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 3 of November 2025, which spans from November 16 to November 22 2025.
Nothing new from me this week. I am still writing posts in the background and preparing for the end-of-year stuff. You can expect an announcement soon about the latter. But until then, here are the Weekly KPOP Charts for Week 3 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 IU’s You and I.
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, TXT’s Can’t Stop.
The Chart
ALLDAY PROJECT’s first comeback single, ONE MORE TIME, ranked in the top spot this past week. Congratulations ALLDAY PROJECT!
Another album review for a 2024 release. ILLIT’s I’LL LIKE YOU was released October last year and serves as the group’s 2nd mini-album since their debut earlier in 2024 (with Magnetic). Leading the 5-track mini-album was the title track Cherish (My Love) and follow-up promotional single Tick-Tack. Overall, this was a fair mini-album in my opinion.
More recently, ILLIT released their 3rd mini-album, BOMB, featuring the singles Do The Dance and Jellyous, as well as their first Japanese single, Toki Yo Tomare. The group is also due to make their comeback next week with the single album NOT CUTE ANYMORE.
I’LL LIKE YOU Album Cover
1. I’ll Like You – The mini-album’s namesake track, I’ll Like You, is both cute and smooth. ILLIT themselves, as well as the bright pops of synth in the background, contribute to the track’s cuteness. The smoothness comes from the dreamy side of the instrumentation and the melodies, which were catchy and fun. While I did enjoy this opening number, I’ll Like You does feel a bit straightforward and plain (relative to other tracks on the album). (8/10)
3. IYKYK (If You Know You Know) – IYKYK is another plain song on the mini-album. I wish the song was punchier, particularly for the chorus, which feels flat. This could have potentially made the “IYKYK” hook more prolific and given the song some additional flair. I did enjoy the synths in the background, particularly the panning effect, which made it sound warpy. IROHA, WONHEE, and MINJU’s rapping was also quite nice and seamless. (7/10)
4. Pimple – ILLIT puts their vocals on display in Pimple. This makes the track extremely appealing to me (after all, I am a vocals guy). I loved how dreamy they made the track sound, especially with the harmonies and pretty melodies. The medium-pop instrumental was also extremely pleasant and made for a nice background. (8/10)
5. Tick-Tack – I had plans to review Tick-Tack separately, but I (and time, but more so I) got in the way of those plans. Anyhow, Tick-Tack is definitely the hidden gem of this mini-album. It was mostly because of the fun, super-catchy chorus that Tick-Tack features. But I also enjoyed the retro video game-esque synths in the background, as well as the underlying grooviness of the instrumental. The members sound great in the track, as well. My only gripe about Tick-Tack is that it finishes as soon as it starts, leaving me disappointed each time I play the song. (9/10)
As mentioned in yesterday’s review, Stray Kids is officially back with their second mixtape, Do It, led by the single of the same name and Divine. The group has yet to release the music video for Divine, so the focus of this post will be on Do It. This is the group’s third release of the year, following the Mixtape: dominATE single album and their fourth studio album KARMA (led by CEREMONY).
It appears to be a good week for KPOP releases, with each appealing to me within the first listen. It is the same story for Do It, though there are moments where I wish there were a bit more to what we got. Do It features a reggaeton-influenced pop instrumental, with the Latin-influenced chorus serving as a strong centrepiece, revisiting the repetitive hook motif they have employed in many of their recent title tracks. Personally, I would have liked the chorus to be a bit more explosive by amping up both synths and bass. But I like the spoken nature of their “Do It” hook, which is catchy thanks to its repetition, but also because it helps bring forth a mature, sensual vibe to the song. This hook, paired with the instrumental that we did get, was a memorable combination in my book. As for their vocals, I liked the fresh bite the vocalists brought to Do It. And I enjoyed the dynamic the rappers brought to the song (though I do miss the more in-your-face execution they’ve been aiming for in their more recent releases). Overall, Do It is another strong Stray Kids release – though after checking out the mixtape, I have my eyes and ears out for Divine.
While I am sure there is a better interpretation storyline for the music video that might connect with the Divine music video, here is my stab at making sense of what we see in isolation. At the start, we see the members touch down (on a motorised broomstick, which is a bit of a trendy element) in a run-down place in their universe (or maybe it is the future, and their universe is run-down for whatever reason). The aesthetic, with the people standing around, reminds me of their past music videos, which is why I think it is in their same universe. Do It (the song) encourages listeners to take control and do whatever they want, and so we see the members sing and dance to help the inhabitants of this run-down place to ‘do it’. Eventually, we see the inhabitants join in with Stray Kids. I like how, in the initial and second choruses, they got the dancers to join in and then stand still in the next moment, showing us their desire to join Stray Kids. Unsure if it is editing, or just a clever use of lighting and having the dancers joining in and then pausing, but that aspect of the music video looked really cool to me.
As mentioned earlier, the song’s centrepiece brought forward mature, sensual vibes. And you see that come through the accompanying routine, with the members doing subtle yet noticeable body waves during that segment. I also liked how commanding the rest of the routine was for the chorus.
Song – 8.5/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.5/10
With Stray Kids due to make their comeback on Friday with their new mixtape, Do It, led by the title tracks Do It and Divine, I thought it might be nice to quickly wrap up the review of the solo tracks from their Hop mixtape released last year. The final song to review is BANG CHAN’s Railway. For the other reviews of Stray Kids’ solo songs from the Hop mixtape, see the links below the music video. I will be back soon to review the unit tracks from their Mixtape: Dominate album.
I don’t have much to say about Railway. From the first second, you can feel the intensity and tension of Railway through its instrumentation. It is definitely the song’s best asset. While it is more on the typical end of the spectrum, I actually liked the presence of the trap elements and hefty beats alongside the darker, atmospheric synths in the song. As Railway develops, electric guitars are introduced, teasing out more of that intensity and tension as the song goes along. BANG CHAN himself adds a sultry vibe to Railway through his vocals, giving it a more mature, alluring feel. This aligns with the song’s potential mature themes, which BANGCHAN tends to explore in his solo work, and complements the intensity/tension I keep mentioning. Personally, I would have liked an extended version of Railway, as it feels relatively short despite its inherent slower pace to maintain a consistent intensity/tension.
Like the song, the music video visually explores dark and mature themes. Vampirism, blood and gore (including bone-crushing sound effects) make a presence in the video to represent the struggles BANG CHAN experiences with the different sides of himself. In the video, the one we think is in charge at the start loses his authority and is locked up by a different version of himself by the end. Which version is which, we won’t know. But it is a very artistic and haunting way of representing these struggles. Props to BANG CHAN for his superb acting throughout the video.
Song – 8.5/10 Music Video – 9/10 Overall Rating – 8.7/10
One of the biggest rookies of the year is without a doubt ALLDAY PROJECT. In case you missed it, they kicked off their careers in June with the singles FAMOUS and WICKED. Almost five months on, they are back with their third single, ONE MORE TIME.
To be honest, I was a little sceptical whether the group would be able to exceed the heights of FAMOUS. But one listen to ONE MORE TIME, consider me hopeful. Can’t speak to their chart performance just yet, but things are looking promising on that front as well. I really liked the liquid drum-and-bass sound they used initially, with WOOCHAN and YOUNGSEO adding a delicate, sentimental touch through their vocals. From there, the instrumental gradually builds, with BAILEY, WOOCHAN and ANNIE doing a great job of matching the trajectory. The chorus kicks ONE MORE TIME up a notch with its drum-and-bass instrumental, increasing the momentum strongly (relatively to the earlier part of the song). This contrast between verse and chorus also helps make the centrepiece punchy. TARZZAN doesn’t appear until the second verse, with a rap sequence that I thought was somewhat classy, thanks to the atmospheric vibe going on. I liked the approach, but the rap sequence itself could have been executed better. BAILEY gives us a ‘calm before the storm’ moment for the bridge, before the instrumental switches from that drum-and-bass sound to a more electronic sound profile to close out the song. I personally enjoyed this moment in ONE MORE TIME, as it gave the song a more hyped and dynamic flair. Parts of me still want ONE MORE TIME to be more explosive and less ‘held back’ at specific points, but I think the end was satisfying enough.
I liked how the music video complements the differing momenta within ONE MORE TIME with the differing energies you would expect of a night out. The song started out slower (described above as delicate and sentimental), and the corresponding scenes show the members alone as if they are winding down after a long day. As the song builds, we see the members regroup and start hanging out together. In the choruses, we see the members dance together (but without a crowd), and the electronic and dynamic switch-up at the end of ONE MORE TIME is complemented by some club energy and a crowd to hype them up. It was a well-thought-out music video.
A dance performance has not yet been revealed for this comeback. But I could piece together enough of the reels to see what the dance performance would look like. And I am really digging what I’ve seen so far for earlier parts of the song. But it should come as no surprise that I am most excited for the routine that pairs with the electronic ending of the song, which features some interesting, fast-paced tutting and footwork.
Song – 9/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.7/10
Just four months after dropping their 5th studio album, Go Back to the Future (led by the singles BTTF and CHILLER), NCT DREAM re-enters the KPOP scene with another release, making this one of the busiest years yet! Their new mini-album, Beat It Up, features the title track of the same name. It also follows the solo debut of HAECHAN with CRZY in September this year (who follows MARK’s solo debut earlier this year, as well).
From the first listen, I found myself digging Beat It Up. It is a powerful and bold hip-hop track that boasts several prolific aspects. The first thing that really jumped out at me is the ‘Beat It Up‘ repetition in the background. While the thought that it might become annoying briefly crossed my mind, by the end of the first listen, I was really digging the repetition, both texturally and in its clean execution, as well as a catchy hook. Beat It Up also features some really cool rapping sequences. Both JENO and JAEMIN started the song off strong, but MARK’s sequence in the second verse really hit hard. The MARK and JENO combination as the pre-chorus before the second chorus was also a neat peak. It wouldn’t be an SM Entertainment song without some truly melodic vocals, even in a hip-hop song like Beat It Up. The vocals in the first pre-chorus and second verse really helped smooth out the bold energy, while the stripped-back bridge (a classic SM aspect) was beautifully executed by HAECHAN, CHENLE and RENJUN. JISUNG effortlessly pulls us right back into the hip-hop energy to lead us into a satisfying end to Beat It Up. Oh, and I haven’t yet spoken about the instrumental, which is full of ‘bold kicks and strong bass sounds’ (SOOMPI describes the song well, so I have borrowed their description of Beat It Up). It definitely delivers in impact and boldness.
Like the song, the music video definitely showcases NCT DREAM in a very cool limelight. The video opens with band-aids or minor scratches on the members’ faces, representing the scars they have received as part of their journey. Throughout the rest of the video, we see the members potentially engaging in heated moments with the actors in the background, a two-car head-on collision, numerous mangled bikes, crashing buildings, and a boxing ring match, all of which could explain the scratches and bruises. However, despite these, the members proudly display them as if they were battle scars and evidence of their hard work in achieving their current status. The scenes with the crashing buildings and the car collision floating in the sky (with MARK hanging onto a tyre and JISUNG/JENO in the car seats) were quite impressive moments in the video. The wiping transition at the start of the video (see the feature image for this post) was also very bold.
The boxing and punching references make sense for a routine to a song titled Beat It Up. While I am not sure if they make it into the choreography, the freestyle scenes throughout the music video also fit in well with the concept and the hip-hop nature of the song. But it is the routine for the final chorus that has me most excited. It seamlessly blends references and freestyle energy into one and serves as a really excellent closer to the dance.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
Welcome to the next Weekly KPOP Chart post for Week 2 of November 2025, which spans from November 9 to November 15, 2025.
I’m back from my break and will restart song and album reviews tomorrow! I just needed a few days away from work (I had become very drained), and I ended up going to another city for this break. This meant I couldn’t actively draft and post reviews for new songs. Additionally, the Wi-Fi at the hotel was terrible (it took me three days to write the last Weekly KPOP Chart post).
But until tomorrow, here is the Weekly KPOP Charts for Week 2 of November 2025.
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 TXT’s Can’t Stop.
The Chart
YEONJUN’s latest comeback single, Talk To You, ranked in the top spot this past week. Congratulations YEONJUN!
BABYMONSTER also made their comeback last month with their second mini-album, WE GO UP, led by the title track of the same name (focus of this post). It is their first album release in almost a year, following their November 2024 DRIP studio album, which was led by the double title tracks DRIPand CLIK CLAK. But that wasn’t their last comeback to date. The group returned in July 2025 with the digital single HOT SAUCE (which, unsurprisingly, I have yet to review).
BABYMONSTER really establishes themselves in WE GO UP, an intense and hard-hitting hip-hop dance track. The verses reveal some powerful rap performances, while the rest of the song presents equally powerful vocal moments. This is BABYMONSTER’s strongest foot forward as a cohesive group, and really sells the group in my opinion. For the instrumentation, we get a mixture of electric guitars, synths that resemble church organs and a proud thumping beat to drive and propel WE GO UP forward. I am particularly drawn to those electric guitars, especially during the moments in the song when everything is stripped away, leaving just the guitars. The chorus lines feature repetition of the WE GO UP title, and I really like the punch this gives the song. One thing that I think WE GO UP would benefit from is an instrumental break. This could be something to really give the song that extra oomph and capitalise on the badass and intensity that WE GO UP exudes. Extra points if the dance break that corresponds does the exact same thing on stage.
WE GO UP‘s lyrics are about aiming to be on top. And what better way to depict that than multiple battles throughout the video? Essentially, we see the members battle and destroy the bad guys. The battle scenes are epic, featuring members participating in action movie-inspired fight scenes that involve guns, explosives and snipers; a katana sword fight; an underground boxing match; and even a supernatural/elemental fight. All of these result in the members coming out on top and being victorious, proving themselves to be ones to fear in the futuristic city. I really like that montage where each fight is drawn out like blown-out particles. There is probably a more technical term for this montage, but that really looked cool and epic (if the rest of the video wasn’t already enough).
The performance also taps into that epic nature and attempts to be bold. But I don’t get that from the moves. It is more a matter of the demeanour of the members, which is more of that hype nature commonly associated with hip-hop performances. I wished the moves matched that vibe, so that the comeback is well-rounded on all fronts.
Song – 9/10 Music Video – 10/10 Performance – 7.5/10 Overall Rating – 9/10
Xdinary Heroes returned last month with their 7th mini-album, LXVE to DEATH, and the title track ICU. This new release follows their July digital single, Fire (My Sweet Misery), which has yet to be reviewed, and their March mini-album release, Beautiful Mind, featuring the title track Beautiful Life.
For my constant desire for hard-hitting, intensely powerful and bold rock music, Xdinary Heroes is one band that I can rely on to deliver on this craving. And they have done it again with ICU. Right from the start, the band launches us into some awesome shredding electric guitars and pounding drumming, hallmarks of a great rock sound. What makes ICU even more so is simply the fact that the members never let up this energy, and it continues through to the end. Then come the members, who charmingly take us throughout ICU through some really prolific vocals and rapping. I also really like how they are confident enough to hit the high notes and scream and shout when needed throughout the song, givingICU an even more engaging profile. And the melodies give ICU a memorable tinge, which helps make the song even more appealing. The ICU‘s bridge is probably the most memorable part of the song, kicking off with a heightened rock instrumental break and then moving into chanting that further hypes the song.
The music video sees O.DE being taken to the hospital in an unconscious state for whatever reason. My best guess is that the members (with him in on the plan, given they all appear behind the medical staff) purposely put him in that state, so they could all make their way to the big cat figure in the sky they love (or worship/believe in – but I am saying love because it looks like O.DE is also lovesick and has a locket of the members and the big cat around his neck). They almost make it to their destination, but O.DE’s locket chain breaks, and the cat becomes upset at that. Instead of welcoming the members, it shoots lightning from its paws, waking O.DE from his unconscious state and leaving him disappointed. I like how another version of the members play the medical staff, causing chaos throughout the video. The fun video ends with a shot of the van upside down underwater, with music still playing.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
Welcome to the next Weekly KPOP Chart post for Week 1 of November 2025, which spans from November 2 to November 8, 2025.
If you haven’t noticed, this post is a few days late. That is because I am currently on break. But don’t worry, a few reviews are coming out this week (one for each day) before I return to my desk to review more songs, albums, and prepare some end-of-year content.
But until then, here is the Weekly KPOP Charts for Week 1 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 XIA’s Incredible.
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 TWICE’s ME+YOU.
The Chart
xikers’ latest comeback single, SUPERPOWER (Peak), ranked in the top spot this past week. Congratulations to xikers!
Making her solo comeback last week was MIYEON from i-dle, with the single Say My Name, which serves as the title track off her 2nd solo mini-album, MY, Lover. This new release marks her first solo comeback in several years, following her solo debut with Drive and the mini-album My, released in 2022.
Say My Name sees MIYEON delve into a pop ballad, providing us with a perfect dose of melancholy that puts the lyrics into perspective (more on the lyrics later). The instrumental for this song features the usual suspects for a ballad at first. But as the song develops, the growing presence of drums and guitars gears it away from the traditional classical hallmarks of a ballad and into pop territory. Say My Name is made stunning with MIYEON’s vocals. The way she carries the melodies with her voice and falsettos during the choruses was definitely a memorable aspect of the song. The high note was also spectacular. As mentioned earlier, you can sense the emotions behind her vocals. I must admit that I did get worried seeing the length of the song, noting that I am not a big fan of the ongoing trend of keeping songs below the 3-minute mark. But Say My Name‘s short length strikes the right balance to make the song appealing without feeling too much or too short.
Say My Name is about wanting to let go of an ex, but being unable to entirely forget someone because you can still literally hear their voice and recall the good memories with them. The music video depicts heartbreak by showing MIYEON turning around when she thinks she hears her name, but there is no one around her. It becomes more heartbreaking when it is later revealed that she passes by or is a few steps behind a person who can only be her ex, which represents the idea that the memories linger. It is a rather minimalist and straightforward video, but it does a great job of portraying the lyrics. I also like how it complements MIYEON’s vocals. Listening to the song whilst watching the video made it feel like we were walking with her.
I am unsure if this comeback required choreography, particularly since MIYEON remains in one spot for most of it and only performs minimal moves during the performance. But the dancers do make it look lovely, and give the stage a bit more depth and dimension to enjoy
Song – 9/10 Music Video – 9/10 Performance – 7/10 Overall Rating – 8.6/10
I am planning a week in the very near future that will focus solely on the rookies who made their debut this year. AHOF is potentially one of the groups I could cover during this week, but since I have already reviewed their debut single, Rendezvous, I thought I would focus on the groups that I have yet to review on the blog. This does mean I can push on and review Pinocchio, the title track from the group’s second mini-album, The Passage, which dropped last week.
Similar to their debut track, Pinocchio continues AHOF’s venture into the pop-rock soundscape. What I do like about Pinocchio is that it leans more towards the rock side of the genre. I also like that it doesn’t hold back its power and impact, giving us a taste each time the chorus comes into play. I quite like the chorus soars, creating an epic centrepiece for the song, and it does so refreshingly each time the chorus comes into play in Pinocchio. I find this offering to be very generous. In addition to the chorus, I am really digging how Pinocchio introduces rapping into the song during the first verse, giving the song a slight punch. And the vocals throughout Pinocchio are impressive, particularly in the chorus. However, while it sounds like Pinocchio is the perfect song, two minor aspects bug me about the song. The first is the pre-chorus. Usually, songs do something interesting with the pre-choruses, but Pinocchio actually does it the opposite. It just didn’t hit the same as the chorus and verses. And secondly, the transition between the bridge and the final chorus was somewhat abrupt, which caught my attention. However, as I mentioned, they are minor, so I have been able to overlook them and thoroughly enjoy Pinocchio.
Based on the SOOMPI article, Pinocchio reflects the members’ own growth by drawing parallels to Pinocchio’s journey to becoming human. The music video depicts the members coming to terms with their feelings of loneliness and isolation, finding solace in each other as they move forward with their careers. At the midway point, the members are pushed into chaos with abrupt and unexpected events in their lives (i.e., the stage explosion) and lose one another amid the chaos. However, the video shows the members finding each other again and coming together to tackle the unexpected and unknown future events (i.e., the snowstorm). I really like the autumnal colours in the video, which match the season Korea is now in.
The performance was great. I liked the balance between softer (during the verses) and more intense movements (during the chorus). This gave it an artistic vibe, which works well with the song. The dance also has references to Pinocchio (i.e., his long nose and such), which I thought was a neat tie-in with the song’s title and lyrics.
Song – 9/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.8/10
It has been a while since I wrote a review for SUNMI. The last one was 2023’s STRANGER. Since then, SUNMI has been relatively quiet, with only a single release in 2024 (Balloon In Love) and another earlier in 2025 (BLUE!). Last week, SUNMI made her solo return with her first studio album (12 years after her solo debut), Heart Maid, led by the single CYNICAL.
CYNICAL sees SUNMI tap into a groovy dance number, made hefty with electronic synths and solid bass. While the instrumentation is relatively neutral and consistent throughout the song, it has a certain vibe that aligns with SUNMI’s style and past release aesthetics (more on that later in the review). Nonetheless, the neutralness and consistency extend to SUNMI’s delivery of CYNICAL, with her vocals coming off as monotonous for the most part. This develops into an equivalent-style chant for the chorus. However, I think this is intentional, given that a definition of the word ‘cynical’ involves mocking others in a way that disregards them, and that is what she is doing in the lyrics. And while the repetitiveness usually doesn’t help make the monotonous approach appealing, CYNICAL might be an exception. I definitely would have liked to hear something more dynamic through instrumentation, vocals or hooks, CYNICAL still managed to stand out somehow. It could simply be because it has been a while since I last heard from SUNMI, but I think it is because CYNICAL manages to do something right.
The music video features a fun and comedic Korean ghost (played by SUNMI herself). I am probably one of many who thought this video and concept was a missed opportunity for Halloween 2 weeks ago. According to some comments under the music video, this is due to ABYSS (SUNMI’s company) delaying the comeback to the start of November, when it was initially scheduled for a mid-October release. It’s a pity that they couldn’t align it better with Halloween; this would have been so good during the spooky season. As mentioned, it features SUNMI as a Korean ghost, dying after twisting her ankle and falling to her death in a public bathroom. She doesn’t ‘cross over’ into the afterlife immediately, instead lingering in the world of the living for 49 days (a common Buddhist belief). Throughout the video, she mocks Death as he waits around to take her into the afterlife. In the end, he does take her to the afterlife, but without one last scare. I also mentioned that the video is comedic, especially at the start, where SUNMI has to change out of her club outfit and don her Korean ghost white outfit.
I thought the routine for this comeback was very good. She does an excellent job, as do the dancers, in making this feel creepy through their stone-cold facial expressions, while also making sure the moves complement the electronic synths of the song. The former actually taps in well with her past performances and concepts.
Song – 8/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 8.4/10
The next album up for review comes from last year. In October 2024, ITZY made their comeback with their 9th mini-album, GOLD, which was led by the title track of the same name. Also featured alongside that track were five new songs and five re-released versions of songs ITZY had released earlier in 2024 as part of their BORN TO BE studio album, to include LIA, who was on hiatus at the time of their release. For the purposes of this review, given that I have already reviewed those tracks as part of the album they were initially released on, I will focus primarily on the new songs added to ITZY’s discography in October 2024.
While I am still not a fan of the title track, the rest of the mini-album was a solid release from the group. More recently, ITZY made comebacks in Korea with Girls Will Be Girls and Japan with Rock & Roll. In fact, the group will be making another Korean comeback (yup, this backlog of album reviews is definitely growing out of control) this coming Monday with Tunnel Vision. But before we can get there, here are my thoughts on GOLD.
3. Bad Girls R Us – The instrumental for this track was quite the surprise. From the house elements in the foreground to the thumping beat in the background and then the switch to an acoustic country twang, Bad Girls R Us was a very intriguing mix. This instantly draws my attention to the song. But ITZY seals the deal with their crisp vocals and rapping. Bad Girls R Us is an awesome and unforgettable track. (10/10)
4. Supernatural – To me, Supernatural somewhat feels like a follow-up to the earlier track Imaginary Friend. Both songs have a subdued nature. But there are differences. Unlike Imaginary Friend, which was subdued through all elements, ITZY’s vocals are what bring the subdued nature to light in Supernatural. I liked that approach, but I wished the melodies were a little more developed. As for the instrumental for Supernatural, which does have a hint of that subduedness, it is also more upbeat and bouncier, which brings in energy to the song. However, those subdued notes still remain and help make the track feel aesthetically pleasing. (8/10)
5. FIVE – The message that ITZY is better as five is such a meaningful message, especially since this comeback sees LIA return from a hiatus and the group reforming back into a quintet. FIVE is a well-balanced pop track with nice textures thanks to the synth work. The vocals were also lovely throughout the song. However, what I liked most about the track was the brief hip-hop switch-up that followed the first and last chorus. It was a memorable point in FIVE. (8/10)
6. VAY (ft. CHANGBIN of Stray Kids) – ITZY join forces with labelmate CHANGBIN for the hip-hop track VAY. ITZY did a really great job in this hip-hop setting – I found myself vibing to their parts in the song. CHANGBIN adds his own flair through his parts, and I liked how he tempered his usual style to fit with ITZY. The instrumental was also quite crunchy, which was a nice and engaging textural component for VAY. (8/10)
Overall Album Rating – 8.5/10 (based on the new songs on the mini-album only)
As part of the mini-album, five songs from ITZY’s 8th mini-album were re-released to also include LIA, who was on hiatus when these songs were originally released. These songs were not included as part of the final album rating
A year on from his solo debut with GGUM, YEONJUN from TXT is officially back with his first solo mini-album, NO LABELS: PART 01. Leading the mini-album is the title track Talk To You. Since GGUM, YEONJUN returned to his group for releases like Love Language, Beautiful Strangers, and most recently, Can’t Stop.
Talk To You is a very grungy and intense rock single. I found the instrumental to be very satisfying as a rock release, and I like that both the song and YEONJUN really focused on this influence without too much additional influence. The electric guitars really make the song, ensuring that the grunginess and intensity are a constant presence throughout Talk To You. YEONJUN himself does bring a hip-hop flair to his delivery, which I didn’t mind. With the help of the grungy filter that his vocals go through, he complements the rock influence quite well and allows Talk To You‘s hooks to effectively lean into the same influence. That being said, his vocals were strongest and most engaging when clear. The slurring at the start was a tad distracting, but it wasn’t the biggest deal-breaker. For me, the most significant deal-breaker is simply the fact that Talk To You was too short. The song was consistently in a high-tension mode, and the abrupt ending didn’t provide much closure. But overall, Talk To You is a decent listen that I think will grow on me substantially.
However, there is one caveat to that – I don’t listen to Talk To You while watching the music video. I was a bit slow to realise that the video featured 3 songs from the NO LABELS: PART 01 mini-album – COMA, Let Me Tell You (feat. Daniela of KATSEYE) and Talk To You. Before I figured out the three songs, I genuinely thought that these three songs were one singular song and was questioning YEONJUN and HYBE’s style for a bit. Anyhow, while the idea of three songs coming together to form one video does sound innovative, the music video simply combines three separate videos with what appears to be very little in common. COMA corresponds to a wild dance performance video, Let Me Tell You, which sees both YEONJUN and DANIELA performing sexily with a pronounced R&B style, while Talk To Me sees YEONJUN being a party-goer that everyone cannot get enough of. I wished there were common threads (and they probably are) to make the videos link up and be somewhat cohesive. I just don’t see them.
Performance-wise, YEONJUN only performsTalk To Me on stage. And once again, he does so with so much remarkable charisma and great chemistry with his dancers and the camera. This is definitely a stage worth watching! I liked that YEONJUN is willing to be loud on stage (not in terms of his vocals, but instead, his moves), and this really made various moments stand out on stage. I particularly like how the female dancers made their first appearance one at a time, and how the dancers were reintroduced throughout the performance via interactions with YEONJUN.
Song – 8/10 Music Video – 7/10 Performance – 10/10 Overall Rating – 8.1/10
Since their debut earlier this year with The Chase, Hearts2Hearts have released two singles that I have yet to review – Style and Pretty Please. While the length of time since the release and their potential review might be an indicator, it can also be said that Hearts2Hearts is also impacted by my inability to keep up with new releases. Anyhow, Hearts2Hearts returned last month with their first-ever mini-album, FOCUS, and the title track of the same name (which is also the ‘focus’ of this review). Pretty Please, mentioned earlier, is a pre-release single from their first mini-album, FOCUS, as well.
What I liked about FOCUS was its constant and consistent groove. While consistency is something that is a hit or miss to me, it does well in FOCUS, keeping the house-based song buoyant and upbeat for the majority of the track. I also liked how the producers gave the song impact by adding just a bit more to the instrumental for the instrumental break bridge. It’s subtle, but it does wonders to FOCUS. The members deliver a more subdued tone to the song. I think the success of the song is simply the contrast between the subdued spoken tone and the upbeat groove that the instrumental delivers. Somehow, they both come out on top and give FOCUS a memorable aspect. However, the subdued tone and spoken delivery do mean that all of them merge together, and I don’t really hear much individuality between the members. I also feel that this combination limits the appeal of the hook, which I found to become repetitive with repeated listens of the song. So, I guess in summary, FOCUS is a mixed bag of both good and not-so-good aspects. But it’s still a decent listen, overall.
In FOCUS, Hearts2Hearts sings about how someone captures their attention and takes their focus away. Given their ages, the school concept makes perfect sense. While they should be focused on their studies, the person in question takes up all of their attention. I think the dance practice room location later on in the video fits in similarly, where the members should be focused on their dance moves, but yet they are distracted by the person (who, in the mirror, is Hearts2Hearts themselves). In particular, I like the final scene outside with the fireworks. Paired with the choreography and the members’ stoic expressions, it was a bold end to the music video.
Although it may not appear this way, the routine for FOCUS was exceptionally strong. The sharp movements during the chorus and the in-your-face approach they took during the dance break were really cool and super bold. If this is what they can do, I highly anticipate their next performance!
Song – 8/10 Music Video – 8/10 Performance – 10/10 Overall Rating – 8.4/10
KPOPREVIEWED 