The next album on the review block is AHOF’s debut mini-album, WHO WE ARE. For those who missed their debut, AHOF is a 9-member male group with a lineup of Steven, Jeongwoo, Woongki, Shuaibo, Han, JL, Juwon, Chih En, and Daisuke. They were formed through the survival show Universal League and are managed by F&F Entertainment. Released in July last year, WHO WE ARE features 6 tracks, including the title track, Rendezvous.
Overall thoughts
For a debut mini-album, AHOF has done a good job of introducing themselves to us. While I think the title track was the strongest on WHO WE ARE, the rest was just as good. Keep reading to hear what I thought about the songs on the mini-album.
WHO WE ARE album cover
1. The Little Star (소년,무대위로넘어지다) (Intro) – AHOF kicks it off with the intro track The Little Star. Their opening track is a sweet, warm ballad that samples the iconic and nostalgic Twinkle Twinkle Little Star. It also features an orchestral background that brings out Christmas vibes, gives off that lovely balladry sway I like in ballads, and further enhances those already-mentioned nostalgic vibes. The Little Star also features soothing vocals and rapping, making it a really nice track to introduce us to AHOF. (8/10)
2. The Universe (파랑학교,초록잔디,빨간운동화) – AHOF stays in the sweet realm with The Universe, but they opt for a pleasantly upbeat pop sound. Everything in The Universe is both light and bright, from the melodies to the vocals to the instrumental. If the producer meant to put a smile on our faces, they did. But while it’s light and bright, the track breezes by and doesn’t have much of a memorable factor, unfortunately. (8/10)
4. Incompleted (미완성은아닐거야) – Incompleted is an acoustic mid-tempo R&B track, with a nostalgic melody that feels very familiar (I just cannot pinpoint exactly where that familiarity comes from). AHOF’s emotional vocals in Incompleted were captivating, which helped make Incompleted one of the stronger tracks on the mini-album, despite it being a more paced and delicate track. (9/10)
5. Cosmic Underdog (우주 최고의 꼴찌) – AHOF steers us back to upbeat territory with this fun, energetic synth-based pop track. Like The Universe, Cosmic Underdog is lighthearted. But the beat has a little more to it, and the synth choices add a slight retro tinge that makes the track bright and colourful. The vocals and rapping bring warmth and a summery innocence to the song. I would have liked Cosmic Underdog to have a little more flair to enhance the energy, but it is still a good song as is. (8/10)
6. AHOF (아홉, 우리가 빛나는 숫자) (Outro) – Their first mini-album finishes with spoken messages of support for one another (towards their fans and each other), as well as hope. It is set to a bright, bubbly, hopeful synth-based instrumental. No singing or lyrics in this one, so I won’t be adding it to the final rating below.
Overall Album Rating – 8.4/10
AHOF’s teaser image for WHO ARE WE
Other AHOF releases
Following their debut, AHOF made a comeback in November 2025 with the single Pinocchio, the lead single from their second mini-album, The Passage.
This year, AHOF also made a mid-year comeback with the single Run To You, the lead single from their third mini-album of the same name. I haven’t reviewed the song yet, but it is on my to-do list.
Three weeks before their comeback on 9 November 2026, NCT DREAM unveiled the music video for The Sun, a side track from their upcoming 6th studio album, Dream After Dream. It is NCT DREAM’s first song in over a year (their last being BTTF and CHILLER from their Go Back To The Future album, which I have not reviewed yet). It is also the first release since the group renewed their contracts with SM Entertainment (except for MARK, who opted not to renew his contract, leading to his official departure from NCT and SM Entertainment).
While The Sun does venture down the balladry route, I liked that it wasn’t your typical ballad. It begins with a very minimalistic, slightly atmospheric instrumental that serves as The Sun‘s foundation. As the song progresses, we are gifted with grand, dramatic flourishes in the instrumentation, soft backing vocals, light synth choices, and stunning harmonies that lift The Sun and make it more engaging. The melodies are extremely pleasant and heavenly at the right times. Just after the 3:00 mark, The Sun‘s backing becomes squirrely as it presses hard on the grand, epic flourishes to accompany CHENLE’s “Today” vocalisations. After that, they maintain the tension with a heavier beat and concentrated instrumental to round out The Sun. Vocally, NCT DREAM performed really well throughout the song, with each member having plenty of chances to stand out individually and as a group. Put together, The Sun is a breezy, refreshing ballad that serves as a neat reintroduction to the group and their next chapter.
The music video shows the members going on a road trip to the coast to watch a beautiful sunset. There is a hiccup along the way, which sees them getting lost and disagreeing about which way to go. But with their bond as a group, they quickly resume their trip and keep having fun together. Overall, the video was a nice accompaniment to the song, with the visuals and setting fitting the song’s breezy nature.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
KPOP has seen its fair share of chart resurgences. RESCENE is one of the lucky groups to experience this phenomenon. Their 2024 single Love Attack climbed back to the top of the Korean charts, followed by their remake of KARA’s Pretty Girl earlier this year, and several of their earlier tracks also enjoyed renewed attention. With this momentum, RESCENE is now back with a fresh release to see whether they have staying power with their fourth mini-album, Pulse, and its lead single, With.
Interestingly, RESCENE goes for a more muted, serious affair in With, rather than their energetic, upbeat Love Attack sound. It is an interesting move, but it is shaping up well for them given their current chart performance with the new single. With focuses on a softer delivery consisting of vocals and rap-speak, and a straightforward pop instrumental that is extremely pleasant yet captivating. I want to expand on the vocals and rap-speak delivery a bit more, as they are extremely nice and deserve more attention. Apart from Love Attack and their remake of Pretty Girl, I am not familiar with their arsenal, and truthfully, I didn’t expect the stunning delivery in With. But RESCENE proved me wrong. My favourite vocal moment is the airy, nasal approach in the pre-chorus, while the rap-speak had such a decadent execution. When the chorus comes in, consistent percussive drumming and beautiful melodies drive the song forward, and those earlier vocals easily whisk you away. With‘s bridge adds bass and hefty thumping, adding suspense and ramping us up to the final chorus. It would have been nice for With to offer something different in its final moment rather than repeat a very similar chorus that we had heard before. For example, the producers could have found a way to infuse that bass and hefty thumps into the final chorus to capitalise on those smart incorporations. But aside from that, With was a great song that went against expectations.
The music video shows us an unexpected friendship between the members and the furry rabbit (?). We see the members and the rabbit clash throughout the first verse and chorus, then their friendship blooms soon from the second verse. In the end, the members and the rabbit commit to one another, as shown when they run toward each other and hug. This ties in nicely with the song, which is about finding companionship and moving forward with them.
The choreography for this comeback was very pretty. This works well with With‘s softer, muted approach. I really liked the flowy parts during the chorus and how they contrasted with the sharper movements in the verses.
Song – 9/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.5/10
Last month, Xdinary Heroes made their comeback with the single Obsessed With You and their 9th mini-album, IMPULSE. It follows VOYAGER and their 8th mini-album, Dead And, from earlier this year, both of which I haven’t reviewed yet (both are definitely on the to-do list, but I cannot tell you when). Unfortunately, since VOYAGER, the band has seen a lineup change, with GUNIL (leader, drummer) leaving the band (and his contract was terminated by the company).
Despite GUNIL’s departure, Obsessed With Youth still carries drums, and I enjoyed their prolific nature in the background. Obsessed With You also features electrifying, powerful guitar work that brings an exhilarating rush of energy, making the song great to rock and vibe to. It also brought on some really nice crunchy textures in the choruses. The keyboard and glitchy sound effects add nice detail in the background, giving the song that little something extra to enjoy. And don’t get me started on the vocals. JOOYEON’s vocals got me hooked from the start, and they stayed consistently amazing throughout Obsessed With Youth. They always contrast nicely with the rock sound, and Xdinary Heroes proves it again with their delivery. Obsessed With Youth‘s melodies and hooks were also very rich and memorable. Put everything together, and it is a hard song to put down. Just look at the bridge and final chorus; they have everything I mentioned above in such a concentrated yet gratifying way.
Obsessed With Youth‘s message speaks to the duality of youth, specifically the contrast between the exhilarating aspects of growing up vs the anxiety it can bring. The music video starts calm and relaxed, and as the music builds and grows more powerful, everyone around them becomes wilder and freer in expressing themselves, including Xdinary Heroes themselves. We also see a couple accept themselves and embrace love, while others fight. All elements of being young.
Song – 10/10 Music Video – 9/10 Overall Rating – 9.6/10
TWS has returned with their 2nd single album, TO US, and the title track Call My Name. This comeback follows their No Tragedy comeback, led by You, You, earlier this year.
From the moment the teaser dropped, the blend of classical instruments and synths caught my attention. This combination creates a beautiful, cathartic backdrop. I liked that certain parts of Call My Name highlighted one side of the blend, giving us a chance to really enjoy both on their own. The chorus also hits the right balance of classical elements and synths. The drumming, while briefly powerful and pulling the focus away from the classical, synths, or the combination of both, helped drive the song forward. Call My Name also shines in other areas. I really liked the emotive, reflective tone the members brought through their vocals, while the melodies were smooth and provided a nice contrast to the instrumental. Even the rap-sing in the second verse fit the song well. Overall, Call My Name is a strong single from TWS.
Call My Name speaks to the drive and encouragement you feel when you know someone is on the other end of your goals and dreams. The music video shows their journey from their trainee days to where they are now. At the start, we see the members deflated and in a not-so-good mood. But when they hear the music, they start dancing and recall the good moments. Later, we see HANJIN scaling a building for a shoot. While he struggles, the other members “call his name” from the top of the building, driving him forward to complete the climb/shoot successfully. At the end, we see the members perform in the middle of the city. I thought of this part as being where they are now, capable of stopping a city with their performance and their willingness to be bold artists. I liked the inclusion of the BTS shot that set up this shot, showing a raw, down-to-earth side of the group.
Once again, the choreography shows what we all know TWS is capable of. From what I can see in the music video, this performance looks very artistic. The smoothness matches the melodies, and the energy works well with the instrumentation. The performance also features some amazing synchronisation, and I liked how they did something equally artistic but different in the final moments.
Song – 9/10 Music Video – 9/10 Performance – 10/10 Overall Rating – 9.2/10
I have tried a slightly different format than my usual album review posts. Letme know if you like it.
In June 2025, ONEUS made their comeback with their 11th mini-album, 5x, led by the title track X. One year and 5 months later, I am finally getting around to reviewing it. In case you are wondering what the title of the mini-album is about, ONEUS has explained that the ‘5’ in the album’s name represents the five-member lineup of ONEUS (SEOHO, LEEDO, KEONHEE, HWANWOONG, and XION), while the ‘x’ serves as the multiplication sign, representing the group’s infinite potential.
Interestingly, while the mini-album focuses on ONEUS as a 5-member group, SEOHO isn’t featured on the title track or any promotional material for this comeback due to his military enlistment. But SEOHO does appear on the mini-album through the side tracks (sans the final track, which was also released after he enlisted in the military).
Overall thoughts
I found this mini-album to be a great release from ONEUS. There is no bad song on the album, though I do have my personal favourites – continue reading to find out which songs those were. But other than that, I definitely recommend you check it out.
2. LOVE ME or LOSER – Next up is LOVE ME or LOSER, a dreamy synth pop track. It also feels well-suited for a club environment, especially when the beat comes in and during the EDM twist toward the end. The vocals and rapping throughout LOVE ME or LOSER were compelling, and the melodies were airy or punchy when they needed to be. Together, everything makes LOVE ME or LOSER feel breezy and refreshing. (10/10)
3. RELOAD – We remain in the dreamy synth pop realm with RELOAD. The main differences between this song and the previous one are the thumping bass, the dreamy melodies (especially in the choruses), and the raspier vocals. RELOAD was good, but it wasn’t my personal favourite from the album. (8/10)
4. BAD – BAD is another strong song from ONEUS. It has more dreaminess, but this time the vector is retro pop. I really enjoyed the vocals for this one, with BAD giving us some fantastic melodies and hooks to enjoy alongside the members’ vocals. I highly recommend this one – every time BAD comes on, I get so lost in it; I will always try to repeat it as many times as I can before I need to move on. (10/10)
5. TIME MACHINE (Korean Version) – For those who may have missed it, ONEUS released the Japanese version of TIME MACHINE a couple of months before 5x. This mini album features the Korean version of the song, but both versions are good. The retro pop comes through stronger in TIME MACHINE, but it has a more mid-tempo feel. The instrumental feels well suited for summer, and the melodies are very smooth. TIME MACHINE doesn’t have much impact, but it is still a pleasant listen. (8/10)
Overall Album Rating – 8.9/10
ONEUS’ teaser image for 5x
Other ONEUS releases
Previous release: Dear.M (1st Special Album), led by IKUK (at the time, a newly arranged version of their Road to Kingdom: Ace to Ace track, I KNOW YOU KNOW).
Future release: 原 (2nd Single Album), featuring the title track of the same name.
fromis_9 made their comeback in June 2025 with their 6th mini-album, From Our 20’s. It was their first release under a new label and also their first as a five-member lineup (following their departure from Pledis Entertainment). The mini-album features 6 tracks, one of which is the title track LIKE YOU BETTER, which has become one of my favourite fromis_9 tracks of all time. The rest of the mini-album is a strong showing from the group, especially as they enter unfamiliar territory as a 5-member group. Continue reading to find out what I thought about each track on the mini-album.
Since From Our 20’s, fromis_9 has been busy with their 1st world tour, Now Tomorrow. They also released a remake of Kim Min Jong’s Christmas single, White Memories, and most recently returned to the KPOP scene with their second studio album, Glow ME, led by the title track Vitamin ME.
2. REBELUTIONAL – One thing I really liked about REBELUTIONAL is its refreshing and breezy pop-rock sound, which makes it perfect for the summery season and a follow-up track to the title track. The chorus was a fun blast, and fromis_9’s bright vocals throughout were well executed. HAYOUNG’s ad-libs at the end were amazingly good, as well. I would have liked REBELUTIONAL more had it had punchier hooks. (9/10)
3. Love=Disaster – fromis_9 takes on the punk rock sound in Love=Disaster. While I am excited for the punk rock direction (Love=Disaster started off well), I wish the song, especially the chorus, had been more up-tempo and had more punkish energy as it progressed. The pre-choruses hinted at that energy, but what we got in the end wasn’t that. Also, the choruses felt like they ended each time prematurely. The vocals were great, and I liked that little glitchy effect on the “Disaster” bit of the chorus. Love=Disaster was a great idea, but it could have been executed better. (8/10)
4. Strawberry Mimosa – Strawberry Mimosa was a very pleasant pop track, with a slight groovy underlay. The vocals were very cute and never failed to bring a smile to my face when this track appeared in my queue. (8/10)
5. Twisted Love – Twisted Love is my pick for this mini-album’s hidden gem. The opening thumping percussion and guitar work grab my attention from the get-go, and everything else settles into place. From Twisted Love’s guitar work to the effortless flow between parts to the bright, airy, superb vocals, there was so much to enjoy. It was a hard track to put down. (10/10)
6. Merry Go Round – Merry Go Round opens with a child-like playground chant and some strong bass. Both set the tone for the rest of the song, with the chant as a nice inspirational anchor for the cute, fan-dedicated lyrics, and the bass as a strong constant throughout that gives Merry Go Round a grand feel. I could have done with less vocal layering in the post-choruses. But it was still an enjoyable song overall. (8/10)
RIIZE returns to their ’emotional pop’ roots with the new single Insomnia. The single follows their Do Your Dance comeback earlier this year.
RIIZE blends an acoustic pop-ballad sound with some mid-tempo trap backing to bring us Insomnia. While it is a decent mix of sounds and genres, it is pretty standard and doesn’t really have much to remember it by. In fact, Insomnia‘s strongest moments came when the song stripped back to an acoustic pop-ballad sound. The guitar work was vibrant and so stilling in these moments, which was a good effect to bring about. The same could be said about the outro, where the guitar was more prominent than the trap element. In these parts, RIIZE’s vocals were also at their rawest and most delicate. Insomnia was a strong vocal showcase for the members. I enjoyed the purity of their vocals and the emotional tinge, without needless vocal processing and autotuning getting in the way. As for the rap-singing in the second verse, it was okay. I am not against it, but I would have liked if it leaned into more of an emotional tone.
The music video shows each member of RIIZE portraying a different character grappling with a restless night due to emotions, loss, and deep longing for a loved one. Each member reacts differently to this: anger, angst, depression, dejection, hallucination, withdrawal. In some cases, the reactions are portrayed in an extreme way to show the emotional toll profoundly. I liked the video’s artistic flair, which made it feel like an indie movie.
Song – 8/10 Music Video – 9/10 Overall Rating – 8.4/10
AND2BLE is one of the few rookies of the year whose debut track, Curious, I’ve managed to review. This is mainly because the group consists of former members of established groups (ZEROBASEONE and EVNNE), so there was already precedent for reviewing them. Anyhow, AND2BLE had returned with their first comeback single, French Kissing, and their second mini-album, Attraction.
French Kissing features a bold EDM instrumental, heavy moodiness, piercing vocals, and an overdone yet workable chorus hook. The intense EDM instrumental was a selling point. It was rather imposing in the background, but just enough to feel striking, rather than overbearing. I liked the presence of the electric guitar, but I wish they had experimented more with it by featuring varied riffs throughout the song. The same goes for the short string piece before the choruses. These would have made the instrumental a little more interesting. The piercing R&B vocals were good, especially since they had to cut through the heavy instrumental. The bridge was a strong vocal moment, turning French Kissing briefly into a dreamy moment. Not sure how French people are taking the rapping, but it was an interesting aspect of the song. French Kissing could have used more excitement and energy, since the mood was so thick and hefty. That in itself was quite overbearing. The mood really dragged French Kissing down, leaving it with little excitement and a very plain appeal. It also extends into the chorus hook. The first time around, the “Oooh La La La, French kissing” hook was good. But between the heaviness of the song and its delivery, the overly repeated hook and the plainly spoken “French Kissing” part really wore the hook down. I wish there were more vocal melodies to follow it, since that was more interesting.
While heavy, the music also has a sensual, mature sound. So I wish the music video had explored a more sensual, mature concept. The brightness, blue/green colour, and denim focus were stylish, trendy and, in their own way, piercing. But the video’s sleekness, smooth camera work, and even some of the dance moves lend themselves well to a more sensual, mature concept. Beyond that, I don’t have much else to say about the music video.
I was wondering what moves they would use to represent French kissing, given that it’s the song’s title. I completely forgot that air kisses were a thing. Anyway, as I mentioned above, the dance moves do take on a more sensual direction, which I thought was cool. I also liked how the routine felt constrained and held back, which makes its more intense and alluring to watch.
Song – 7.5/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 7.6/10
ILLIT kicked off the week with their comeback single, You’re Under Arrest, and their 5th mini-album, Break Even. It is their second comeback of the year, following their It’s Me/Mamihlapinatapai mini-album. Member MOKA is currently on hiatus, so the group is promoting this comeback with a four-member lineup.
Two elements held strong potential for You’re Under Arrest: the thumping club beat and their Orange Caramel-leaning chorus (something ILLIT touched on in It’s Me but didn’t fully explore). That club beat was very commanding, while KPOP really could use some of that Orange Caramel fun and flair. Unfortunately, You’re Under Arrest fell flat in a few places, making it a very disappointing single. First, the verse mixing was so piercing and uncomfortable to listen to. It was hard to get through. Second, the song should have used the whistles more sparingly throughout. It ain’t the first time we have heard whistles in a KPOP song, but it was so repetitive and overdone in You’re Under Arrest; it quickly lost its charm. We also did not need an extended whistle at the end of the first and final choruses. It is very harsh in real life, and it was equally harsh in the song. Third, the song lacked a strong hook or anything to remember it by. After two days, You’re Under Arrest still hasn’t reeled me in. With only two elements to rely on, You’re Under Arrest leaves much to be desired.
The music video shows the members playing your local neighbourhood watch or spies, trying to find a mysterious, handsome gentleman played by Korean actor Song Kang. But it turns out that the older person who tasks ILLIT with finding the handsome gentleman is no other than Song Kang. This concept fits neatly with the lyrics of You’re Under Arrest, which calls out a partner who led them on with false hope. In this case, the false hope is finding Song Kang, but he is the one who told them to do it and has been everywhere with them. The music video has a hilarious comedic touch as we watch the members struggle in their search (e.g., being scared by a young kid, being technologically challenged, going up against a cheating old man at billiards, and struggling to pass a driver’s test).
Choreography-wise, I really liked how they incorporated some of that wackiness from their Orange Caramel influence into the routine. It was fun, cutesy, and on-brand for ILLIT.
Song – 6/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7/10
Cast your mind back to mid-2025 when ATEEZ made a summer comeback with Golden Hour: Part 3, led by the single Lemon Drop. This was followed shortly by a repackaged version of the mini-album, titled the ‘In Your Fantasy‘ edition, led by the single of the same name. Today, I am finally getting around to reviewing the full Golden Hour: Part 3 package, which features 15 songs. The former featured only 5 songs (group songs and a bridge, which doesn’t count toward the album’s final rating), while the latter featured 10 songs (an English and Korean version of the title track and solo tracks by each member). Overall, it was a strong effort from ATEEZ, with the album featuring some good tracks and two earning a 10/10 from me. Read on to see what else I thought about the mini-album.
Golden Hour: Part. 3 Album CoverGolden Hour: Part. 3 (In Your Fantasy edition) Album Cover
1. Lemon Drop (Title Track) – I mentioned in my original review that, at the time of writing, the track was growing on me. Since that review, I can confirm that Lemon Drop did just that. So, I have decided to bump up Lemon Drop’s song rating by a half point. The opening melody of its chorus ended up being a memorable part of the track. Click here for my original review of Lemon Drop. (8/10)
2. Masterpiece – ATEEZ previously commented that Masterpiece was a contender for the title track status for Golden Hour: Part.3, and I totally can see why. Masterpiece is a sleek 90s R&B track, with a cool funky synth underlay that just makes it so appealing. I also like the fact that it is both an easy listen and an earwormy track. All members deliver solid vocals and rapping throughout Masterpiece. (9/10)
3. Now This House Ain’t a Home – Next up is a soft hip-hop number with a more reflective message about growing up and maturing. It’s worth checking out the lyrics. Now This House Ain’t a Home is meant to be more emotional, especially with those lyrics in mind, but I like how it doesn’t feel that way. Rather, the hip-hop direction they took fits in with their broader discography. Now This House Ain’t a Home is nicely executed by ATEEZ, with the chorus being the best part in my opinion. The vocals sound like something in the distance, like a childhood memory. (8/10)
4. Castle – For me, Castle was always the single that stood out to me when the original mini-album dropped. The synth work in this pop dance track had a refreshing tone that suited the summery season the mini-album was released in. The melodies were extremely pleasant, matching the instrumental’s breezy, smooth vibes. They also made Castle just a super easy listen. ATEEZ’s vocals were so well executed that I found it easy to get lost in. Though, MINGI’s push in the last moments of Castle was just icing on the cake. (10/10)
5. Bridge: The Edge of Reality – The final track on the original mini-album was this bridge. I love everything from the dramatic drumming, the mysterious whispers, and the “I’ll throw it back” vocal to the upbeat EDM and what ended up being a brief feature of In Your Fantasy. Retrospectively, this is one of the better bridges I have heard over my time reviewing KPOP albums.
HONGJOONG’s teaser image for Lemon DropSEONGHWA’s teaser image for Lemon DropYUNHO’s teaser image for Lemon DropYEOSANG’s teaser image for Lemon DropSAN’s teaser image for Lemon DropMINGI’s teaser image for Lemon DropWOOYOUNG’s teaser image for Lemon DropJONGHO’s teaser image for Lemon Drop
7. NO1 (HONGJOONG solo) – ATEEZ’s captain has his solo track up first. NO1 is a powerful EDM track that amps up the energy the further you get into it. The beat in this one, especially in the choruses, hits hard. Combined with the “N-O-1” was catchy. HONGJOONG sounds really good, both vocally and as a rapper, in NO1. (8/10)
8. Skin (SEONGHWA solo) – SEONGHWA is up next with Skin, a groovy yet sensual R&B number. SEONGHWA does well with solid vocals and falsettos. The track also has some breathy moments that fit the groovy, sensual vibe. While already captivating, SEONGHWA surprises us with an unexpected yet cool EDM outro, adding another dynamic layer to Skin. Also, since it is Halloween this weekend, check out SEONGHWA’s music video; it has a slight horror theme that I think you might appreciate. (8/10)
9. Slide To Me (YUNHO solo) – Slide To Me by YUNHO also leans into R&B territory, but his solo track has a classy, funky side to it. The instrumental itself is upbeat, while the synth work is sleek. I also detect a faint, sensual vibe in Slide To Me. The bass and guitar work bring out that funkiness. I am a little disappointed by the instrumental break; it feels a bit lacklustre compared with the rest of the track. YUNHO also sounds good, but it was very straightforward and felt too polished. (7/10)
10. Legacy (YEOSANG solo) – Legacy was truly a jaw-dropping masterpiece. Personally, I am not familiar with YEOSANG’s music style, but I didn’t expect something so dramatic and cinematic from him. The combination of synths and classical elements was very captivating, and I loved the effortless transition to the EDM outro. YEOSANG himself matched the epicness of Legacy’s instrumental with his delivery, and was completely enchanting to listen to and watch throughout the music video. (10/10)
11. Creep (SAN solo) – As a whole package, Creep was very impactful and intense. It leans into the rock genre, with a very sexy vibe. It was hard to pick a favourite moment in Creep, but if I had to pinpoint one, it was the epic instrumental break. SAN was alluring, but like YUNHO’s track, I would have liked more complexity from SAN in Creep. I particularly like the spoken “I like the way you lose control” that kicks off the first 2 runs of the chorus. (9/10)
12. ROAR (MINGI solo) – ROAR combines hip-hop and electronic elements to create another powerful track. As intended, the track feels animalistic and wildly rough, with the instrumental sounding like a beast’s ferocious roar. Adding to this animalistic feel is MINGI himself, who literally barks throughout ROAR. Elsewhere, his rapping is commanding, making his statement in a way that really grabs your attention and might scare you, too. (8.5/10)
13. Sagittarius (WOOYOUNG solo) – While his solo isn’t as powerful or epic as some other singles on the album, WOOYOUNG’s Sagittarius also manages to stand out in its own right. The R&B-pop and dubstep production is flawless. WOOYOUNG himself holds his ground very well. With straightforward but meaty melodies, I find myself digging the track. (9/10)
14. To Be Your Light (JONGHO solo) –JONGHO’s solo track goes down the balladry route, which is pretty much expected. Though To Be Your Light is more upbeat and lively, thanks to the band instrumentation. Unsurprisingly, JONGHO sounds stunning throughout the track, and I love how effortless his vocals sound. The band instrumentation and JONGHO work together to create a power ballad that didn’t disappoint, even if it was expected. (9.5/10)
15. In Your Fantasy (Korean version) – See above for my review of In Your Fantasy.
Golden Hour: Part 3 (In Your Fantasy Edition) Rating: 8.7/10
Overall Album Rating – 8.7/10
JONGHO’s teaser image for In Your FantasyWOOYOUNG’s teaser image for In Your FantasyMINGI’s teaser image for In Your FantasySAN’s teaser image for In Your FantasyYEOSANG’s teaser image for In Your FantasyYUNHO’s teaser image for In Your FantasySEONGHWA’s teaser image for In Your FantasyHONGJOONG’s teaser image for In Your Fantasy
BABYMONSTER is another group that has had a busy 2026. Since the release of CHOOM (their 3rd mini-album) in May, the group has been actively promoting the title track of the same name as the mini-album and the sides track I LIKE IT and MOON. They also released SUGAR HONEY ICE TEA during this period (which I have yet to review – don’t worry, it is on the to-do list alongside MOON). But ahead of those two reviews, I will be reviewing their latest digital single, DESERVE. I just have to!
DESERVE is a powerful pop ballad that doesn’t hold back. You know I am a sucker for a ballad, and this one reels me in. DESERVE‘s instrumental goes through 3 distinct styles. The first verse and pre-choruses feature some soft piano and atmospheric synths. Honestly, this should have been a string arrangement to make it sound even more beautiful. DESERVE reaches that level of beauty in the bridge, with the piano arrangement and vocal work absolutely stunning. To fit some rapping into DESERVE, the second verse opts for a marching band to back the rap-speak. As for the choruses, DESERVE goes for an epic, grand vibe, letting the synths take control and match the members’ vocal push. And wow, that had impact. As for the last chorus, I think the arrangement could have been better. From AHYEON’s high note through to the final chorus and to the end of DESERVE, it all felt incredibly tight and needlessly rushed. The ending should have been more relaxed and fluid, rather than what we got. Aside from that, I really liked that DESERVE gives BABYMONSTER a chance to showcase their vocals. AHYEON and PHARITA will most likely get the most recognition for DESERVE, but I also want to shout out RORA’s pretty second verse.
I liked how DESERVE‘s music video starts, with RORA coming offstage after a concert, smiling as the staff applauds and cheers for her. But after she turns the corner, her smile disappears, and the atmosphere turns heavy and grey, setting the right tone for the ballad. One unique thing about this video is how each member takes turns playing the main character emotionally, matching with their parts in the song. As the song builds, the video gets bolder. The most memorable part of the video was when PHARITA was struck by a car. That scene was unexpected and shocking. Usually, music videos pause, slow down, or take it off-scene, since such an event can be confronting. The dancers were also a neat touch, adding an artistic, grand feel to the video. My only issue is that some of the members’ movements were over-exaggerated. I get that they were trying to match the song’s impact, but it all felt a bit much.
Song – 9/10 Music Video – 8.5/10 Overall Rating – 8.8/10
Despite being in the military enlistment era, SEVENTEEN has remained active and busy with unit promotions. This week, the group launched its 7th subunit, JEONGHAN x JOSHUA. The pair released their first mini-album, DREAMSCAPE, featuring the title track 12 O’Clock. ICYMI: JEONGHAN is also part of another SEVENTEEN subunit, JxW (with WONWOO), and they previously released the single Last Nightin 2024.
While both JEONGHAN and JOSHUA are in SEVENTEEN’s vocal unit, I actually had no idea what direction they would take as a subunit. We have also heard a range of genres from each unit so far, so the curiosity deepens. 12 O’Clock turned out to be a funky dance-rock track. The instrumental is quite light, which makes the track feel pleasant and appreciable. Despite being under 2 and a half minutes, the track also feels spacious and manages to incorporate a brief guitar solo and a substantial instrumental break. As for JEONGHAN and JOSHUA’s vocals, they take a similar light approach to match the instrumentals, which can be hit or miss. Again, since they complement the instrumental, pleasant descriptors come to mind; 12 O’Clock‘s melodies speak to this. But it doesn’t lend itself well to a strong hook. You can see how they relied on a more textured (and in terms of JOSHUA’s execution, striking) “I’m so in love” sing-speak refrain as the hook for 12 O’Clock. Overall, it is a pleasant song through and through.
The music video shows JEONGHAN and JOSHUA searching for one another in a dream between 12 o’clock noon and 12 o’clock midnight, which matches the lyrics. However, the lyrics do speak about a lover, rather than about each other. Why do I think they are searching for one another in the video? Well, a few early scenes show them enjoying each other’s company amid the search, and they end up finding each other at the end of the video. But I could be misreading it. The post-production, which melded everything together, was really well done.
The performance for this comeback was neat and pleasant. The body waves and their chemistry with the camera were on another level, making the whole thing even more enticing to watch. Though JOSHUA’s solo dance break was awkward.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
After the huge success of BADin July, ATEEZ will make their third comeback this calendar year next month with their 15th mini-album, Golden Hour: Part.6. Ahead of the comeback, the group has pre-released the single Drip.
As this is just a pre-release single, Drip shouldn’t be seen as the official follow-up to BAD. That honour should be reserved for the title track of their upcoming release. And I am going to be doubling down on that. I don’t know what the title track will be, but musically, it ain’t going to be Drip. Right off the bat, you can tell that Drip is a heavy hip-hop track with a powerful trap rhythm. Personally, this ain’t my cup of tea. It doesn’t help that after a few repeats, I still have neutral feelings towards Drip. The rap-speak throughout Drip doesn’t excite me this time, and I find the instrumental pretty ordinary. On the flip side, I find the chorus somewhat catchy, and I liked MINGI and HONGJOONG’s rapping right before the choruses. The latter’s stripped-back instrumental and lower-energy delivery were very alluring. But I don’t think these two elements make up for the rest of Drip.
The music video fares a lot better. The song is about their growing confidence and ambition, likely fueled by their recent success. So it might be a follow-up to BAD, but I stand by my earlier comments. As for the video, I really liked how it made black feel striking and bold without relying on a white background. Their visual game was particularly strong across all members, even in the video’s more hip-hop-leaning moments. The number of dancers featured in the video also gives off an epic feel.
If you have an eagle eye, you might notice that JONGHO isn’t in any of the choreography. In an interview for this pre-release, JONGHO said he was injured at the time and couldn’t participate in the dance. Anyhow, the choreography looked good. It captured the song’s edgy hip-hop vibe quite well. I really liked the “Drown in the Drip” dance move, which adds to the chorus’s catchiness.
Song – 6/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 7.1/10
IVE is gearing up for a comeback next week. But ahead of that, the group (as usual) has unveiled a pre-release single that shares the same name as next week’s mini-album: Looks Can Kill. This comeback follows their ReViVe+ studio album, released in January, led by the singles BANG BANG and BLACKHOLE.
My initial impression of Looks Can Kill is that it isn’t like their other successful pre-release singles. I find the new single to be on the safe side of the spectrum and lacking the strong hooks of their predecessors. That doesn’t mean I didn’t enjoy Looks Can Kill, but I think there are better IVE pre-releases out that. The track is an electronic dance-pop song, with consistently channelled dynamic energy throughout. It’s good, but it also shows where the song felt ordinary. I wish it had a bit more flair to add dimension and depth to the instrumental, perhaps making Looks Can Kill sassier and more provocative. The choruses were catchy, and the “Da Da Da” refrain is hard to get out of your mind. The bridge was also a promising sequence, with a more melodic, smoother focus. Plus, the transition from bridge to chorus was super cool. Elsewhere, Looks Can Kill falls short in both the verses and the post-chorus. The verse didn’t offer anything of substance to remember it by (most of what I can remember is the chorus), while the post-choruses felt plain and lacklustre in comparison to the song’s centrepiece
I liked the playful take on the song’s self-confidence message. It starts off with IVE looking very cool, as superheroes. But the music video then features outtakes and behind-the-scenes moments where things are less glamorous. The video also takes a turn when you realise they’re actually shooting commercials for mundane everyday items, like tomato sauce and bug killer spray. But who are they kidding? IVE will always look good at whatever they do, whether they are in front of or behind the camera. The ending was super funny, revealing that IVE had people stand in for their choreography shots. So, perhaps their coolness, as mentioned at the start of this section, was outsourced… What a plot twist.
Looks Can Kill, but so can the choreography, apparently. Based on their performance video, the routine really shows off their slim figures and strong performance skills. IVE definitely looks good performing the track, while their movements were sharp and well synchronised.
Song – 8/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 8.4/10
Yesterday was one of the days when so many groups made their comebacks (meanwhile, I was sleeping off some illness). One of them was NMIXX, who returned with the single Birthday Wish and their 6th mini-album, Heavy Muse. This comeback follows their Heavy Serenade comeback earlier this year.
NMIXX has been on a roll with their last two comebacks (Blue Valentineand Heavy Serenade), so it was interesting to see how Birthday Wish would land. Right off the bat, the song has more of a dance-pop vibe, blending moombahton, afro, and future house. I liked how Birthday Wish starts (after the narration bit) and how they kept that melodic touch from the previous releases in the first verse and bridge. The chorus is great; I enjoyed how lively it got (though you could also describe it as being shouty) and am digging the “Celebrate, Celebrate” post-chorus hook. But while I appreciate the upbeatness and the refreshing vibes Birthday Wish brings, I am not a big fan of other elements of the song. The rapping in the second verse didn’t fit the song, and the bridge felt overly tight. The narration breaks the flow of Birthday Wish and could have been blended in for a more cohesive feel. Overall, Birthday Wish was a good song, though it didn’t exceed the expectations and standards set by their previous two comebacks.
Birthday Wish‘s lyrics celebrate meeting one another and creating a whole new world together, and the music video reflects that. The members have parties and celebrations throughout the video, whilst also pursuing their own lives and passions. There is a neat theory on Reddit about this that you can read into further and how it fits into their MIXXTOPIA world. The one thing I am not a fan of about this music video is the sterility of the sets, which don’t lend well to parties. It might fit the idea of building a whole new world together, but it also makes the party and vibes feel empty (which I don’t think was the intention).
I wish the routine had more of a celebratory flair. The only part I felt had that celebratory flair was during the “Celebrate, Celebrate” post-chorus hook. But the rest of the choreography looked good.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
