formed through the survival show, Debut’s Plan, this seven-member male group (consisting of Jang Yong-hoon, Kim Min-jae, Park Won-bin, Chu Yoo-chan, Park Seong-hyeon, Baek Jun-hyuk and Jeong Se-min) made their debut in September 2025 with the singleCHAN-RAN. Originally announced as an 8-member group, Park Jun-Hwan left the group ahead of their debut due to the distress caused by rumours. Following CHAN-RAN, the group also made their first comeback in November with PUSH BACK, which will be the focus of another review.
CHAN-RAN (제멋대로 찬란하게), with the full Korean title translating to ‘Brillantly on my own’, was an alright title and debut track, eliciting a mixed impression from me. There were certain parts or aspects of CHAN-RAN that I enjoyed, such as the direction of the chorus, the second verse and the bridge. The chorus leans towards a fun, upbeat pop-rock energy, with a slight retro touch in its instrumentation. And at first, this was fun. But I soon grew less enthused about the song due to CHAN-RAN‘s lack of development and dynamic energy. During the second and last run of the chorus, I was left wanting sharper beats, more edginess, a super-catchy hook, or just something more robust in execution. The second verse hears such desire and grants CHAN-RAN the edginess it desperately needs, with Wobin and Semin’s rapping adding much-needed energy. As for the bridge, I enjoyed the execution of both vocals and rapping, with the members sounding a lot more prolific and louder. The high note that leads us into the final dull chorus was actually quite nicely done. Elsewhere, it was all forgettable. As such, CHAN-RAN is a mixed bag of good and boring, which isn’t really the greatest news for a debut track.
There isn’t much to the video, other than it showcasing IDID’s youthful, carefree charm as they hang out together in the summer heat. You consistently get both vibes from choreography and non-choreography shots.
The choreography shots also had a cool vibe, most evident when the song hits its hip-hop stride, like in the second verse. This ‘coolness’ came from IDID’s execution of the choreography, rather than from the music video’s vibes mentioned above. Also, like in the music video, the members did a good job of conveying their youthful, sprightly energy in the routine, especially during the chorus.
Song – 7/10 Music Video – 7/10 Performance – 7.5/10 Overall Rating – 7.1/10
ifeye is nominated for Best New Female Group and Most Underrated Artist in the 2025 KPOPREVIEWED Awards. Their track, r u ok?, is also nominated for Most Underrated Song. Support ifeye and r u ok?by clicking here to cast your vote today before it closes on 17 January 2026.
Another group that debuted in 2025 is ifeye, a six-member female group consisting of Won Hwa-yeon, Taerin, Rahee, Kasia, Meu, and Sasha, signed to Hi-Hat Entertainment. In April 2025, the group released their debut mini-album, ERLU BLUE, and the title track NERDY (the focus of this post). Since then, the group made one comeback with the underrated hit r u ok?. That will hopefully be the focus of another review in the future.
NERDY is a nice take on the dreamy pop atmosphere that has been on trend in KPOP recently. I enjoyed the song’s subdued yet bouncy instrumental and the smooth synth textures. The latter is further emphasised by the group’s smooth vocals and song’s melodies, both of which glide us through the song. NERDY‘s main hook, the “N-E-R-D-Y Catch the nerdy sign, N-E-R-D-Y it’s a nerdy vibe,” actually had a nice ring to it, even if it is an interesting lyric choice. But like most songs with a similar ‘dreaminess’ profile, this style comes with its own flaws, which evenuate in NERDY. One of these flaws is that some elements can be forgotten, and for NERDY, that came in the form of the verses. Rapping usually does not fit in well with this style, as evidenced in NERDY‘s rapping sequences. I was also not a big fan of NERDY‘s bridge, which brings a slight change-up to the instrumentation. But the execution ended up muddling the vocals for me. Overall, NERDY is a fair effort and a decent debut track. It just has the same problems as similar songs with the same profile.
The music video for NERDY is pretty, especially when it comes to the scenes in the forest and in the school in the final chorus, where trees sprout everywhere. There was something about these scenes that felt aesthetic, and I liked the contrast to the school concept that most groups and artists tackle at one point in their careers. NERDY‘s lyrics are about wanting to confess to someone, and we see the anxiety that this creates in the members throughout the video. But once the confession is made, their lives change for the better (i.e, the trees bloom and make everything feel pretty).
Like the music video, NERDY’s performance is also pretty. I would also throw in ‘cute’, as well. Nothing stands out on its own, but the whole routine was a nice one to watch.
Song – 8/10 Music Video – 8/10 Performance – 7/10 Overall Rating – 7.8/10
Next up on the rookie fortnight is CORTIS, one of the biggest rookies of 2025 and a highly requested group that I should review. Consisting of five members (James, Juhoon, Martin, Seonghyeon, and Keonho), CORTIS made their official debut in August 2025 with the single What You Want, which was later featured on their first mini-album, Colour Outside the Lines, which dropped in September 2025. Also featured on the mini-album are the pre-release single GO! and the follow-up promotional single FaSHioN (which I will try to return to review).
I will confess straight up that I wasn’t a fan of What You Want (which is partly why I kind of delayed my review of the song). A couple of months on and a fair number of repeats (Spotify and the award season did not want me to forget this song), and I have warmed up a bit to What You Want. The shoutiness of What You Want, particularly the ‘echo’ of the song’s title that follows the chorus lines and the chorus’s punctuated shouty delivery, became a recognisable element of the song. I found myself following along to these moments when the song comes on. For a debut song, this is a good outcome. Pity that it didn’t come to me earlier. Unfortunately, the vocal processing and delivery in some parts of What You Want made the song feel exhausted and hard to get into. And while I did appreciate the indie rock and hip-hop instrumental, there was very little momentum or drive to it.
The music video shows the members conveying the message of freedom after their van breaks down, leaving them stranded in the middle of nowhere. Their holiday becomes quite wacky throughout the video as the group hitchhikes back to the city. They encounter a monstrous butterfly (and, in trying to escape, one member is left behind and eaten by it). They eat at a chaotic restaurant and have to make a Squid Game-like choice at an underground station. But it appears to be all a dream, as KEONHO wakes up and witnesses another version of himself and the rest of the group make the alternate choice at the station. It is a fun and humorous video that was enjoyable to watch.
What stood out most in this debut was the innovative choreography, which features the group performing on treadmills. Not all of the routine is performed on the treadmill, though, which requires members to get on and off the moving treadmills throughout. That adds further complexity to the choreography. I also enjoyed the free spirit and hip-hop flair the performance had.
Song – 6.5/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.5/10
SEVENTEEN is nominated for Best Male Group, while THUNDER is nominated for Best Dance Performance (Male Group) in the 2025 KPOPREVIEWED Awards. CxM, HxW and BSS are also nominated for Best Unit. Support SEVENTEEN, THUNDER and your favourite SEVENTEEN unit by clicking here to cast your vote today before it closes on 17 January 2026.
Just yesterday, SEVENTEEN debuted their fifth unit, DxS (DK and SEUNGKWAN), who released their first mini-album, Serenade, and the title track Blue. Both DK and SEUNGKWAN are familiar with the unit aspect of the group, as the pair formed part of SEVENTEEN’s first unit, BSS, alongside HOSHI, who is currently serving his military enlistment. Following that, SEVENTEEN also debuted JxW (JEONGHAN & WONWOO), HxW (HOSHI & WOOZI), and CxM (S.COUPS & MINGYU).
Unsurprisingly, pairing up two of the main vocalists in SEVENTEEN equates to a ballad. A beautiful one, for that matter. I understand that there is only so much you can say about the genre. And in terms of longevity, ballads don’t really have much to them unless they are a hit on the domestic market (for example, HWASA’s Good Goodbye – another song I have yet to review). But this shouldn’t deter you from enjoying a ballad, even though you have to really pay attention to it to get the most out of it. I don’t think I would be praising Blue as much if I just casually listened to the song. Anyhow, Blue brings together a classical instrumental as a background and the pair’s emotional vocals to produce a captivating, stunning track. I liked how both gradually harmoniously built together. Once Blue peaks, the classical instrumental becomes somewhat dramatic, and the feelings poured into the song by both DK and SEUNGKWAN pour out in full force. The lines “Still I love you, without you” and “Fallin’ in blue… Fallin’ in your blue” have some memorable power behind them, and I enjoyed how they just carry you along. Overall, Blue is a really nice and emotional listen.
The music video does not feature either DK or SEUNGKWAN. Instead, it features actor Noh Sang Hyun and actress Lee Yoo Mi, who play a couple in the music video. While looking for an interpretation of the music video that makes sense, I found one YouTube comment that explains the theory quite well. I have screenshot the theory below, with a few additional details. At the start of the video, we see the character played by Noh Sang Hyun survive a car crash, but he also witnesses the car explode, which kills the person who remained in the car. A little later on, we see him struggle with his PSTD when an ambulance drives by with its lights on. As for the character played by Lee Yoo Mi, the two phone calls that she received from him and the fact that he didn’t pick up her calls, causing her to become alarmed and scared that something happened to him signifies that she has to constantly put her life on hold for him (i.e., she can’t get the job or a promotion, which is a way to show progression in life). I suspect that this isn’t the first time. The breakup scene at the end is particularly heartbreaking, especially since no words were said between the pair. But yet, you could understand that she still loves him (through her turning back), and he finally realises that if he loves her, he should let her go.
Song – 9/10 Music Video – 10/10 Overall Rating – 9.4/10
Baby DONT Cry is nominated for Best New Female Group in the 2025 KPOPREVIEWED Awards. Support Baby DONT Cry by voting via the link today.
Next up on rookie fortnight is Baby DONT Cry, who made their debut back in June 2025 with the single F Girl. The group consists of four members (Yihun, Kumi, Mia and Beni) and is managed by P Nation (the home of HWASA, PSY, Crush, Heize and TNX). More recently, the group made their first comeback with I Dont Care, which will be the subject of a different post. For now, here are my thoughts on F Girl.
I can hear a lot of potential in Baby DONT Cry through F Girl, an edgy rock-influenced dance track. However, the spoken rap verses fall flat and do little to elevate the song or distinguish the group from its peers, as the instrumental remains repetitive and underdeveloped. The song improves in the pre-chorus and bridge, where the vocals are clean and the momentum builds. As for the chorus, it was cringy at first. But repeated listens have helped the central piece ofF Girl grow on me. That being said, I wish there were more to the instrumentation and that there were proper lines in the chorus. While the hook is catchy (thanks to repetition), the chorus feels a little elementary and one-dimensional. The track is strongest toward the end, where the heavier rock elements and “La La La” hook add attitude and energy. This is the energy that the track needed throughout, and this could have enhanced F Girl quite a bit. Overall, F Girl is a mixed effort, but it shows enough promise to warrant interest in the group.
As mentioned above, the release has a lot of attitude, and I find this a prominent aspect of the music video. And I thought the locations chosen for the music video helped infuse it with a bit of light-heartedness. Other than that, the members looked absolutely stunning, becoming the second strong aspect of the video.
The same goes for the choreography – it has attitude, particularly towards the end when the song amps up. Parts did feel a little elementary, like in the song, but it was still a good watch. I think having dancers really elevated the ending (like in the music video), and I wish they had incorporated some at the end of the performance.
Song – 7.5/10 Music Video – 8/10 Performance – 7.5/10 Overall Rating – 7.7/10
CLOSE YOUR EYES is nominated for Best New Male Group in the 2025 KPOPREVIEWED Awards. Support CLOSE YOUR EYES by casting your vote via the link here.
Welcome to rookie week fortnight. Over the next two weeks, I will be covering rookie groups from 2025 that I did not get a chance to review during the year. The once-a-day reviews will be in addition to the usual reviews of new songs released over the next two weeks. First up is CLOSE YOUR EYES, who debuted back in April 2025 with the mini-album ETERNALT. The lead single from ETERNALT is All My Poetry (내 안의 모든 시와 소설은). CLOSE YOUR EYES was formed through the survival show Project 7, which aired in 2024, and the group is expected to be active for 3 years.
All My Poetry is an R&B track, quite an unexpected choice for a debut track. Many groups, particularly males, would go with something powerful or energetic to kick off their careers. R&B standalone doesn’t give a newly debuted group much of a chance to make their mark. This is probably why I haven’t reviewed this song (which then delayed me reviewing any of their more recent comebacks – they have had two since their debut). That being said (and retrospectively), being an unexpected choice does help in some ways. It is admittedly refreshing and chill, which is quite nice in such a competitive landscape. Their vocals and rapping, whilst not groundbreaking, do sound pleasant, and the melodies in All My Poetry are smooth (which is synonymous with the R&B genre). Pleasant also comes to mind when I think of All My Poetry‘s instrumental. Altogether, it is a simple R&B track, done well.
The music video sees the CLOSE MY EYES members come together. And the group has Kenshin to thank for coordinating everything. The video starts with Kenshin alone on stage. He returns home and begins writing letters to the other members to bring them together. While doing so, he discovers his ability to manipulate time. This comes in handy later, as he uses this power to rewind and help the members meet up and come together. For example, he places obstacles or distractions (i.e., the deer and lollipop) in the path of one member so that they can be picked up by, or run into, another member. In the end, all the members meet up at Kenshin’s home to form friendly bonds to become CLOSE YOUR EYES to perform on stage. It is a nice video to showcase the group’s beginnings.
The choreography is quite pleasant, matching neatly with the R&B influences of the song. I also appreciated how it didn’t feel stereotypically youthful (i.e. cutesy), yet you still get a sense of youthfulness from the members and the routine. Their chemistry is also nicely portrayed throughout the routine.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Stray Kids is nominated for Best Male Group and Best Stage Presence in the 2025 KPOPREVIEWED Awards. CEREMONY is also nominated for Best Dance Performance (Male Group) and Best Concept, while Hollow is nominated for Best International Song (Japanese). Individual members and units are also nominated for various song categories. Support Stray Kids, CEREMONY and Hollow by clicking here today to vote.
As alluded to last week, Stray Kids’ first mixtape (branded as SKZHOP HIPTAPE), 合 (HOP), is the final 2024 album that I will be reviewing for the time being. This means I can still review other 2024 albums I have missed in the future, but for now, I will shift my focus to 2025/26 albums. Anyhow, Stray Kids’ HOP features the title track Walkin’ On Water, solo songs that the group had performed as part of their Dominate World Tour, and two additional tracks (one of which is a collaboration with EPIK HIGH’s TABLO). It dropped back in December 2024.
The mixtape has some really great songs from the group and individual members. If you want to get to know Stray Kids more, then this mixtape is a good way to do so. Following the release of HOP, the group went on to release their Mixtape: DOMINATE single album, their fourth Japanese mini-album Hollow, their fourth studio album KARMA (with CEREMONY as the lead single), and their second mixtape DO IT (featuring the lead singles DO IT and DIVINE).
2. Bounce Back – Personally, I felt Bounce Back could have been a better title track, showcasing what the group has to offer across the board. Bounce Back combines old-school hip-hop and rock to create a cool diss track. It carries intensity and powerful energy from the start, making you want to stick around. Impressive rapping and nice vocals (for a hip-hop number) bring Bounce Back to life, courtesy of the members. (9/10)
3. U (ft. TABLO of EPIK HIGH) – Previously, TABLO from EPIK HIGH made an appearance in Stray Kids’ music video for MEGAVERSE. This time around, TABLO returns to collaborate with Stray Kids in U. This song is much more emotional than usual, showcasing the group in a different light. Both the group and TABLO’s delivery throughout the track pack a lot of emotion, with CHANGBIN (in the second verse) and TABLO (in the bridge) hitting hardest with their rapping for me. I also enjoyed the drum and bass in the instrumentation, as well as the soft vocals, which add to the emotional heft of U. (9/10)
4. Walkin on Water (Hip Version) – See my review for Walkin on Water above.
Welcome to the next Weekly KPOP Chart post for Week 1 of January 2026, which spans from 4 to 10 January 2026.
ICYMI – 2025 KPOPREVIEWED Awards
If you have not yet done so, make sure to cast your vote for the 2025 KPOPREVIEWED Awards! Voting closes at 11:59 PM AEDT on 17 January 2026, so make sure you vote by then. For those who don’t live in Australia, click here to find out how much time you have left to cast your vote. But I recommend you do it sooner, rather than later.
If you haven’t checked out the nominees yet, you can do so here. You can also find a link to the vote form in the same post, or if you want to vote straight away, click this link.
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 KATSEYE’s Internet Girl.
The Chart
Stray Kids’ DIVINE is in the top spot for a third week (overall). Congratulations again to Stray Kids!
ROSÉ is nominated for Best Female Soloist and Best Vocal Performance (for toxic till the end) in the 2025 KPOPREVIEWED Awards. toxic till the end is also nominated for Best International Song (Western) and Best Pop Song of 2025. Support ROSÉ and toxic till the end by clicking here to vote today.
Next up on the album review segment of this blog is ROSÉ’s ROSIE studio album. Promotions for the album started with her massive global hit APT. with Bruno Mars, which dropped in October 2024. Then, she pre-released number one girl in November 2024 (which I never got around to reviewing until now), before dropping the album and the main title track toxic till the end in early December 2024. Alongside these tracks, ROSIE also features 9 more, bringing the total to 12.
Overall, ROSIE is a clever album that weaves in a love story. The album starts with the exciting idea of falling in love, then moves to actually falling in love, then to unfortunate heartbreak, and finally to coming to terms with it. The album is strongest when ROSÉ pours her emotions into the songs.
ROSIE Album Cover
1. number one girl (Pre-release Track) – ROSÉ starts off the album strong with the piano ballad, number one girl. The track is rather simple, consisting of ROSÉ’s impactful, emotional and raw vocals over a simple piano-centric instrumental. The combination of the two makes for a stunning ballad that leaves a deep impression that stays with you as you move on to the next song. There is a music video that follows the same frame of mind in being raw and simple. (10/10)
2. 3am – 3am brings together acoustic guitar and trap elements as ROSÉ reflects on insecurity and love at 3am. The lyrics are extremely relatable, and you can feel that from her vocals as well. Though pleasant, I wished the acoustic guitars were a little more prolific, especially as the trap elements come into play. They seemed somewhat lost in the background and overtaken by the trap elements as the song progressed, leaving behind what could have been an interesting combination. (8/10)
3. two years – two years reflect upon a relationship from years ago that one cannot forget. I really liked the synth work featured in the song, as well as the autotune that complemented it. The line “I try, I try, I try” hits hard, but I am loving how ROSÉ’s vocals carry it. two years come together very nicely, and I liked how it also reminds me of Taylor Swift’s work as well. (9/10)
5. drinks or coffee – Changing up the momentum on the album is drinks or coffee. Following a bunch of reflective or emotional tracks, drinks or coffee is more upbeat and features R&B influences. It is a nice song, but I wish there was a bit more to it (especially when compared to the other songs around it). (8/10)
7. gameboy – With an acoustic guitar loop and soft EDM in tow, gameboy brings us back to the topic of heartbreak. The lyrics see ROSÉ mature, realising that her lover was only there to cause heartbreak. I really enjoyed the melodies, ROSÉ’s vocal work and the rhythmic background. The “break” repetition in the background was also a cool element (though it hones in on the song’s message, making it bittersweet). (8.5/10)
8. stay a little longer – We return to emotional ballad territory with stay a little longer. ROSÉ’s vocals are amazing and breathtaking – the emotions are overflowing in this one. The instrumental features a perfectly paced piano and features some soulful rock towards the end to make stay a little longer hit a little harder. This track is not one to miss. (10/10)
9. not the same – ROSÉ continues the acoustic sound in not the same. The guitar plucking is quite prolific and this gives not the same momentum. What I liked about this track is that, at its peak, ROSÉ’s vocals soar, and this left quite an impression on me. The ‘shut down’ ending was a bit random, but upon reflection, it was a creative way to end the drive behind the track. (9/10)
10. call it the end– call it the end has one of the most memorable lines off the album – “Do we have a future? Or should I call it the end?”. The way ROSÉ sings this line and the piano instrumentation in the background just make this one line stand out and be impactful. The rest of the song is quite stunning in itself for all the same reasons, but there is something about that one line that really stuck out at me. (10/10)
11. too bad for us – too bad for us is another amazingly breathtaking track with amazing vocals from the soloist. The backdrop of this track is a stunning rock production that, when it peaks, creates an epic atmosphere. ROSÉ’s vocals grow alongside, and so too bad for us is quite an impressive number. There is also something familiar with the melodies about the track – I can’t pinpoint this familiarity (perhaps it is the classic nature of it), but I know that I like it. (9/10)
12. dance all night – dance all night remains in acoustic territory, but as a mid-tempo track. dance all night ends the album’s storytelling by expressing a message of coming to terms with heartbreak and moving on – the final stage of the album’s story that began with wishes for love, falling in love and then heartbreak from love. I liked the chill vibe of this song and enjoyed the brightness ROSÉ brought to dance all night, complementing its message. (8/10)
It’s been a while since we’ve heard from CNBLUE, so it’s great to see them come back to the KPOP scene. The veteran second-generation band’s last comeback was with A Sleepless Night in 2024, the lead track from their 10th mini-album, X. Earlier this week, the band returned with their third studio album, 3LOGY, and the lead single Killer Joy.
While Killer Joy is no I’m A Loner (for those who don’t know, this is one of CNBLUE’s biggest hits ever), I enjoyed the track for its lively, upbeat pop-rock. This is quite refreshing for CNBLUE as far as I can remember. I like how electrifying the guitar work is in Killer Joy, while the drums help bolster the track. JUNG YONGHWA’s vocals are solid, as always. I also liked the chanted bits of the song, which work well in the pop-rock environment. It was great to also hear the other members, KANG MINHYUK and LEE JUNGSHIN, during the performance of Killer Joy. While the melodies were great, I thought they could have been a bit sharper. But honestly, that is only a minor thing to work on in Killer Joy. I emerged from the song extremely satisfied and have been going back for more of Killer Joy.
In the description box on YouTube, FNC Entertainment has provided this summary of the music video: Beginning in the intimate setting of a rehearsal room, the music video for ‘Killer Joy’ depicts the gradual expansion of CNBLUE’s music, eventually connecting with the audience and transforming into a single, shared stage. Their powerful energy and immersive band performance create an intense sense of liberation. It doesn’t get more straightforward than that. I liked the montage of the members performing their songs and instruments in leather jackets between the first chorus and the second verse. It was brief, but a cool montage.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
MONSTA X is nominated for Best ‘Return to Stage’ in the 2025 KPOPREVIEWED Awards. Support MONSTA X by voting for them today via the link here.
JOOHONEY (aka JOOHEON) of MONSTA X kicks off the year with his first solo comeback since his 2023 debut with Freedom and the mini-album Lights. And he comes in swinging with his new single Sting featuring legendary boxer Muhammad Ali (through an infamous audio clip at the start of the song). In the lead-up to the release of his second solo mini-album, 光 (Insanity), he also pre-released the single Push, featuring labelmate REI from IVE.
Hip-hop tracks aren’t my usual preference in KPOP, and STING leans heavily into the genre, which works against it for me. That said, I appreciated the intensity that JOOHONEY aims to exude in the song. His rapping, though shouty at times, had good flow and convincingly delivers STING‘s aggressive tone, supported by abrasive synth work in the instrumental. Ultimately, though, my issue with STING goes beyond genre bias. I expected more from STING‘s chorus. The centrepiece, meant to be the hookiest part of a song, relies on a flute-like synth that doesn’t fill out the background as well as it should have, and JOOHONEY’s repetition of Muhammad Ali’s infamous line “Float like a butterfly, sting like a bee“. As such, I felt the chorus was uneventful and unimaginative. especially since others have been doing a similar thing with their chorus (though better). Elsewhere, the verses and bridge flew by, leaving little impression beyond the aggressiveness mentioned earlier.
The music video sees JOOHONEY channel the aggressive, intense nature of STING into the visual media of the comeback. We see JOOHONEY deliver the song with some head nodding, feeling the song’s vibes. We see him perform some choreography with the dancers. Honestly, it isn’t bad. But the most impressive parts of the video don’t involve him. Rather, it involves the bee that is the subject of the song – the CGI butterfly turning into a bee, the massive bee that sits behind the rapper at one point, and the bee that JOOHONEY spits out at high speed, enough to break the lens.
The choreography for this comeback is exactly how you imagine in it. Just as the music video does, the performance for STING portrays an aggressive, fierce side of JOOHONEY. I don’t think it is the moves, though. I actually put it down to his stage presence, which really leaves an impression as he performs the song, with the dancers helping fill any gaps along the way.
Song – 7/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 7.2/10
Support your favourite artists, songs and performances of 2025 in the 2025 KPOPREVIEWED Awards today by casting your vote via this link.
I am officially back reviewing new music releases, and there is no better way to start the year than with APINK’s latest comeback, Love Me More, which celebrates their 15th anniversary. The single is featured on their 11th mini-album, RE: LOVE, which officially dropped today (5 January 2026). This is their first comeback in almost 2 years, following D N D and the mini-album SELF in 2023.
Love Me More is a pleasant dance-pop track that evokes nostalgia. My first impression of the song was that it felt very much quintessential APINK – sweet and soft, whilst also mature and fitting for a group that has been around for 15 years! Instrumentally, Love Me More was quite nice. I appreciated that the new jack swing elements in the background offset the song’s delicate side. I also really liked the concentration in the bridge, which added a little edge to the track without completely changing the song or messing with the nostalgia of the music. As for APINK’s vocals, I enjoyed how they carried the chorus’s melodies and hooks. There is something about EUNJI, NAMJOO and BOMI’s vocals in the choruses that just elevates the song. Said melodies and hooks were also dreamy and catchy, and this has had me coming back for more. Overall, Love Me More is a nice release that shows that APINK still has it, even after 15 years. Congratulations to the group for reaching such a significant and rare milestone.
Similar to the song, the music video for this comeback is pleasant and inviting to watch. The video opens up with EUNJI digging a hole in the ground and sowing a seed. From there, cold days have developed and the land where the hole was dug been covered with snow. However, over time, that seed had grown into a tree, and by the end of the video, cherry blossoms had appeared, signalling brighter and warmer days ahead. If you are unaware, cherry blossoms are a hallmark of Spring in South Korea. The tree might also have a double meaning, as it can represent their careers: the members put in the hard work initially to grow, and they are now at a stage where they can comfortably enjoy the fruits of their labour. One thing I enjoyed about the video is that, regardless of the season or conditions APINK find themselves in, their presence is warm and comforting enough to make whatever feel the same.
The dance during the post-chorus hook (i.e., the choreography alongside the ‘Love Me More’ repetition) is also reminiscent of APINK’s past choreographies. I liked how this nostalgic theme continues throughout the entire comeback. As for the rest of the routine, it looks charming and graceful. The bridge routine also looks very cool, whilst also fitting APINK’s aesthetics.
Song – 9/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.8/10
KPOPREVIEWED 