Towards the end of January, TNX made their return with their second digital single, CALL ME BACK. It is their first release since last year’s For Real? comeback (which I never got around to reviewing). The last time I reviewed them was for their FUEGO release in 2024. Since that comeback, the group participated in 2024’s Road to Kingdom: Ace of Ace and officially reformed into a 5-member group following KYUNGJUN’s departure from TNX.
CALL ME BACK starts off strong with its energetic and dynamic pop punk sound and maintains all of it throughout the track. This translates well to the members’ delivery, with them showcasing some awesome textures that work extremely well with the pop-punk sound through their vocals, rapping, and spoken lines. I particularly like the “So trust me“, “Don’t try me“, “Just call me” lines in the chorus. There is something catchy about them, even though the team’s effort was pretty minimal at that moment. My biggest concern about CALL ME BACK is that it is relatively neutral and consistent. If you are a long-time reader, you would know that, by saying that, I mean a song that sounds the same throughout can quickly become boring after multiple replays. I don’t think CALL ME BACK is there yet, but the thought did cross my mind during my first couple of listens.
The music video sees TNX hanging out, waiting for a phone call back from the person they are interested in. I liked the urban and casual side of the video – simple and straightforward. Aside from that, the video also incorporates choreography shots, which help the music video feel dynamic to match the song.
I actually liked the intensity and energy that the members put behind the performance. It definitely looks cool and matches the song’s dynamic nature. The performances I watched saw the members put in their all, and this translated into a stage worth watching.
Song – 9/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.7/10
Promoted alongside their latest title track, KNIFE, ENHYPEN also performed the side track Big Girls Don’t Cry on stage from their 7th mini album, The Sin: Vanish. While I don’t usually review side tracks separately, ENHYPEN did reveal 3 additional music videos, including one for Big Girls Don’t Cry, making it eligible for a full review.
It is quite astonishing to see how short some songs can get. Big Girls Don’t Cry might be setting a record, dropping below the 2-minute mark! Had it been longer, the track could have been so much more. But we don’t get that opportunity, as a result. Big Girls Don’t Cry has ENHYPEN leaning into a blended R&B and pop sound, offering a message of support, comfort and protection from heartbreak. I enjoyed the song’s mid-tempo pace, which allows Big Girls Don’t Cry to develop and create that comforting atmosphere the lyrics seek to portray. This is also aided by the members’ warm vocal tones. There was also an interesting flair to their vocals that I just cannot seem to pinpoint exactly what it is, but it definitely gave Big Girls Don’t Cry its unique charm and profile. It also felt like each member got a chance to shine in Big Girls Don’t Cry despite its short length, but the reality is that some members had a bit more time than others. It would have been nice to have that intro and outro performed by one of the members who did not get as much airtime, like SUNGHOON and/or SUNOO. Big Girls Don’t Cry definitely has potential based on what is there, but it is hindered by its short length.
With regards to the flair I mentioned before, I wanted to describe it as ‘country western’. I am convinced there is a tinge of that in the song. But I think that was put into my head by the music video, which shows the members travelling through the desert to protect the female character after they go on the run with her from the events in the No Way Back music video. Everyone assimilates into society by donning cowboy/girl-inspired outfits, thus relating the previously random cowboy concept photos to the comeback. They make their way to a diner, after JAKE uses his power to find a safe place. Here, they hang out with the local bikers and truck drivers, subtly showing off the rest of their powers. However, after spotting their wanted photos, the group leaves and goes back onto the road, before using JAKE’s powers again to locate a mansion they can hide at.
Whoever is styling ENHYPEN on stage is doing an amazing job. Hats off to them. As for the performance, I like how the routine highlights such cool vibes and charisma. There is also a laidback side to the routine that matches well with the music.
Song – 7.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.8/10
Next up for an album review is NMIXX, who returned in March 2025 with their 4th mini-album, Fe3O4: FORWARD. Led by the single KNOW ABOUT YOU, it features a total of 6 songs. This comeback followed two other comebacks that formed part of their Fe3O4 series: Fe3O4: BREAK (led by the single DASH) and Fe3O4: STICK OUT (led by the single See That?, both of which were released in 2024.
This mini-album sees NMIXX explore the hip-hop genre in their own way, either by blending it with other genres in a very artistic way or by focusing on hip-hop-centric tracks. The pre-release track High Horse stands out as the strongest and most captivating on the entire mini-album, while the R&B and hip-hop blend title track KNOW ABOUT U was highly supported by you (the audience) in the 2025 KPOPREVIEWED Awards, taking out the Best R&B Song of 2025 award.
NMIXX followed up this mini-album with their first studio album and title track of the same name: Blue Valentine. I will definitely be reviewing that when the times come. With this studio album and title track, NMIXX also took out Best Pop Song and Best Album in the 2025 KPOPREVIEWED Awards. They also clinched theRising Star of 2025 award. Read the rest of the album review below first, and then click here to find out who else came out on top in the other categories of the 2025 KPOPREVIEWED AWARDS.
Fe3O4: Forward Album Cover
1. High Horse (Pre-Release Track) – For those who missed it, High Horse was nominated for Best Rap or Hip-Hop Song in the 2025 KPOPREVIEWED Awards (I also considered High Horse for Best Pop Song, but their more recent Blue Valentine was already going to be nominated in that category). High Horse ended up as the Honourable Mention for Best Rap or Hip-Hop Song of 2025 (my code for second place). I was really blown away by how captivating the track was, especially as NMIXX’s vocals flourished. But it is the instrumental that captures my attention. It gives such a unique, different vibe compared to the abundance of music released around the same time. From the jazz-leaning piano to the bursts of breakbeat drumming that give off the hip-hop vibes that made it eligible for the Best Rap or Hip-Hop song, I have always enjoyed the track and will probably never get tired of it. (10/10)
3. Slingshot (<★) – Edgy NMIXX is back with Slingshot. I liked how this vibe is very much felt through the really textured synth instrumental and their members’ delivery of the song. But there were also some really playful moments throughout the song, and this mix of vibes made Slingshot quite an appealing track in my books. (9/10)
4. Golden Recipe – In Golden Recipe, we hear the producers cook up a concoction of hip-hop beats and orchestral strings. While the combination has been done before, the result still felt quite unique. Despite that, I felt the balance was a tad off. The aforementioned beats and the members’ delivery (which I commend) make the hip-hop feel quite dominant, but I would have liked the orchestral strings to be a bit more dominant when they appeared in the song. This would have played into the track’s uniqueness a bit more and aligned with the other songs on the mini-album in that regard. (8/10)
5. Papillon – Papillon continues the hip-hop influence on the mini-album. The main difference I noticed from Papillon is that the members sound and feel bolder and more confident in their delivery. That doesn’t mean they weren’t bold or confident on the other tracks on the mini-album, but there is something in this track that makes it feel more upfront with the genre. It is probably the volume of their delivery. I also enjoyed the driving force of the instrumental, which features a great beat and synth choices. (8.5/10)
6. Ocean – NMIXX tones it down to help ease us (the listeners) out as the mini-album comes to its end. Ocean has a few characteristics of a ballad, including a vocal focus and a softer melody that provides a beautiful flow. But the instrumental feels more alternative pop, with added texture and an uptempo feel, which sets it apart from the balladry genre. Anyhow, those vocals, including the layering and harmonies, were amazing, and that melody feels very calming and soothing. The samples of ocean waves also enhance that calming, soothing effect. (8.5/10)
Overall Album Rating – 8.7/10
LILY’s teaser image for Fe3O4: Forward.HAEWON’s teaser image for Fe3O4: Forward.SULLYOON’s teaser image for Fe3O4: Forward.BAE’s teaser image for Fe3O4: Forward.JIWOO’s teaser image for Fe3O4: Forward.KYUJIN’s teaser image for Fe3O4: Forward.
One of the most anticipated comebacks of the year has to be BLACKPINK’s album release, their first full-group album since 2022’s BORN PINK. Today, they dropped their 3rd mini-album, DEADLINE, and their new title track, GO. Also featured on the mini-album is last year’s JUMP.
To me, GO feels a lot more abstract than their past releases. The first thing that jumped right out at me was the classier and more elegant vibes that GO exuded, which isn’t something I have felt in a BLACKPINK song before. The vocals in the opening verse, courtesy of all the members, felt euphoric. The pre-chorus does lean into shouty territory, but it didn’t bother me. The synths in the background suspensefully built up to the chorus. This results in the drop in the first chorus is quite punchy and powerful, and I quite enjoyed the grittiness of the EDM here. From there, we get an awesome rap verse from LISA and JENNIE (loving the piano in the background). But then GO does something boring – it repeats the same pre-chorus and chorus from earlier. While I did praise it at its first pass, it just doesn’t have the same impact and effect mentioned earlier. Luckily, the bridge doesn’t repeat earlier material, opting instead for vocals that feel reminiscent of ROSE’s solo work. Though the bridge does repeat the unnecessary “BLACKPINK’ll make ya” for some reason. For the final chorus, the same chorus returns, but with an additional “BLACKPINK” chant by the members. I didn’t mind the additional inclusion. The only other thing to point out is that throughout the song, GO lacks a strong melody or hook to remember it by, which does dampen its appeal.
Leave it to BLACKPINK and YG Entertainment to come together to create an amazing and stunning music video. The whole 3:21-minute video was a whole visual experience, with really aesthetic visual effects and transitions. The members look beautiful throughout. I presume the futuristic rowing concept is to reflect the idea that unity and courage keep BLACKPINK constantly moving.
I am unsure if we will get a performance for GO. The music video offers no hints of choreography, and I have yet to see anything that appears to feature choreography (e.g., shorts, performance videos, etc.). For the time being, I will not consider the performance aspect in the overall rating, but will return if something does pop up.
Song – 8/10 Music Video – 10/10 Overall Rating – 8.8/10
While there have been some solo works from SEOLA and DAYOUNG since the group’s last comeback with Last Sequence, we haven’t heard much from the other members or the group in general. But finally, after four years, the group has been allowed to emerge from the dungeons to release the single, Bloom Hour, for their 10th anniversary. Unfortunately, this long-awaited comeback is without DAWON and LUDA (the members who did not re-sign with Starship Entertainment) and was poorly promoted by their company.
Given the 10-year anniversary, it is unsurprising that Bloom Hour is a pleasant, sentimental pop song for fans. One thing I liked about Bloom Hour is how it doesn’t take the form of a ballad (which is typical for fan songs). Instead, the upbeat instrumental of Bloom Hour gives it momentum and bite that I am extremely appreciative of. The impact of the first chorus hits me each time I listen to Bloom Hour, and I quite like this effect. The upbeat nature also makes Bloom Hour a satisfying enough release to somewhat plug the hole left by the group’s absence after all these years (though I am still manifesting a proper comeback from WJSN – Starship, please make this happen!). However, Bloom Hour‘s instrumental also feels sparse, and the song ends before you know it. I wish there were more to the instrumental to ground the song and make it more memorable. The members sound really great throughout the track, though more material (thus a longer song) would have been more appreciated. After all, it has been four years since we last heard the group, and a 3-minute song feels a bit short-changed. But nonetheless, I am happy to hear from the group and that they are still active.
I like how pretty the music video was. While there wasn’t much going on in the video, it was a nice way to pay homage to the group’s amazing visuals. The use of green screen could have been a bit better, but it still helps make for a beautiful video. For the most part, we get to see the members in a more ‘down-to-earth’ way, behind the scenes at a photoshoot/video or celebrating their 10th anniversary. During the bridge of the song, the music video features a cake with 10 lit candles, which could be a reference to their milestone or to their 10-member lineup. As a fan and a sucker for inclusivity, I prefer the latter.
Song – 8/10 Music Video – 8/10 Overall Rating – 8/10
Today sees NCT launch a new unit (their 7th to date!) featuring members JENO and JAEMIN. Dubbed NCT JNJM, the pair debuts with their mini-album and title track of the same name BOTH SIDES. Both JENO and JAEMIN also form part of NCT DREAM, who most recently was promoting Beat It Up late last year.
BOTH SIDES playfully portrays confidence, with the pair singing and rapping about their good looks. The opening commentary was so cringy. But it suited the upbeat and bright tone that the song opts for, which gives BOTH SIDES an undeniably fun and lighthearted sound and vibe. Their delivery gears towards the hip-hop genre, and I feel the pair do a decent job with making their take on the genre enjoyable. BOTH SIDES also feels very polished and features smoothness that works well with the bright tone I already mentioned. This helps glide us through the song. But with its short span below 3 minutes, BOTH SIDES was over before you know it. However, I find this to be quite disappointing. I honestly thought we were shortchanged as I was expecting something a little more substantial to follow through based on the trajectory the song was going. Perhaps an instrumental break to enable the pair to show off more of a performance side, or something that just ended the song more on a strong note and not have it fizzle/mellow out.
With a song that highlights their visuals, it makes complete sense to show the pair’s strong visual game and have everyone swoon over them. That whole bar scene with JENO making a drink and JAEMIN picking up said drink highlighted their visuals in such stunning manner. Aside from looks, the music video does feature a small plot line, with the pair chasing after a female character and trying to get her attention. But it all fails, especially at the end where they flat on the ground and the female character overlooks them as she opens the door to peer into the hallway. I also appreciated the comedic moments of the video, such as the window cleaner falling for JAEMIN and then JENO.
From what I can see in the music video, the performance goes for an easygoing and casual routine. Despite not liking the end of the song for reasons mentioned above, I actually liked the dance that accompanies it. The swing and the lighthearted nature reflected well with that aspect of BOTH SIDES.
Song – 8/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.3/10
IVE is officially back with their new second studio album, REVIVE+, featuring their latest title track BLACKHOLE. Also from the studio album is the group’s pre-release track from a few weeks ago, BANG BANG.
To me, the best part of BLACKHOLE is its dramatic flair. It takes a few seconds to really land. But once it does reach the pinnacle of that power, the track is at its best and is a force to be reckoned with. The synth work in BLACKHOLE, particularly during the final chorus, was commendable. It also held its ground during the moments where BLACKHOLE wasn’t reliant on being dramatic and powerful. The same could be said about the vocals and rapping, though I will admit that it took a few more listens for me to warm up to the members’ delivery. What I am most hung up on with BLACKHOLE is the lack of a strong melodic material or hook to remember the song by. Take away the instrumental, and I am not convinced BLACKHOLE has much to stand on. But as a whole piece with all the elements together as it should be, BLACKHOLE is a bold and intense song that is quite memorable.
Like the song, the music video is quite a statement piece in terms of visuals. Their company has gone all out, probably to match the powerful nature and boldness of the song, setting parts of the video in a stadium and filming the members at new heights (i.e., the Sky Bridge at the Lotte World Tower). Even the shots indoors looked amazing. The members’ visuals and outfits were also stunning.
Once again, IVE impresses with their performance. The routine really keeps up with the momentum of the song without a hitch and the members do a great job at executing the performance. Not sure if the tables/extra stage will be a feature on the music shows, but I liked how it gave some extra height and dimension to the performance. The part with LIZ walking on top and the dancer sliding the bottom was iconic. Similarly, the routine alongside the bridge was also a moment to enjoy.
Song – 8/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8.5/10
After a bit of a break from the album review front of the blog, it’s now back. We are getting right into SEULGI’s 2nd mini-album, Accidentally On Purpose. Released in March 2025, the mini-album features 6 songs, including the title track Baby, Not Baby. Overall, Accidentally On Purpose is another strong mini-album from the solo artist, on par with her 2022 debut mini-album (led by the single 28 Reasons).
Also, ICYMI – SEULGI, as part of her promotions under the unit Red Velvet – IRENE & SEULGI, was chosen as Best Unit and Best Overall Artist in the 2025 KPOPREVIEWED Awards. Click here to find out who else came out on top in the other categories.
2. Better Dayz – Better Dayz commands your attention, both on this mini-album and in the broader landscape of KPOP as well. The song definitely has a wow factor thanks to the combination of experimental yet bold, gritty instrumentation and SEULGI’s flirty vocals. With such descriptions, you can definitely tell these elements give Better Dayz a whole heap of character and personality. I also like the shocking, dramatic change at the end of Better Dayz. Definitely a statement piece, definitely a standout track. (10/10)
3. Rollin’ (With My Homies) – Next up is a laidback and fun R&B pop track. Rollin’ (With My Homies) is a track that I wouldn’t mind playing whilst in the car with a friend who also vibes with KPOP. SEULGI’s vocals are really nice throughout the track, as well. My main complaint is the abrupt ending. It felt like the producers didn’t know what to do with the song in its final moments. (8/10)
4. Whatever – I feel like Whatever is an R&B song that could easily been executed by Red Velvet. But it definitely sounds more intimate under SEULGI’s vocals. I liked the mid-tempo nature of the song, which keeps the track nicely upbeat. There seems to be a bit going on in the background – the plonky percussion and subtle brass were nice elements, though I am not sure if the song needed everything. (8/10)
5. Praying – Praying is the song from this mini-album that feels most aligned with 28 Reasons (SEULGI’s first mini-album). I found this track to be quite breathtaking, particularly thanks to SEULGI’s vocals. There is something about the way she executes this track that stills me and lets me take it all in. At first, she takes on a huskier, lower tone, then builds as the song progresses. The moody, slower and darker instrumentation really sets the scene. Another definite standout on this mini-album. (10/10)
6. Weakness – The mini-album finishes up with Weakness, a mellow love song that sounds nice. SEULGI’s vocals bring a bright pop to the song, which was much appreciated, as there wasn’t much else to the song that really stood out to me. (6.5/10)
Somehow, I missed the news that Hearts2Hearts would be making their comeback in February 2026. But I haven’t missed the music video release and have jumped onto it today to review the new single, RUDE! (otherwise, I might not review for months, given my track record). This is their first comeback since October’s FOCUS.
To me, RUDE!‘s background resembles FOCUS‘ instrumental. The consistent funkiness and groove behind the house-based instrumental feels like it was pulled from FOCUS‘ But there are some differences, mainly through how the members deliver their lines, that sets the new song apart from its predecessor. Hearts2Hearts’ vocals provide a bright tone to RUDE!, which is much different to the subdued tone the group had adopted previously. In turn, this helps make the chorus sound punchier and leads to a catchy centrepiece. I also quite liked the follow-up post-chorus instrumental part that followed the second and final choruses. It was a neat way to add more to the song without detracting from, or over-engineering, RUDE!. Interestingly, while I praised FOCUS‘ bridge previously, RUDE!‘s bridge is its least appealing asset. The spoken-rap sequence by JIWOO and JUUN was just clumsy and doesn’t fit with the rest of the song. But besides that, RUDE! is a neat follow-up in Hearts2Hearts’ discography.
I quite liked the social media concept they had going on in the video. It is fun and unique. From what I understand, the members operate a social media account, working to build their following. Along the way, someone they are interested in starts liking their post (excessively, might I add). But when they interact with the person, they were told they are rude (based on STELLA’s commentary). Some of the members don’t care, while the others try to figure out what went wrong (hence the fighting in the end). But they resolve conflict by taking a photo together to post onto their social media account. I am not to sure if I interpreted it right, but I relate the member playing the offline game on their laptop in the midst of the fight (thinking, eating popcorn whilst there is drama around you). Also, the end reveals the likes are not coming from a person, but rather a cat who is just randomly pressing the screen.
From what I can see in the music video (as all music shows have been canceled this week due to Lunar New Year celebrations), the performance is cute and features a slight bounce that complements RUDE! nicely. I could also observe sharpness and synchronisation, which definitely levels up their execution and performance, overall.
Song – 8/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.2/10
ICYMI – Hearts2Hearts was voted for Best New Female Group in the 2025 KPOPREVIEWED Awards. Click here to find out who else came out on top in the other categories.
WOODZ will be making his official solo comeback next month with his first studio album, Archive. 1. But ahead of that comeback, WOODZ has teased his return with the pre-release single CINEMA. Previously, he heard WOODZ through I’ll Never Love Again and Falling (ft. Young K of DAY6).
CINEMA is a solid pre-release, a rock ballad that is very much familiar territory for WOODZ. It isn’t ground-breaking or the first of its kind, but it is still beautiful and an emotional release, with the music video enhancing the latter. But on its own, my emotive heartstrings were still pulled and tugged whilst listening to CINEMA. The build-up in WOODZ’s vocals, from the low, almost-whispered beginnings to the powerful end, makes this such a satisfying single. It is solid outputs like thisand I’ll Never Love Again that make WOODZ worthy of his nomination for Best Vocal Performance in the 2025 KPOPREVIEWED Awards. Did you all vote him to be the winner of the category? Find out tomorrow! The rock elements develop in a similar way, giving momentum and drive to CINEMA. Can’t wait to see what else he has on offer through his studio album drop!
The music video shows the male lead sitting in a cinema, rewatching moments from his last relationship, including when the relationship began to blossom and the bitter end that hurt everyone involved. And it is in this moment of reflection at the cinema that he realises that he truly misses the female lead. I do wonder what some elements mean, especially those at the end, such as the candle held by the female lead, the arrow and drop of gold held by the male lead and the shirt that says ‘Theia Mania’ (divine madness) plays into this breakup. While I feel like some of these can be connected to the moment, they are oddly specific and might play into the actual music video for WOODZ’s upcoming title track. It wouldn’t be the best first time the pre-releases hinted at something incoming.
Song – 8/10 Music Video – 9/10 Overall Rating – 8.4/10
It has been over a year since KickFlip made its debut on 20 January 2025. In celebration of that milestone, I am finally getting around to reviewing their debut single Mama Said. The single was featured on their first mini-album, Flip it, Kick it!, which also dropped on the same day. As part of their debut promotions, the group also pre-released the single Umm Great, which I will revisit for a review ahead of their debut mini-album.
Timing was one reason I didn’t review KickFlip’s debut when it happened (I was on a family holiday when it was first released). Another reason is that Mama Said didn’t really capture my attention, and there were several reasons for that. Personally, back then and now, the pop-punk dance track felt relatively heavy, instrumentally speaking, placing Mama Said in a slightly awkward position: there is energy that drives the song forward, but the overall feel doesn’t match that energy. This affects the members’ delivery, which was mostly low-register rapping or rap-speak, making Mama Said neutral and consistent. I expected some vocals to come into play throughout the song to give Mama Said some liveliness and more colour. And while we did get some, the vocals in Mama Said don’t reach that potential. But it isn’t all bad news for Mama Said. The lyrics that express the idea of rebelling against nagging words from adults (i.e., their mum, if we were to take the lyrics literally) and forging their own path were quite fun and refreshing. And there were aspects of Mama Said that I did warm up to, like the brief instrumental break in the bridge.
After their mum leaves the house for the day, the KickFlip members wake up and go about their day. In this light-hearted music video, things they do go against what their mum says (e.g., making a mess in the kitchen, eating cereal with milk inside the box, blasting music and making a mess in their rooms). Eventually, the members also step out of the house and do things that go against society’s norms, like walking under traffic blockage signs, leaning against trucks when they shouldn’t, spinning society’s view, walking along the sides of buildings, etc. This all culminates in the members coming across a special skateboard, which they use to ride down the side of the building. And they do all of this before they get the ‘Mama signal’ that their mum is returning home, who still sees them as her good little boys (despite all the havoc and mess they made throughout the day).
Despite what I said earlier about the song, KickFlip’s debut performances were quite energetic and lively. I put this down to the members’ execution and delivery of the performance. Moments I particularly liked were the “Ooo, Ooo” moments in the post-chorus hooks and the dance break that comes with the instrumental break.
Song – 7/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 7.6/10
Don’t forget to also check out my reviews for KickFlip’s subsequent comebacks, FREEZE and My First Love Song.
Back in November 2025, RIIZE made their comeback with their second single album, Fame, which featured the title track of the same name. Unfortunately, I was unable to review the track at that time. But as the saying goes, better late than never. Before Fame, RIIZE also returned earlier in 2025 with the studio album Odyssey (yet to be reviewed) and the title track Fly Up.
Fame tackles hip-hop once again, with the song described as ‘rage hip-hop’. While it isn’t the usual style of music I would listen to (the primary reason I have taken a while to review this track), I do appreciate the combination of rage beats and rhythm, hip-hop influences, and the shrillness of the electric guitar (though this did get much at times). The resulting instrumental features robustness that makes the song bold, while the electric guitars brought an alternative-esque influence to Fame. On the vocal front, it was solid all around. I liked the amount of vocals you got in Fame, in comparison to rapping. It felt balanced and well-rounded. I liked the emotional heft RIIZE poured into Fame, and that you also get out of the song. I also liked their control against the paced nature of the song. The rapping in this song was also pretty good, especially the lower register spoken parts. Stronger hooks and melodies would have reinforced the song. I know it isn’t common, especially in hip-hop songs, but Fame needed something memorable to hold my attention and bring me back for more.
Fame explores the desire for love and emotion over fame and fortune. I think the video explores two sides of each member, even though they are one person. One side is the ‘fame’ version of the group. We see them on screen, on the sound stage, and in front of the cameras in the video, though this version is portrayed as quite suffocating (very close shots of their faces, cameras right into their personal space, in a closed room, performing while their surroundings are on fire). The other side is the ‘behind the scenes’ version of RIIZE that we see for the majority of the video – they perform on the big spinning platform, and they appear to be in rehearsals (based on the more casual outfits). This side is allowed to explore those emotions and the idea of love. In the end, it appears that the desire for love and emotion prevails, as the small room off the side of their spinning platform, where we see the fame version of the members in some scenes, explodes.
The performance for Fame is pretty good. While it was an intense routine, I liked how it complemented the song’s pacing. The best part has to be the outro/dance break we get at the end of the performance. The way the members came at us was peak intensity.
Song – 8/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8.5/10
Ahead of their upcoming comeback with their second studio album, Revive+, later this month, IVE pre-released the new single BANG BANG yesterday. BANG BANG attempts to join a list of successful pre-release singles in IVE’s repertoire, like Kitsch, Either Way, Off The Record and last year’s REBEL HEART.
Previously, I noted that I haven’t been a big fan of IVE’s songs that have taken an edgy route. Though I think I am warming up this sound profile from IVE, given that I did (and still do) enjoyAccendioand TKO. And while I didn’t review XOXZ favourably at first, the song has grown on me a bit since then. The only outlier appears to be 2023’s Baddie. BANG BANG joins the list of edgy songs I like from IVE. And in my books, it also joins the list of the group’s successful pre-releases. BANG BANG‘s attempt at edginess feels quite sophisticated and sleek. It is also quite fun, with the old Western influences adding some intriguing flair to the song. The club beat and bass make the track hit hard and drive it forward. I do think BANG BANG could have done with less clanginess. It feels the void during some parts, but it just makes BANG BANG feel, well, unnecessarily clangy and clunky. Vocally, IVE does well in the song. But the true shiners in BANG BANG are the rappers, REI and GAEUL. Their part in the second verse was very impressive, with REI getting a chance to show off her rapping and GAEUL following through without disrupting the song’s flow.
Based on the music video, the members appear to be outlaws, as indicated by the wanted posters. But instead of going into hiding or living in fear of being caught, IVE is very much out and about, living life boldly and without concern. At one point in the video, the members were practically dancing behind a police officer without a care in the world or fear of being caught. Though I am not sure what to think about the floating train – no theories there. As usual, the members look fantastic, with their visuals on full display (see the featured image as evidence).
From the members’ sensual moves to the more upbeat chorus, this routine definitely delivers impact and intensity. But the defining moment of the choreography is when LEESEO is front and centre, and the dance leans to the left in a rolling motion. Very cool, and again, super impactful.
Song – 9/10 Music Video – 9/10 Performance – 10/10 Overall Rating – 9.2/10
ATEEZ made their comeback yesterday with their 13th mini-album, Golden Hour: Part.4, and the title track Adrenaline. It is the first comeback since last year’s In Your Fantasyera in Korea and their Ash era in Japan. The group is currently on their In Your Fantasy tour, which kicked off mid-last year and will continue through to April of this year.
With a title like Adrenaline, the song essentially promises a rush that will get your energy up and going. The verses kick it off, or continue the song, on a strong note, while the pre-choruses build the suspense. Adrenaline does a fine job of setting itself up. I wished I could say the same about the choruses. Admittedly, Adrenaline‘s centrepiece starts off strong, with heightened, bombastic EDM synths that feel well-rounded and logical. But it just ends there, and I find it incredibly frustrating that there is no follow-through. The centrepiece needs the extra support of a second part to feel like a satisfying, complete release of energy that Adrenalinehas been building up to. I thought the bridge was handled well by the members, but the vocal processing was a tad overdone for my liking. This could have been said about a few other parts of Adrenaline as well. I did like the return of the chorus synths for the instrumental break, with an added pitting synth to drive the part forward. And for the final part of Adrenaline, I liked the direction, but the way it was produced felt a little too easy. Some more explosive synths to give the outro its last hurrah would have done the job.
The music video for Adrenaline is a powerful and impactful. There are some solo shots throughout the music video that made me go “wow,” for the way they complement the song’s powerful nature and highlight the members’ looks. HONGJOONG looks at the start with his eye patch being one of these shots. YEOSANG’s swept-back blonde hair look is another, as well as the aerial shots of WOOYOUNG at the end of the video (for obvious reasons). Post-production really lifted this video, as well. The only thing I thought was a bit funny was the lack of aggression from HONGJOONG, when he was supposed to shout “Turn the thing off“. The vocals just do not match the calm expression shown at that time.
As for the choreography for the comeback, I really liked the intensity, aggressiveness, and power they brought to, and gave off during, the performance. The presence of the dancers also heightens all of this. That whole dance break that coincides with the instrumental break was super cool, with YUNHO’s floor part being the biggest highlight of the performance. I also liked the choreography’s outro, with it leading the song to a strong ending on stage.
Song – 7/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8/10
Earlier this year, it was announced that ONEUS would be leaving RBW Entertainment this month and that the group would have one more comeback under the label. That comeback, Grenade, occurred 2 weeks ago, and the group continues to promote as a four-member lineup, as SEOHO is currently completing his military enlistment (having enlisted prior to their last comeback, X). However, it was recently revealed that all five members had signed with B-WAVE Entertainment, and the group would continue their promotions together.
Grenade strives to be an edgy, hip-hop dance song. But it ultimately underwhelms and feels flat in pretty much all regards. The foundation was okay, with the instrumental opting for a bouncy and percussive production. This is probably the only thing Grenade has going for it, but even that was lacking. It needed much more to make Grenade feel a lot more appealing. There wasn’t anything to give it some oomph or detailing to make the instrumental exciting. The backing just felt stuck in neutral gear and stayed the same from start to finish. It doesn’t help that the members were pretty much the same in Grenade. Their delivery, whilst consistent with past tracks, just felt hollow here. Grenade doesn’t offer much in terms of hooks, opting for a spoken repetition of the song title as the primary hook. It is rhythmic, but that is more so the result of the instrumental than the hook. Melody-wise, nothing really stuck out for me. It really pains me to write such comments for ONEUS, especially since we know what they are capable of. That standard was just forgotten in Grenade.
The music video is okay. It fits the brief of being dark and edgy, just like the song. There just wasn’t much in the video to comment on. The most I can speak of are their outfits (which had a traditional Korean influence that felt like a callback to ONEUS’ peak eras of Lit and LUNA), some dynamic camerawork, and the post-production effects at the end (LEEDO turning to dust and HWANWOONG catching fire). The latter adds a mysterious vibe to the video.
The choreography for Grenade exudes a tough, edgy vibe. It also plays into the song’s rhythmic side. But because of the song, I just didn’t find the routine to be that exciting. There was definitely potential, just held back by the music itself.
Song – 6/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 6.5/10
ZEROBASEONE is officially back with their special mini-album, RE-FLOW (yeah, I checked the articles to be sure this time) and the title track LOVEPOCALYPSE. Previously, the group had pre-released the singles Running to Future (yet to be reviewed) and ROSES ahead of this special comeback. RE-FLOW could potentially serve as ZEROBASEONE’s final release after two and a half years, as they approach their scheduled disbandment date in March 2026. Presently, the members are connecting with their fans (ZEROSES) on their Here & Now tour throughout Asia.
As mentioned in my review of ROSES, songs released by a group ahead of the inevitable are often sentimental ballads dedicated to the group’s fans. But just like the pre-release track, ZEROBASEONE flips the script by making an upbeat drum-and-bass track their final song. I liked the addition of guitar, which just makes LOVEPOCALYPSE a little more electrifying and powerful. Still, there is some commonality with the ballads mentioned earlier: LOVEPOCALYPSE‘s lyrics bring a sentimental touch and are written in a way that is anything but for the fans. Anyhow, what makes LOVEPOCALYPSE even more special is the way the chorus is executed, bringing back fond memories of their debut track In Bloom. This is quite a nice touch to LOVEPOCALYPSE, taking the group full circle with their release. I also really liked how the vocals surge with the music in the chorus. It has impact, though it could have been better capitalised, with a stronger melody and hook, to make LOVEPOCALYPSE an even more prominent song in ZEROBASEONE’s discography. Despite that minor desire, LOVEPOCALYPSE ultimately celebrates ZEROBASEONE and ZEROSE’s bond, and it succeeds in doing just that.
For LOVEPOCALYPSE‘s music video, I am glad we see the actual members in some form (though an actual music video would be nice). For this video, we see footage of the members from their tour. To break up the footage, there is animation of a person (assuming to be ZEROBASEONE) falling from an asteroid, finding a blue rose (which transformed into their light stick – this transition amazed me) before the world collapses. But in this process, the person holds onto the blue rose they found, and at the moment of collapse, they are reborn into a planet of blue roses.
Song – 9/10 Music Video – 8/10 Overall Rating – 8.6/10
KPOPREVIEWED 