Category: KPOP

[Review] Stick With You – TXT

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TXT kicks off the week with their latest comeback, Stick With You from their 8th mini-album 7th Year: A Moment of Stillness in the Thorns. It is their first comeback since their The Star Chapter: Together studio album (yet to be reviewed) and Beautiful Stangers, their 4th world tour, Act: Tomorrow, and the announcement that all 5 members had renewed their contracts with Big Hit Music (meaning there will be more of TXT coming our way!).

Stick With You is an electropop song that sits on the more ‘pleasant’ side of the spectrum of songs. It might be too soon for me to say whether “pleasant” is meant positively or critically (I have been busy and tired from work the last couple of days, so I haven’t had time to listen to new songs), so my reaction has been fairly neutral thus far. There are some good aspects to Stick With You that jump out at me, like the solid beat, the slight autotune behind their vocals to give some texture, and that deep “Is this a dream?” that serves as the main hook. I must say, their vocals do a really neat job of conveying a ‘yearning’ feeling (this isn’t their first time showcasing this feeling in their songs), and the autotune enhances it well. However, outside what has been mentioned, Stick With You also feels rather ’empty’. It doesn’t elicit much motivation to revisit the song, if I am being honest. I wish there were more prominent melodies in Stick With You and I felt like the producers could have leaned more on the electropop backing.

I applaud Big Hit Music for managing to extend the 2:33-minute song into a 4:30-minute music video. It does give a false impression that the song is of a decent length. Anyhow, the music video shows the TXT members stuck in a dream loop, constantly chasing and yearning for the female character after she leaves the apartment. In these dreams, fate ends up blocking the members from reaching her, or someone else distracts her or takes her away from the members. When they do reach her, the happiness is short-lived, with the members falling back asleep. However, towards the end of the video, it is revealed that these dreams are the members’ insecurity. SOOBIN manages to confront the ‘fate’ that is putting the female character just outside their grasp – it’s themselves (HUENINGKAI also glimpses himself walking away with her whilst he was on the ground). The whole time, she has been committed to just them, but their insecurities made them feel like they were losing her. I am glad there was a ‘happy ending’ to the story, even though they wake up again after the TXT logo, suggesting their insecurity is constantly at play. Their acting is also quite impressive throughout the video.

I quite liked the choreography for this comeback. There is a sharpness to the routine, particularly during the first half of the chorus, that makes the arm movements look so cool. The second half of the chorus (i.e., the “Is this a dream?” sequences) infuses some really dynamic intensity that elevates the routine and showcases TXT’s performance abilities.

Song – 7.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.3/10

[Review] Hooligan – BTS

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Despite just making a comeback with SWIM and their 6th studio album, ARIRANG, last month, BTS is not finished just yet. Just a couple of days ago, they released a music video for their side track Hooligan, the second song from their new album. They also released a music video for the side track 2.0 – a review of that song was just posted before this review.

Hooligan is similar to 2.0 in some ways, but different in other regards. Both tracks are edgy hip-hop/trap tracks. But to me, it sounds like they turned the dial up on the instrumentation in Hooligan. Both the hip-hop influences and trap elements are much more pronounced. The sword sounds add some edge to Hooligan, but I felt they were a bit over the top. There is also a presence of classical strings, which adds to the song’s atmosphere (in a good way). But they also felt underutilised. In my mind, there is something to explore with this combo that may have steered the track differently. The rapping delivery is very impressive, as expected of the BTS rap line (the laughter was super cool and a memorable aspect of the track). I also like how soft the vocal lines go. Definitely some nice contrast throughout Hooligan. The only aspect of Hooligan that I am most unsure about is its lyrics, which felt elementary and uncool amid the rest of the track.

I have nothing but praise for the accompanying music video. The members’ presence in the video was commanding, with each member standing out in their own right through their acting, outfits or looks. There is an epicness to the video that makes it look and feel impressive. From the red lighting to the visual effects, everything felt like it was there for a particular reason, contributing to the overall edgy, cool vibe. For example, I do not know the reasons behind the choices, but SUGA’s solo shot around the midpoint of the video where he stood still, looked ethereal without even trying. The outside choreography scenes remind me of their ON music video, but elevated in a stylish, chic manner, with the red stage, the dancers’ red outfits, and the members’ leather jackets.

The choreography for this one was pretty good. Most of the dancing was performed by the dancers. But the members did contribute to some of the routine and their stage presence, still making this an edgy performance to watch and enjoy.

Song – 7.5/10
Music Video – 10/10
Performance – 7.5/10
Overall Rating – 8.3/10

[Review] 2.0 – BTS

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Despite just making a comeback with SWIM and their 6th studio album, ARIRANG, last month, BTS is not finished just yet. Last week, they released a music video for their side track 2.0, the fifth song from their new album. They also released a music video for the side track Hooligan – a review of that will follow shortly.

2.0 is more of what I was expecting from BTS for this comeback. It has a lot more edge and energy, and leans into a much cooler sound, compared to SWIM (which was more pleasant yet beige). I have said in many reviews that hip-hop isn’t my genre of choice, but I must acknowledge that BTS has been one of the acts that has made the genre more compelling to me over the years. In addition to hip-hop influences, 2.0 also features trap elements, giving the track its cooler edge (as already mentioned). In terms of the members, I really liked how the rappers used a raspier tone, while the vocalists brought a nice contrast to 2.0 via some smooth vocals. There is also a reliance on repetition in 2.0, but it was both punchy and catchy, making a strong and lasting impression. Overall, I really liked how clear the production and delivery were in 2.0, which gives me more of what I wanted from a BTS comeback.

Like the song, the music video definitely showcased a very cool vibe. This was channelled throughout most of the video, except for the more humorous parts that help lighten up the otherwise serious atmosphere. It begins with the members walking off an elevator, cosplaying as various types of Korean mafia. I liked this concept and how it was later used to kick off the actual performance aspect of the comeback. But RM’s wig threw me off, then JIN and V’s facial expressions. All made me laugh. The music video switches to a cool mode before pausing briefly to show the members frantically changing their outfits in an elevator, leading us into the second part of the video. This part is still cool but opts for a more casual vibe. I think the mafia intro and the elevator ride give us a look into their dual personalities – cool yet dorky.

The performance was top-notch and left me impressed. The routine and the way each member executes it give off cool and effortless vibes that reaffirm their performance abilities. Their charisma and style were amazing, and some moments in the routine (for example, when RM was rapping and the members were dancing beside or behind him) were hella smooth and sleek.

Song – 8/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.5/10

[Review] What’s A Girl To Do – DAYOUNG (WJSN)

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DAYOUNG made her solo comeback this week, just a couple of weeks after regrouping with the rest of WJSN for Bloom Hour. Her new single, What’s A Girl To Do, follows on from her successful solo debut single body from last year.

What’s A Girl to Do is a pleasant track, but there are some aspects that I wish were better. When I first checked out the release, I noticed it just wisped by without much to remember it by. The lightness of the dance track and DAYOUNG’s airy vocals make What’s A Girl To Do glide in one ear and out the other. There isn’t much of a hook to really remember the song by, and the melodies are low-key and don’t have much of an edge. Its short length of 2:10 minutes is not enough for the song to develop into something memorable. Thus, What’s A Girl To Do didn’t stick for me. There is a bit of a kick to the chorus thanks to the hip-hop beat, but it wasn’t enough to keep the song in my mind by the time it reached my other ear. That being said, when I do sit down and pay attention to it, What’s A Girl To Do is enjoyable (hence my opening statement describing it as “pleasant”). I just wish there was more to it, in many ways.

Similarly, the music video isn’t much, mainly close-ups and choreography. But DAYOUNG does show off a confident and sexy side through her outfits and dancing (more on this in a second). I find it also builds off her image and style from the body music video, which resonates well with me. I also enjoyed the casual and laid-back vibes she and the video exude. What probably made a bigger headline than the video itself was the fact that Shiloh Jolie, daughter of Angelia Jolie and Brad Pitt, was cast as a dancer in the music video.

As for the choreography, it definitely looked impressive. I really enjoyed the charisma and style DAYOUNG brings to the routine. The footwork at the start of the chorus and the outro were the highlights in my eyes. I also liked the use of the hoodie to give off cooler vibes.

Song – 7/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 7.7/10

[Review] Eye-Poppin’ – KickFlip

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One of the comebacks kickstarting the week is KickFlip’s Eye-Poppin’, the lead single from their 4th mini album, My First Kick. It follows on from their pre-release single Twenty, released a couple of weeks back, as well as their digital single album, From KickFlip, To WeFlip, which celebrated their 1st anniversary earlier this year.

Eye-Poppin’ sits well with the rest of their lead singles, channelling pop-rock energy from the onset and maintaining the energy that is often associated with the blend of genres. If anything, Eye-Poppin’ leans more toward the rock side, with rock elements in the instrumentation driving the song forward and lending it a somewhat electrifying edge. Nonetheless, a dynamic backing. The same can be said of the members, who definitely sound prolific throughout Eye-Poppin’. KickFlip has a good range, from deep raspy rapping tones to bright vocals, and Eye-Poppin’ helped highlight it all. I really liked the use of pauses throughout the song, which just gives the subsequent parts more of an edge. I also liked the song’s outro. I just wish the melodies and hooks were a little more developed, as they felt lost amongst the instrumental. It would have been better if they were an ear-equivalent of something “eye-popping”, which would have been fitting for the title of the song. But overall, Eye-Poppin’ is another punchy track from the group!

The music video shows the members competing with one another to get their crush’s attention by trying to look their best and stand out, which reflects well with the idea of wanting to be eye-catching to their crush, as expressed in the lyrics. Like the song, the music video is full of colour and energy, also complementing this aspect of the song. They don’t really succeed, as they all try to do the same thing: look cool and compete for the camera (i.e., the stand-in for their crush). So in the end, it looked like everyone had the same screen time. I liked MINJE’s reaction to them all wearing the same white hoodies. Heck, they also eat their burgers the same.

The choreography looks energetic and dynamic, which suits the song. There is also a fun and light-hearted nature to it, which again complements the group’s youthful charms. Nothing really stood out on its own, but it was a strong performance nonetheless. But the best part of their first stage was their stable vocals and rapping, which were on full display and deserved acknowledgement.

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

[Album Review] poppop (2nd Mini Album) – NCT WISH

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NCT WISH’s 2nd mini album, poppop, is next up for an album review on my blog. Released in April last year, it features 6 songs, including the title track, which shares the mini album’s name (poppop). It also follows their 1st mini-album, Steady, released in 2024, which I haven’t reviewed yet. Time for that album review will come, so don’t worry!

Anyhow, poppop (the mini album) has a decent mix of songs – all are likeable, but there were some that were much stronger than the lead single, and honestly, would have made for a better lead single. poppop (the single) did grow on me slightly since I reviewed it, but not enough to bump its own rating up.

Since poppop, the group returned later in 2025 with their 3rd mini album, COLOR, which I will get around to reviewing as well. NCT WISH will also be making a comeback later this month, so keep an eye out for that release as well! But in the meantime, here are my thoughts on the mini album.

poppop album cover

1. poppop (Title Track) – Click here for my full review of poppop. (7/10).

2. Melt Inside My Pocket – I really like the awesome blend of EDM, rock and pop in Melt Inside My Pocket. This mix, while it sounds like it would be clash-prone, worked really well to form a really dynamic backing. The start felt reminiscent of TVXQ’s epic Red Sun. As for NCT WISH, they sounded awesome. YUSHI and JAEHEE were particularly awesome when it came to the bridge, and I am also very fond of the opening line to the chorus (has me coming back time and time again). The only thing I want more of is some grit in their vocals work better into the backing. (9/10)

3. Design – Design feels like more a standard track to me. I don’t remember Design garnering the same attention as Melt Inside My Pocket when it was first released, and while listening to Design to write this review, I don’t feel too much of it. That being said, I do appreciate their vocal work and rapping in the song, and I enjoyed the slight early 00s tinge to the instrumental, which makes it a neat follow-through from the previous song. (7/10)

4. 1000 – NCT WISH takes on R&B in 1000, with a mellow approach initially before turning to an upbeat chorus. These changes in flow and momentum feel true to themselves. I also liked how NCT WISH managed the flow of 1000, with the members moving between smooth vocals and some punchy rapping. There was also a pleasant melody to the chorus, which made the song appealing. (8/10)

5. Silly Dance – For a song titled Silly Dance, I wish the group had embraced more of a quirky side. The version of Silly Dance they do give is more of a pleasant pop song, and it is honestly a pretty decent listen. I enjoyed the harmonies in the chorus, which give Silly Dance that pleasantness I had mentioned. The melodies also had a nice sing-along approach, which I totally tapped into. JAEHEE’s high note was spectacular, and I liked how the “Oh baby dance, I wanna dance, Oh baby silly dance” line at the end was shared amongst some of the members in a dynamic way. (9/10)

6. Still 3PM (만약 네가 4시에 온다면) – Closing out the mini-album is this dreamy R&B pop number (leaning more heavily into the pop side). I really liked the production of this track – there were a lot of layers, and I enjoyed them all. The members sound fantastic throughout Still 3PM, with the track putting their best foot forward in the vocal and rapping department. The melodies also give the track such a vibrantly pleasant vibe that brings a smile to your face. A very appealing track to end off the mini-album. (10/10)

Overall Album Rating – 8.3/10

NCT WISH’s teaser image for poppop

[Review] ESCAPE – BANG CHAN & HYUNJIN (Stray Kids)

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It has been over a year since Stray Kids released their single album, Mixtape: dominATE. Despite being a big fan of Stray Kids (I acknowledge I give them a lot more attention than any other group), I have yet to review any tracks from their Mixtape: dominATE. As the one-year anniversary has just passed, now would be a timely moment to review the tracks on it. The lead single is the Korean version of their 2024 Japanese single, GIANT (which I have yet to review but will do later). Alongside GIANT are unit tracks – this post focuses on BANG CHAN and HYUNJIN’s ESCAPE. Links to the reviews of the other unit tracks (as they are released) are below the music video.

Expectations are high for the return of the BANG CHAN and HYUNJIN unit – the pair behind Red Lights (iykyk). Unlike the sensual R&B route they took last time, ESCAPE takes a more bombastic approach, blending rock influences with trap elements to create this powerfully tense unit track. I particularly liked the build-up in the pre-choruses and the satisfying drop of rock elements in the chorus. The oomph that the latter ultimately gives ESCAPE instantly made it stand out to me upon release over a year ago. As for the pair themselves, I was impressed by their vocals, especially during their respective verses. HYUNJIN’s vocal tone in ESCAPE brought an interesting crisp colour to the song, while BANG CHAN’s higher pitch added a delicateness and an emotional tinge to the song. BANG CHAN’s high note and ad-libs at the end were equally impressive, with the pair closing out the song in an epic fashion. I really liked this unit track then and still like it now.

I have a theory about what is happening in the music video, but I am not entirely sure if it is right. Essentially, it looks like BANG CHAN and HYUNJIN are werewolves that were chained up at a certain point, but had broken free. And while they do enjoy hanging around each other, the pair ends up making a break together for the outside world. But some dark force is after them. They become cornered and are forced to go their separate ways to evade capture. Towards the end, they reunite and pair up once again to take on this dark force. I did like the dark tones of the music video, but I also wished we had found out what this dark force was.

The pair performed ESCAPE on their Dominate World Tour, and the performance was definitely worth watching. I really liked how they and the dancers heightened the bombastic feel of ESCAPE, revealing an intense, charged side of themselves. I also liked the artistry of the performance, such as pair singing towards the camera amongst the cloaked dancers standing still and the circle formations by the dancers lying down/rolling around BANG CHAN and HYUNJIN in the final chorus. The latter made for an epic overhead camera shot.

Song – 9/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.7/10

Burnin’ Tires – CHANGBIN & I.N | Truman – HAN & FELIX
ESCAPE – BANGCHAN & HYUNJIN | Cinema – LEE KNOW & SEUNGMIN

[Review] Biggest Fan – IRENE (Red Velvet)

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Red Velvet’s IRENE made her comeback at the start of the week with her 1st studio album, Biggest Fan, and the title track of the same name. It serves as her first music release since the return of the subunit she is part of alongside fellow member SEULGI, and her solo debut in late 2024 with Like A Flower (the title of both her debut mini-album and title track).

What I really like about Biggest Fan is its dance-pop instrumental, which provides a funky, groovy backing for the track. The upbeat nature and vibrancy of the background helped make Biggest Fan feel bold and commanding, even if it wasn’t the intention. I enjoyed IRENE’s nasal tone, which is on full display throughout Biggest Fan. And the primary hook, “Lookin’ at you, Lookin’ at me“, while repetitive and could have been spruced up with a different set of lines in its second half, was catchy and earwormy – it’s the most memorable aspect of Biggest Fan. The thing holding me back about Biggest Fan is that I like the individual elements on their own. But when they come together, I don’t find the same level of engagement in the song. Potentially more interesting verses and a stronger first half of the chorus (i.e., the half of the centrepiece before the mentioned hook above) could help make Biggest Fan more engaging.

The music video sees IRENE exude confidence in her beautiful visuals. Everyone around her becomes her ‘biggest fan’ throughout the music video – from walking in public, the modelling world, to even on stage. I was also struck by her visuals in this video. In the end, she embraces her fans as she makes global headlines. I did notice that the headlines said she was making her solo debut through Biggest Fan, which was an interesting detail. One thing that struck me as I was watching the music video whilst writing this review was that I don’t think I have any reason to go back to it. Aside from what I mentioned above, there wasn’t much else to the video, nor was there much else for me to seek it out.

The performance was good. I really like the tutting-esque poses that IRENE and the dancers did during the aforementioned hook, as well as the overall brightness of everyone during the performance.

Song – 8/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.7/10

[Review] Free Falling – KANGMIN (VERIVERY)

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Making his solo debut last week was KANGMIN, who hails from VERIVERY. He is the first member of the group to release a solo album, with Free Falling as the lead single from his 1st solo single album of the same name. We last saw KANGMIN through VERIVERY’s RED (Beggin’) comeback from December 2025.

While it might be a little soon to say this, KANGMIN’s solo debut came and went quite quickly. And that is rather disappointing, as there are some good elements in Free Falling that make it a neat song. I like the bossa nova influence that features in the verses, and this leads well into the smooth R&B chorus. Interestingly, Free Falling also serves a side of drumstep in its chorus, which felt odd. But further listening to the song has helped warm me up to it – I have realised that it gives Free Falling a bit of a kick and energy that I have grown to appreciate. There are some things I think Free Falling could have done better. A transition between the initial chorus and the second verse would have been worthwhile. What we get feels more like a copy+paste situation between the two segments. I also wish there were more of KANGMIN’s personality or individualistic style in the song. His vocals complement both the bossa nova and R&B influences in Free Falling and, altogether, sound quite nice. But somehow his presence is lacking. I am not sure how else to describe this feeling.

According to the official description of Free Falling, the lyrics “refer to the point right before one can fully orient themselves in the air, as opposed to a fully uncontrolled fall. One may not be sure exactly where they’re headed in free fall, but they must move on nonetheless”. The latter sentence of this description is depicted throughout most of the music video. We see KANGMIN waking up in random locations, only to be wary of his surroundings and being prompted to run away from something we don’t actually see, constantly seeking a way to “move on”. The pattern repeats each time he awakens in an unknown territory. At one point, we see KANGMIN free-falling into the water, and even then, he is moving, signifying that, no matter the circumstances or unknowns, he remains in a constant state of motion to move on.

Just like the song, the performance has this smoothness that I quite liked. In contrast, however, I also really enjoyed the routine when the drumstep kicks in. The brief influence sees KANGMIN and the dancers bring in some small kicks, which gives Free Falling a relatively dynamic feel that felt just right within the context of the broader performance.

Song – 8.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 8.3/10

[Review] Truman – HAN & FELIX (Stray Kids)

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It has been over a year since Stray Kids released their single album, Mixtape: dominATE. Despite being a big fan of Stray Kids (I acknowledge I give them a lot more attention than any other group), I have yet to review any tracks from their Mixtape: dominATE. As the one-year anniversary has just passed, now would be a timely moment to review the tracks on it. The lead single is the Korean version of their 2024 Japanese single, GIANT (which I have yet to review but will do later). Alongside GIANT are unit tracks – this post focuses on HAN and FELIX’s Truman. Links to the other unit tracks (as they are released) are below the music video.

Of the unit tracks on Mixtape: dominATE drew the least amount of attention from me, despite being quite striking in its own way. This is mainly because Truman draws heavily on hip-hop, which is not my go-to genre. I am not anti-all hip-hop songs; it is just that the very serious tone and dark intensity make it hard for me to enjoy Truman. I do appreciate these elements to some extent, as they infuse the song with character and lend it a striking atmosphere within the EDM background (relative to the other unit tracks on the single album). The soft opening over a jazzy-esque background was nice, before the EDM kicks in and the pair change up Truman completely (similar to the plot twist that featured in the movie The Truman Show – the lyrics of Truman also draw upon the same material). FELIX’s presence at the start of the song was very distinctive, and JISUNG’s dynamic rapping (particularly in the second verse of Truman) shows me that this pairing is not to be messed around with.

While the song didn’t draw much attention from me, the music video did quite the opposite. Amid the dark hip-hop profile and the serious/intense atmosphere created by the song, the music video did creep me out a bit. The reason for this is the hooded dancers/figures that both HAN and FELIX rap around. And while their presence is similar to that of other background figures/dancers in other Stray Kids videos, it is the close-ups where you see nothing but a black void that gets me. Apart from that, both HAN and FELIX have quite a commanding presence throughout the video, which I am sure fans of the duo will like.

Song – 7/10
Music Video – 7/10
Overall Rating – 7/10

Burnin’ Tires – CHANGBIN & I.N | Truman – HAN & FELIX
ESCAPE – BANGCHAN & HYUNJIN | Cinema – LEE KNOW & SEUNGMIN

[Album Review] STUNNER (2nd Mini Album) – TEN (NCT)

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TEN released his 2nd mini-album, STUNNER, led by the title track of the same name, just over a year ago. It is now time for its album review. STUNNER features a total of 7 songs, including the already-mentioned same-name title track, an English version of the title track, the pre-release BAMBOLA (which I haven’t reviewed yet, as of this post), and 4 side tracks. It is a very strong showing of TEN’s abilities, with each song being stunning in its own way. Continue on with the rest of the post to see my thoughts on each individual song, and let me know in the comments if you agree.

STUNNER Album Cover

1. STUNNER (Title Track) – Click here for my full review of STUNNER. (8.5/10)

2. Enough For Me – Enough For Me is a smooth R&B pop track that sees TEN pitch himself boldly to his lover. TEN sounds super charismatic in this song, and I imagine this is exactly what the performance for Enough For Me will embody. The beat for this track is amazing (has me grooving along), while the lyrics are delivered in a manner that is extremely catchy and memorable. The slight dramatic turn at the bridge was very cool and enough flair to make Enough For Me a highlight. (10/10)

3. BAMBOLA (Pre-Release Track) – So, I completely missed the release of BAMBOLA last year. Not sure why, but I didn’t register its release for a very long while. Anyhow, BAMBOLA is a cool experimental dance track, featuring fast-paced synth work that comes off as edgy, very textured, and alluring at the same time. Each time I listen to BAMBOLA, I can’t help but be captivated by the unique, abstract vibe the song brings. TEN sounds great throughout the track and stands his ground over the background, but the instrumentation is the main attraction. I am still not sure if that is a great thing to say, but I am still into the track overall. (9.5/10)   

4. Sweet As Sin – Sweet As Sin brings back the R&B genre, but mixes it with the hip-hop genre to create a completely different, bold yet sensual, atmosphere that would translate perfectly into quite a performance piece. I really liked the heft from the beats, and TEN sounds just as charismatic here as he did in the first track, but in a darker light. His ad-libs in the final chorus are very gratifying, and the preceding instrumental break was a highlight of the song. (9/10)

5. Waves – Next up is the atmospheric Waves, which brings together Afrobeats and reggaeton. I love how soft the beats are, which is why I described the song as atmospheric. Laid-back and chill also come to mind. TEN sounds really nice throughout the song, as well, complementing the aforementioned laid-back and chill vibes. (8/10)

6. Butterfly – The mini-album mellows out further with Butterfly, a ballad featuring beautiful piano work, dreamy synths and soaring strings, alongside TEN’s delicate and emotional vocals. I would have never expected this from TEN, but Butterfly is a beautiful song. An English version of Butterfly is available on YouTube. (8/10)

7. STUNNER (English Version) – See my review for STUNNER above.

Overall Album Rating – 8.8/10

TEN’s teaser image for STUNNER

[Review] Catch Catch – YENA

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It has been over a year since I reviewed a YENA release. The last being 2024’s NEMONEMO, though she did make a comeback last year with Being a Good Girl Hurts, which I have yet to review. More recently, she made her comeback with her 5th mini-album, Love Catcher, featuring the lead single Catch Catch, which has been doing the rounds on my social media.

Catch Catch takes me back to the cutesy, fun side of KPOP that I didn’t really love all that much back in the day. But in the current KPOP climate, it stands out with its earwormy hook, light-hearted and energetic vibes, and bright, hyper/electropop instrumentation. And all of this comes together to create a memorably fun track. There are also second-generation vibes emanating from the song, which is another aspect of Catch Catch that ‘takes me back’ and must be acknowledged. Of course, it is YENA who is the vector for such a song. She has a reputation for the cutesy charm, so it makes complete sense that she is the one who brings us Catch Catch, and I honestly cannot think of any other artist who would successfully nail Catch Catch like YENA has. The rapping in the bridge was a complete surprise, which shouldn’t be the case given her role as a rapper in IZ*ONE, but it’s been a while since I heard this delivery from her. The only thing holding back the song for me is the verses. They don’t have the same hold on me, compared to Catch Catch‘s centrepiece, and I wish there was something to the verses that does just that.

The music video sees YENA teasing and running away from some serious-looking people. After responding to a distress call from a friend and blowing up the serious people’s hideout in the desert, YENA is branded a ‘public enemy’ and hunted down. Along the way, she uses her bright, cute charms to ‘persuade others to ‘escape’, though she can be spotted miles away. But when all else fails, she chooses violence to bring down the serious crew. I love the fact that they had a muscular man don the yellow retro dress to play YENA during the fight scene – quite hilarious. I also enjoyed the rest of the retro concept, styling and patterns in this video, which all felt very complementary to the song.

YENA turns up the cute charms to make the performance super engaging and fun. It definitely comes naturally for YENA, and this alone makes her pretty unique in the current KPOP landscape. The main point of the performance is super fun and catchy, hence why it has become the Catch Catch trend.

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

[Review] Ice Cream – YUNA (ITZY)

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YUNA, the maknae (youngest member) of ITZY, is the group’s second member to go solo, following YEJI’s solo debut with Air last year. She made her solo debut earlier this week with the single Ice Cream and mini-album of the same name. This release also comes during the re-emergence of the group’s That’s A No No on the Korean music charts.

Ice Cream is another pleasant song. But unlike the other songs I recently mentioned as pleasant but not in a positive way, I do think Ice Cream does enough to earn a pleasant descriptor in a positive sense. It is the retro-esque, synth-based instrumentation that wins me over, striking a balance between lightness, upbeatness, and funkiness. YUNA also sounds very sweet, which is fitting for a song titled Ice Cream. The song’s melodies and hook have also been growing on me since its release at the start of the week, and it has actually evolved into quite an earwormy track. YUNA’s rap-speak sequence was actually the most surprising aspect of the track to do just that. The biggest weakness of Ice Cream is its repetitiveness. I noticed the first time around that after Ice Cream progressed past the first chorus, it no longer offered anything new or developed further. Instead, it just repeated everything that had been heard earlier, which is a bit disappointing. Glad it has grown on me. Otherwise, I don’t think Ice Cream would have attracted too much attention because of this.

Right from the start of the music video, I wondered whether there would be a falling scene in each of ITZY members’ solo debuts. Both YEJI and now YUNA fell and landed in very model-like poses, and if every other member did the same for their solo debuts, this would be quite fun. Anyhow, the video shows YUNA getting ready to become someone’s ice cream, as expressed in the chorus. I really like how they infused a melting concept into some of the imagery, which was rather cool (ha!). This really highlights the idea of YUNA and the dancers being ice cream. I liked the little stop-motion of the dancers chasing YUNA at the end of the video, and the music video does an amazing job showcasing YUNA’s visuals.

The performance has a mix of fun and sweet elements, both of which make the stages engaging to watch. YUNA’s stage presence was also notable, and I enjoyed the bouncy aspects of the routine. The rap-speak moments of the song are where the routine is most memorable for me.

Song – 8/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.3/10

[Review] BOTTOMS UP – AB6IX

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AB6IX made their comeback last week with the new single BOTTOMS UP and their 3rd studio album, SEVEN: CRIMSON HORIZON. It is their first since their 2025 STUPID comeback, which I apparently never reviewed (yes, somehow I managed to surprise myself with that realisation). Keep an eye out, as I will definitely return to review their last comeback. But for now, here are my thoughts on BOTTOMS UP.

BOTTOMS UP is a pleasant pop track. I enjoyed the mid-tempo, upbeat feel of BOTTOMS UP. And I enjoyed the extra bit of rock that comes through in the final chorus (I appreciate the funky affair it brings). Though I wouldn’t mind it if the rock dial was just turned up a nudge. The members’ vocals and rapping round out the song well, with the vocals in the pre-chorus being a particular favourite of mine in BOTTOMS UP. But while I liked the song, the pleasantness admittedly makes it feel forgettable. And as such, BOTTOMS UP just hasn’t been sticking with me as much. I worry that if I don’t write the review now, I might forget about the song’s existence entirely. It would have been nice if AB6IX had done a bit more with BOTTOMS UP by giving it more substance.

The song conveys a simple message: not to worry when life doesn’t work out and to enjoy the present. In the music video, we see AB6IX experience some inconveniences in life – when you run out of that treat in the fridge, you cook something inedible, you make a bigger mess when cleaning the original mess, the clothes shrink in the wash, you can’t find the right outfit, etc. But no matter the situation, AB6IX comes together to celebrate the present and forget those unfortunate inconveniences and mistakes. After all, as PARK WOO JIN raps in the song “Yesterday’s gone, and tomorrow hasn’t come. Just look ahead and live in the moment, I guess“.

Undoubtedly, BOTTOMS UP is a bright comeback. And this comes off strongly in the performance. From the stages I have watched for this comeback, the members look like they are having fun. And this grows exponentially as the performance progresses. I liked WOONG’s little ad-lib towards the end that the members have to follow – such techniques keep the performance engaging and fresh, even if the energy and vibes from the rest of the performance are already doing so.

Song – 7/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.6/10

[Review] SWIM – BTS

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ICYMI – BTS made their grand, long-awaited return at the end of last week with the single SWIM and their 5th studio album, ARIRANG. Their last official release as a group, before going on hiatus due to mandatory military enlistments, was the single Take Two, released in 2023. Rest assured that, while it has taken me a couple of days to review the new track (I was out of town), I didn’t forget about it and checked it out upon its release. It is pretty hard to miss BTS’ comeback, especially since it was so highly anticipated by many (myself included).

While SWIM features the familiar vocals and rapping of BTS (more on this later on), I would best describe the alternative pop song as a fairly pleasant release. While ‘pleasant’ is commonly a positive descriptor, I have previously used it in a manner that isn’t as positive, and I think SWIM falls into this grouping – ‘pleasant’ in the context of SWIM is neutral and beige. The synth work in the instrumental was pretty lacklustre and didn’t do much to help make the song memorable. I think its intent was to be atmospheric, and at times it definitely achieved that. But as a whole piece, it just doesn’t hit the mark. Nor was there much of a strong hook. The repetition of the song’s title does a bit of work, but it is best described as beige. However, there are some good things out of SWIM. I did enjoy the song’s more melodic touch, with the flow mimicking the sound of peaceful crashing waves. And I enjoyed the raspy, husky vocals throughout the song. Altogether, it was nice to hear BTS again after a long time, but SWIM was neither the track nor the style I was expecting for their grand return.

Most of the action in the music video was by the female lead, who I believe was holding herself back and unable to get past life’s obstacles (i.e., being stuck on a boat, the waves). But with the help of BTS (through some captaining and sailoring), she navigates through the waves and takes command of her journey forward. My take on the video is based on SOOMPI’s interpretation of SWIM‘s lyrics, which was reported in this article. I honestly wished we saw more of the BTS members throughout the video, given its is their big comeback. But it was still a nice video nonetheless.

The performance accentuates the song’s smoothness. There isn’t much else to say about the choreography, given that SWIM isn’t a performance-based song.

Song – 7/10
Music Video – 9/10
Performance – 7/10
Overall Rating – 7.6/10

[Review] Burnin’ Tires – CHANGBIN & I.N (Stray Kids)

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It has been a year since Stray Kids released their single album, Mixtape: dominATE. But despite being a big fan of Stray Kids (I acknowledge I give them a lot more attention than any other group), I have yet to review any tracks from their Mixtape: dominATE. As the one-year anniversary is tomorrow, now would be a timely moment to begin reviewing the tracks on the mixtape. The lead single is the Korean version of their 2024 Japanese single GIANT (which I have yet to review, but will do later this month). Alongside GIANT are unit tracks, with this post focusing on CHANGBIN and I.N’s Burnin’ Tires. Links to the reviews of the other unit tracks (as they are released) are below the music video.

Burnin’ Tires earned a nomination and emerged as the winner for Best Electronic Song in the 2025 KPOPREVIEWED Awards. And I am here to tell you why. Burnin’ Tires blends punk rock, synths, and rap into a super dynamic, fast-paced track. The resultant mix definitely drives (ha!) the song forward and heightens the excitement as the song progresses. That electric guitar that comes through at the end was undoubtedly super cool and just feels perfect at the end of the song that gets your adrenaline pumping. Both CHANGBIN’s and I.N’s delivery of Burnin’ Tires gives the song some grittiness and texture as the instrumental literally zooms ahead. Their delivery is also lively and energetic, which adds to the dynamic and excitement already mentioned. Their chemistry also gives Burnin’ Tires a fun edge, as well. I must also commend CHANGBIN’s rapping throughout the song, super dynamic and intense – earning him a nomination for Best Rap Performance in the 2025 KPOPREVIEWED Awards. To me, Burnin’ Tires was the standout track from the mixtape and has remained so even after a year.

Keeping to the fast-paced nature, the pair compete against each other (and a bunch of other people) after discovering a competition for 10 quintillion won. The pair race to the goal, but this is reimagined as a virtual road race, a fight scene, and then a dance battle. They eventually win (as shown in the post-ending scene), with the pair earning a speeding ticket along the way. I also liked the inclusion of parkour scenes and the teasing scenes between the pair.

With such an upbeat and dynamic track, it makes sense for this unit track to have some choreography. While the stage does involve both CHANGBIN and I.N running around (makes perfect sense), they do get into a motorcycle formation with the dancers and pull off some dance moves alongside the electric guitar at the end. I also enjoyed the little skit they have at the end of their performance – it adds to the fun and playful energy.

Song – 10/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 9.5/10

Burnin’ Tires – CHANGBIN & I.N | Truman – HAN & FELIX
ESCAPE – BANGCHAN & HYUNJIN | Cinema – LEE KNOW & SEUNGMIN