Upon hearing that CIX was disbanding, I committed to writing reviews of their final title tracks that I had yet to review. Why? Well, CIX has some really good songs in their discography, and they were very much underrated on the KPOP scene. Some of my favourites that instantly come to my mind from over the years include Cinema and WAVE. Today, I am finally reviewing THUNDER, which was released as part of their THUNDER FEVER mini-album in January last year. THUNDER also served as their first release with former member BAE JINYOUNG, who departed the group in 2024.
While I don’t remember my first impression of THUNDER, my current impression is that it is a super cool track. THUNDER features a really funky, groovy electro-pop instrumentation that is right up my alley for what I seek in a dynamic release. As the song progresses, you can feel the electrifying energy build, and the producers harness it to make the song sound even more robust, catchy, and powerful. THUNDER has a really cool, sparse instrumental break at the end that adds a slight sense of anticipation to the song. What also makes THUNDER so robust are the vocals. They were pronounced and well-balanced alongside the dynamic electro-pop instrumentation, and I enjoyed the acapella moment at the very end. The chorus was very catchy, and recent replays of the song had me humming along. If anything, I wish BX’s rapping was longer and more prolific. This song could have been stronger with a more powerful, fast-paced rap sequence. If that hit hard, then THUNDER would have been elevated to perfect territory for me. But CIX was already quite close.
The song is about the intensity and passion that love can bring, likening a lover to a storm and its thunder. Throughout the video, shot in Hong Kong, we saw sparks flying, lightning strikes, and storms brewing as the members walked about. Towards the end, we see one of the members clutching their heart, revealing the edgy vibes from earlier were about love, as the song expresses. I quite liked the post-production applied to the music video. It was definitely a cool aspect of the video and element of the comeback.
The performance for this comeback was super powerful and intense. I really enjoyed watching it, with particular mention of the dance break, which was my favourite part of the whole routine. Like the song, I can’t remember my first impression of the routine. But given that I am astounded each and every time I watch the performances for THUNDER now, I reckon I have always felt this way about the performance.
Song – 9/10 Music Video – 9/10 Performance – 10/10 Overall Rating – 9.2/10
Next up for an album review is BAEKHYUN, who released Essence of Reverie (his 5th solo mini album) in May last year. The mini-album features 7 tracks in total, including the pre-release Chocolate, the title track Elevator and the follow-up promotional single Lemonade. The entire mini-album continues to explore the R&B genre that BAEKHYUN is most known for in his solo work, and you know that this is going to be another good mini-album from the soloist as a result.
Essence of Reverie Album Cover
1. Chocolate (Pre-Release Track) – Chocolate is a straightforward R&B pop number, with some nice guitar rhythms, groovy keyboard and lyrics that liken a lover to sweet chocolate. BAEKHYUN himself sounds good, as usual. I wish there were more to the track; it comes off as rather plain. (7.5/10)
3. Lemonade – Lemonade features a more mid-tempo approach to R&B, with the strings and synths in the background giving the track a good form of interesting texture. There is also a slow sway to the track that I find quite alluring. BAEKHYUN sounds superb on this track and reminds us why he is known for R&B. (8/10)
4. Love Comes Back – BAEKHYUN blends a jazzy city pop vibe into the mini-album with the single Love Comes Back. I enjoyed the vintage, retro feel this track exudes, as well as the moment when the electric guitar emerges in the background towards the end of the song. BAEKHYUN himself sounds so dreamy throughout Love Comes Back. (9/10)
5. No Problem – BAEKHYUN brings back R&B pop, with a more urban take on the former’s side of the track. It has light instrumentation, and I like the string synth in the background. I also quite liked BAEKHYUN’s vocals in this one. His ad-libs and the vocal layering make this a strong track, overall. (9/10)
6. Black Dreams – This whole mini-album has been curated to showcase BAEKHYUN’s vocals, and Black Dreams continues just doing this. He doesn’t do anything mind-blowing in Black Dreams, but he captivates so well with his straightforward vocals. I enjoyed the upbeat, bubbly instrumental, which makes this track a danceable one – it reminds me of GOT7’s NANANA. (8/10)
7. Late Night Calls – An all-English ballad ends Essence of Reverie. Late Night Calls features an acoustic guitar and soft piano, while BAEKHYUN sings in a heartfelt, delicate manner that makes the ballad rich and soothing to listen to. (9/10)
Of the 2025 albums remaining to review, I am really excited to review ENHYPEN’s DESIRE: UNLEASH. There are so many good tracks on the album that if you haven’t checked out yet, you must do so now. The group’s 6th mini-album dropped back in June last year, led by the title track Bad Desire (With or Without You). Promoted alongside the title track is Outside (which I got some flack last year for rating it so low). In addition to the 2 songs already named, the mini-album also features an English version of the title track, and their earlier 2025 release of Loose (their first all-English track), as well as a Korean version of the same song.
Prior to DESIRE: UNLEASH, ENHYPEN had released Romance: Untold -Daydream- and No Doubt at the end of 2024 and, most recently, the group returned with The Sin: Vanish and Knife (which is also their last with HEESEUNG, who later re-debuted under the stage name EVAN).
DESIRE: UNLEASH album cover
1. Flashover – Kicking off the mini-album, Flashover sees ENHYPEN adopt a falsetto delivery to really grab our attention from the get-go. Alongside the future bass EDM that they had going in the background, Flashover has a very pronounced refreshing tone to it, which makes the song extra appealing to enjoy. For me, the biggest downside is how short it is. It felt as if it finished as soon as it started, which is never a great feeling. (9/10)
2. Bad Desire (With or Without You) (Title Track) – Considering how catchy Bad Desire was, which lead to the song growing on me a fair bit since I reviewed it, I have bumped up its rating by 1.5 points. Click here for my full review of Bad Desire (With or Without You). (8.5/10)
4. Loose (Korean Version) – As Loose was originally released in English before the Korean version, I have reserved my review for the English version. See track 8 for my thoughts on Loose below.
5. Helium – Of all the tracks on this mini-album, Helium is what I look forward to the most. It is such a hidden gem on the album and I had constantly blasted the track when the album first dropped. The europop-rock instrumental had me head banging along and both the rhythmic and bass guitar was such soooo rich. Vocal-wise, HEESEUNG/EVAN’s high note towards the end tickles my brain all the right ways, and the slightly shouty delivery of the bridge hits hard each time. (10/10)
6. Too Close – If you want a song that showcases the best of what ENHYPEN has to offer vocally, Too Close definite comes to mind. This sweet pop song also has a really nice vintage feel that sounds almost playful and lighthearted. The message of having their desire awaken because the person is physical close to them is also portrayed in such a lovely manner through this song. (9/10)
7. Bad Desire (With or Without You) (English Version) – See my thoughts on Bad Desire (With or Without You) above.
8. Loose – Released back in April 2025, Loose is ENHYPEN’s first all-English song (as mentioned in my intro). I remember having this song on repeat and also reaching for it when it was first released. It has such an earwormy melody that makes it so desirable. The instrumental has this funky undertone and the drag brings on this subtle sensual tension that also enhances the appeal of the track. Vocally, Loose is also a strong track, with all members delivering the entire track in falsetto once again. (10/10)
Album review incoming! But before I post my thoughts on HAPPY BURSTDAY next week, there is another song from the album that got the music video treatment alongside the title track, THUNDER, which means it is eligible for its own song review. I have always meant to review Bad Influence, but my poor time management has gotten in the way. Better late than never, I guess.
Produced by Pharrell Williams, Bad Influence showcased SEVENTEEN in a mature, moody and edgy light. It is quite the departure from their usual sounds and tones we get from SEVENTEEN. Not just that, but there is also whole heap of expletives in the lyrics that aren’t usually what SEVENTEEN sings in other songs! Anyhow, Bad Influence brings forth an early-2000s R&B influence mixed in with the instrumental’s sparse, funky trap elements. It is a nice blend of styles, and I enjoyed that SEVENTEEN is still stepping out of their comfort zone with this different sound. However, over time, I came to realise that the song was restrained, holding itself back and lacking oomph. This unfortunately meant Bad Influence dried up its appeal. Occasionally, when it comes up through random shuffle, I would listen to it. But I am not one to seek out Bad Influence on my own.
Interestingly, the song only features 9 of the 13 members (S.COUPS, HOSHI, WONWOO, WOOZI, THE8, DK, SEUNGKWAN, VERNON, and DINO). The music video does feature the remaining 3 members (JOSHUA, JUN and MINGYU), while WONWOO and JEONGHAN aren’t seen (most likely filmed after the pair enlisted in the military). The entire music video is a very moody yet alluring display of visuals from the members. I don’t remember seeing any member singing along to the song in the video, with their stoic and charisma being employed to bring forth the mature and edginess from the song to the music video.
Song – 7.5/10 Music Video – 9/10 Overall Rating – 8.1/10
It has only been a couple of months since their Who Is She comeback, but KISS OF LIFE is back for the summer comeback rush. Their new song, SWEAT, is the title track off their 3rd single album of the same name.
I enjoyed SWEAT, which blends Afro-house and electronic pop with KISS OF LIFE’s hallmark, creating an edgy number for the summery season. My favourite part of SWEAT is the post-chorus hook (“I like this, I like that, I like, Let them see you sweat“), particularly the panning between the two members that share those parts of the song. It is a soft chant that is well-embedded and such an earwormy moment in the song. Elsewhere, I also dig KISS OF LIFE’s captivating and alluring delivery of SWEAT. The rest of the chorus was also quite good. I really liked how the background synth in the centrepiece grew on me. At first, I felt it muddled the chorus’s potential to be catchy by being a bit too much and overpowering. But over a couple of repeats, I realised it served as a great accent piece and made the chorus more impactful. However, I still think SWEAT could have been better by having a more consistent sound. This desire for a more consistent sound comes from the slowed-down bridge. Great delivery in this part, but it disrupted the momentum SWEAT had built earlier.
KISS OF LIFE goes for a provocative music video, with the visuals surely eliciting some heat from the audience. I liked that they didn’t hold back – the producers really made sure they hit the brief by ensuring the music video is sexy. From their outfits to performing in the rain, this music video pretty much had it all. I also liked how parts of the video were colourful, other parts were monotonous in colour (i.e., the brown, sandy set) or bichromatic (i.e., the red outfits on the white background), but it was all vivid nonetheless.
Like the music video, the choreography also brings a sensual element to the comeback. The twerking and their chemistry with the camera made for a strong performance. You could also feel their confidence, which radiated throughout the performance.
Song – 8.5/10 Music Video – 8/10 Performance – 10/10 Overall Rating – 8.7/10
It’s been a while since I reviewed a track from WONHO; the last was his pre-enlistment comeback circa 2022, Don’t Regret. Since his military enlistment, WONHO released his 1st studio album, SYNDROME, last year, which was led by the single If You Wanna (which I have not yet reviewed). Last month, WONHO released his 4th mini-album, CORE, and the title track Don’t Wake Me Up!.
What attracts me to Don’t Wake Me Up! is the instrumentation. The high-energy, club-infused EDM track was very cool from the get-go. And after many repeats, Don’t Wake Me Up! remains pretty exhilarating and adrenaline-pumping as the first time around. The pounding percussion and shimmering synth line were very intense all throughout. The buildup and development of the instrumentation also help prevent the track from feeling overly repetitive, which was an initial concern I had about the song. The track follows through with a chanty and catchy “Don’t Wake Me Up” repetition that becomes quite a memorable and noticeable element of the song. But apart from that, nothing else really sticks out. You can tell of WONHO’s presence in the song. The brief melodies we do get were nice, but with the short verses and the song overall, there isn’t much airtime for him in Don’t Wake Me Up! and the material we do hear from him isn’t memorable.
The video opens with protestors protesting against the oppression of sound and movement that is probably applied to the world (the ‘reality’ in this universe). They surround the van transporting WONHO at the start, who appears to be their leader or poster-person for their cause. From then on, the music video sees WONHO and the protestors/dancers rally with one another to escape reality and show their desire to stay trapped in an irresistible dream through music and dance. This is further backed by the fact that the dance/music shown in the music video is done ‘underground’ and in secret from outside forces.
I quite liked the notion of losing control to the music, which appears to be the concept the performance was going for. But with that in mind, I also liked how controlled the choreography felt at the same time. WONHO and the dancers’ chemistry on-stage was also commendable. From the music, the intensity and exhilarating nature of the song was also transferred and channelled into the routine.
Song – 8/10 Music Video – 9/10 Performance – 10/10 Overall Rating – 8.7/10
Nine months on from the release of their second mixtape, DO IT (which features the singles Do It and DIVINE), and just days since the release of their fourth compilation album, SKZ-Replay 2026 Part. 1, Stray Kids make their grand return with This & That, the title of both their latest single and their 10th mini-album. This new mini-album also features the pre-release track RUN IT, which dropped a couple of weeks ago in preparation for the new mini-album.
At the time of writing this review, I had only a couple of listens to the new song. Thus, the following are my initial impressions. I already hear the potential for This & That to grow on me (so my impression of This & That is likely to change), which is thanks to the chorus. But it is the same sequence that also emphasises one characteristic of This & That that leaves me ‘umming and erring’ – This & That feels very neutral and flat. Despite the synth work coming together to create a neat, groovy hip-hop background, there isn’t anything substantial to remember the song by. Further, the members’ delivery throughout This & That felt very monotonous, with a strong reliance on rap-speak. Not really the most striking or prolific way to make a song stand out. The chorus manages to come through, thanks to the repetition, but it doesn’t take much for one to notice the same problem elsewhere in the song persists in the song’s centrepiece. Even the usual suspects of SEUNGMIN’s powerful vocals (in the bridge), FELIX’s deep voice, or CHANGBIN’s powerful rapping (in the second verse) don’t help make this title track memorable this time around.
On the flip side, the music video is a definite worthwhile watch. Once again, the post-production really elevates the music video and gives it an edgy vibe. And the members look really cool, as well. For once, the teasers that I remember for this comeback click upon watching the video. The horror-themed teaser video Stray Kids dropped most likely refers to the headless dancers featured throughout the video (they were slightly scary), while the truck-themed teaser images are relevant to the truck references and car sounds in the song’s lyrics. I also liked how CHANGBIN in a kitchen instantly meant the revival for the school band brass players, which is a neat callback to their God’s Menu music video.
When you hear the phrase “This & That”, you instantly think of ‘making a choice’. I liked how it was represented in the choreography via pointing and flicks. I also liked the attitude-heavy, edgy side of the members during this moment in the choreography – works extremely well with the members’ stage presence. I also enjoyed how the outro also gives the impression of varying speeds, which was a cool touch to the routine’s rather nonchalant, easy-going vibe.
Song – 7/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8/10
It has been a while since we last heard from Red Velvet. The five-member SM group have been focusing on solo and unit work for the past 2 years since Cosmic, the title of both their last title track and mini-album. That changed earlier this week with Red Velvet returning with their 3rd special summer mini-album, Velvet Summer, and the title track, Surfin’ Boy.
In their earlier days, Red Velvet’s releases were categorised into two categories: “Red” (which refers to the bright, dynamic and poppy tracks they are known for) and “Velvet” (which, as the name suggests, are the group’s darker and sultrier releases). To me, Surfin’ Boy meets the criteria of their “Velvet” category. Whilst it is a dance track, the bossa nova guitars, reggae touch, and house groove come together to create quite a sophisticated and elegant sound. Throw in the members’ vocals and the catchy melodies, and Surfin’ Boy is quite a rich and decadent track. The bridge was indeed such a ‘chef kiss’ moment in terms of showcasing vocals; it was a definite highlight. However, Surfin’ Boy wasn’t great throughout. One issue I had with Surfin’ Boy is that it felt unnecessarily rushed. I am honestly not sure why there was little room within the song to take it in and process it. The second was the rap-speak that was going on. It just didn’t meld well with the rest of the melodies and flow of the song, which were strong aspects of Surfin’ Boy.
I have seen the social media posts of people theorising the video is about mermaids (played by Red Velvet) eliminating the men in the video. But now that has been mentioned, going from all men around them to just females at the end probably confirms that. Backing up this theory as well is the fact that one of the men’s webbed hands was seen later in a specimen jar, and YERI both pushed a guy to his death and aimed for another guy’s head with her crossbow. Quite an interesting concept, and I loved the dreamy execution of it all.
Those sophisticated and elegant vibes from the song come through the performance quite well. But it was the outro bit of the choreography that I really liked. It felt like the performance was building towards this peak, and the members looked like they had a lot of fun with it.
Song – 8/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.3/10
Timing just works out that I am up to reviewing Red Velvet – IRENE & SEULGI’s 2025 TILT mini album and that a full group comeback is just around the corner (literally in 2 days’ time). TILT was released in May last year (yes, I am very behind), featuring the title track of the same name and 5 side tracks. It also serves as the unit’s first comeback since their debut back in 2020 with Monster (the name of both the title track and their 1st mini album).
TILT is a solid mini album, with most tracks rated at the same level for me. There is one hidden gem amongst the side tracks, so continue reading to find out which song that is! And don’t forget to mention in the comments what you thought of TILT as well.
2. What’s Your Problem? (featuring JULIE of KISS OF LIFE) – Described as a modern take on 90s R&B/hip-hop, What’s Your Problem features some groovy undertones. The song has the squeaky synth and brass elements to thank for that. In addition to those, the catchy ‘Eh-oh-eh-oh-eh’ and some of their delivery, including JULIE’s featuring rap, are good callbacks to that 90s era of the genre. However, the instrumental and the rest of the pair’s vocals do get a little repetitive by the end, which does hold back What’s Your Problem. (8/10)
3. Irresistible – IRENE and SEULGI go for some jazzy and funky low-key R&B track. There is a very classy and elegant vibe to Irresistible. The guitar work was particularly rich and luxurious, while the pair sounded very alluring with their lower register and delivery. I feel like the song lacks depth, which could have made it even better. (8/10)
4. Girl Next Door – Of the songs on the album, Girl Next Door hits. The pop dance track has some serious bass and funkiness that sounds so good. The upbeatness, percussion and rhythm are so cool. The vocals throughout the track were equally as cool, and I love how reaching the chorus is. The chorus also manages to showcase some cool power vocals that also help put Girl Next Door in the limelight for me. (10/10)
5. Trampoline – The duo revisits R&B again, this time around mixing it with pop. The vocals were super sleek in this one, and the piano-and-synth hybrid instrumental develops into something quite cool. The beginning could have been cleaner, but once the background/song gets into gear, Trampoline sounds quite alluring. (8/10)
6. Heaven – Extending R&B into the mini-album’s final song, Heaven is actually quite a dreamy number. The simplicity of the drum beats, along with the synths in this song, made the track feel dreamy and straightforward. The same dreamy descriptor can also be said about IRENE and SEULGI’s vocals. I also liked how Heaven eases out of the mini-album, which makes it a nice ender. (8.5/10)
DAY6 appears to be focusing on solo work this year, with WONPIL making this solo comeback earlier this year (which I have yet to review) and, as of this week, Young K. The bassist of DAY6 has returned with Shut The Door, the lead single from his second studio album YOUNGEST. It is Young K’s first solo release since nothing but from his Letter with Notes studio album from 2023.
Shut The Door is a rather pleasant rock track that comes at the best time. Where I am, the weather is cold, and I have been tired from work (thus the lack of reviews). But Shut The Door joins the list of summer tracks that feel fresh and invigorating, breathing new energy into me. I enjoyed the emphasis on the song’s title in the chorus, which just gives the centrepiece some real oomph. Young K’s vocals are vibrant throughout the track, and I liked the synth/band instrumental’s drive. If anything, the instrumental could have been sharper. This could have made Shut The Door more impactful and ‘hit harder’. What also appeals to me is the song’s message, which also comes at the best time. Shut The Door expresses the message that everything will be okay, even if you need to take some time for yourself. And after the week I had, with my current state of mind, it is reassuring to hear Shut The Door. Don’t worry, I am totally okay; it’s just been one of those weeks where everything has felt uneasy.
The music video sees Young K play an actor on a sitcom, who just isn’t having the best day. He knocks everything over and causes delays in filming. It also doesn’t help that people are scolding him, asking him questions, and someone else is doing his job better. Frustrated, he runs off-set and isolates himself from the film crew. By doing so, he opens himself to a different world and gives himself a break from the constantly moving and packed world around him. Instead, he is able to enjoy some peace and quiet, as depicted by the ‘room on the road’ and field scenes. By taking this time for himself, he is able to return better and stronger, blasting (literally) back into the studio. The music video literally is a visual message reminding us to take some leave to avoid burnout and return invigorated, which is something I should be doing. (Again, don’t worry, I got some leave planned for myself!).
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
Not many groups get a chance to say goodbye to their fans before disbanding. Usually, the news is dropped quite suddenly and unexpectedly, with no opportunity for a final single or release. However, for some, they are given the rare opportunity for one final hurrah. This is where KARD find themselves. It has been announced that the quartet would be disbanding following the release of their studio album, Where to Now? (Part 2): Nowhere (which dropped today alongside the single Back To Life) and the completion of their ongoing world tour. Their last comeback was Touch, released last year.
If only Back To Life had been released a couple of weeks back during the World Cup. It would have been an ideal fit, with the new single sounding like an official anthem for the global event, especially the chorus. However, as we are past that, the dancehall and Moombahton track still fits in with the summery season in South Korea through its energy and upbeatness, whilst also developing a fun, celebratory flair given the circumstances of the comeback. What I liked is how all of this takes us right back to KARD’s roots in the tropical house that they debuted with. Back To Life feels like we have gone full circle. The chorus is catchy, with a nice melody and anthemic vibe (as already touched upon). A part of me wishes things were a tad sharper, particularly during that post-chorus, to just give the centrepiece more impact. The same also applies to the members’ delivery in both the vocals and rapping departments. The other drawback to Back To Life is that is, and felt awfully short. I wish there was more to the track, though this could be me wanting more from KARD before their final goodbye.
The music video carries both a celebratory and a reflective feel. It makes sense given what this comeback represents for the group. I did notice some elements from past music videos are incorporated into this comeback. Some are quite obvious, such as the ICKY footage that appears during J.Seph’s part in the second verse. Others took a little more time to come to mind (and a quick scroll of past music videos), including the old phones that all members spoke into appeared in their Oh Na Na music video, the yellow sports car from their Hola Hola music video, the spades that JIWOO stands on at the start is a callback to their card concept, and the key that SOMIN chucks onto the ground might be a subtle hint to the motel rooms from their You In Me video. Not sure if the other music videos are referenced in Back To Life‘s, but there could be elements that I have missed.
The choreography looks good. Nothing really stands out to me. But I enjoyed the fun energy that came from it, how the routine maintains the energy throughout the song (from what I could see from the music video). I am also sure the members had a blast performing it.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
fromis_9 made their comeback earlier this week with their second studio album, Glow Me, and the title track Vitamin ME. It’s their first comeback since their remake of Kim Min Jong’s White Memories, released in December, and their LIKE YOU BETTER summer comeback, both of which occurred last year.
Vitamin ME is a much more pleasant and soothing summer track compared to LIKE YOU BETTER. There is more of a sing-song, melodic touch to the new track, which makes Vitamin ME enjoyable. However, I much prefer the former song over the new one. For one, the bossa-nova instrumentation was pretty ordinary and didn’t spark much excitement throughout the whole song. The verses are cute, but they also feel empty for the most part and lack any memorable element. On the plus side, Vitamin ME‘s chorus is where the song has most of its meat, with strong melodies and hooks to remember the song by. And the vocals were strongest during the bridge. Overall, Vitamin ME is nice, but as mentioned above, I preferred LIKE YOU BETTER as a summer hit.
The music video can be split into two distinct yet overlapping concepts. The first sees the members going on vacation or serving as flight attendants (HAYOUNG was quite cute blowing up that life jacket), while the second half sees the group basking in the sun. The entire video also doubles as a massive product placement for the song (Vitamin ME). It sounds like a bit much, but it worked. The only ‘bad aspect’ of the music video was the poor incorporation of water during the final chorus part of the music video.
The choreography was cute. The same can be said about the members. As a result, the performances were also quite pleasant.
Song – 7.5/10 Music Video – 8/10 Performance – 7.5/10 Overall Rating – 7.7/10
Next album up for a review is RIIZE’s ODYSSEY, their 1st studio album since their debut in 2023. The 10-track album dropped in May last year and features the pre-release single Bag Bad Back and title track Fly Up. This album sees RIIZE put a strong foot forward, venturing down some really cool and dynamic sounds in the first half, and some nostalgic and heartfelt ones in the second half. If I took anything away from ODYSSEY, it is that they are the act to lead the next SM generation and that they are an act you should not underestimate.
Since ODYSSEY, RIIZE released the single album titled FAME in November last year, led by the title track of the same name, and returned last month with their second mini-album, II, and the title track Do Your Dance.
Within the album review are the music videos, track videos and visualizers that SM Entertainment released for each track. However, some of these videos don’t contain the full song. So, I have provided the audio below in case you want to listen to the album as you make your way through my thoughts on each song from ODYSSEY. Let me know your thoughts on the album in the comments below, as well!
ODYSSEY Album Cover
1. Odyssey – Opening the album is Odyssey, which is a neat track to ease us into RIIZE’s studio album. The synth work delves into the UK garage style and I enjoyed how light their vocal work was. This gives off the impression of an ethereal feeling, which works well with Odyssey’s lyrics, which is about going on a journey together to fulfil their dreams. The layering of vocals and those added dramatic percussion adds so much depth to the song, which leads neatly into the heavier pre-release that follows. (8.5/10)
3. Ember to Solar (잉걸) – What I liked about Ember to Solar is that it is a track that doesn’t let up. From start to the end, the instrumental and members are consistently driving the song forward in a dynamic fashion. The fast-paced and intense rhythmic percussion and brass get me hyped up each time I listen to, while the members showcase some strong vocal performances in Ember to Solar. While Fly Up was a fun title track, I think Ember to Solar could have been a very cool title track for the album. (10/10)
5. Show Me Love – Pop rock makes an appearance on Odyssey through Show Me Love. The simplicity and straightforwardness of Show Me Love is just ideal after 3 intense tracks that already vary in style. Show Me Love is easy on the ears, with the members sounding very pleasant throughout the track. There is also a nostalgic factor to the song that makes the track even more enjoyed. I also liked how WONBIN and SOHEE repeated the “Show Me Love” title in the chorus to build up their vocals. It isn’t my go to track on the album, but it is definitely a good one nonetheless. (8/10)
6. Passage – Passage is a short instrumental interlude, with an atmospheric energy to it. But the string brings in a dramatic flair that makes me want to know what is coming up next on the album. As it is only an instrumental interlude lasting 40 seconds, I have not provided a rating for it and it is not considered in the album’s final rating.
7. Midnight Mirage – While I do usually like vocally-focused tracks like Midnight Mirage, I personally felt the loudness of the vocals was a bit too piercing for the track. I wished it was toned down to allow more of the mid-tempo instrumental to peek through and to restore some balance to the song. Don’t get me wrong, RIIZE sounds nice throughout Midnight Mirage, especially when they harmonise together. But it shouldn’t make me reach for the volume to avoid having my ears overpowered by them. (7/10)
8. The End of the Day (모든하루의끝) –A big difference between this track and the previous is that the instrumental is more prevalent alongside the members’ vocal work. RIIZE goes for an early 00s pop ballad sound in The End of the Day. I enjoyed the nostalgia this track brings and I loved how dreamy the instrumental was. The members sound stunning throughout track, especially the chorus, where the members sing the opening line together. There are a few other elements that I am sucker for in this style of ballads that RIIZE nail, including the ad-libs and the way a pair of members share the “I’m always here” line within the chorus. Vocals alone make this track a ten for me. (10/10)
9. Inside My Love – RIIZE continues to delivery early 00s nostalgia through another soft pop track. Because of how hefty the beats/percussion are, I don’t consider Inside My Love to be another pop ballad, but it is almost in that territory. Once again, RIIZE doesn’t miss with their vocals and this elevates the track into stunning territory. One thing about songs from this era is that they are most heartfelt, which makes them so good to get lost into. RIIZE manages to encapsulate and replicate this emotion so well, hence the nostalgia. The downside to Inside My Love, it feels short. (9/10)
10. Another Life – With the second half of the album focusing more on emotions and vocals, I remember lowkey thinking Another Life would be another ballad. And while it does start off in that softer manner, Another Life ends up being quite a bold track by delving into rock elements that keep makes the track feel bold and intense. The gradual build-up within the song and the vocal ad-libs we get towards the end allows the track to really soar and blow me away. Where the song ends up and my affinity for these type of songs that just keep you on the edge of your seat, I can’t help but only score it this way. (10/10)
BABYMONSTER joins the lineup of summer comebacks with a music video and promotions for the side track I LIKE IT from their 3rd mini-album, CHOOM. This release follows on from the May release of the said mini-album and title track of the same name, and the June digital single Sugar Honey Ice Tea (which I will be reviewing soon).
I have come to the realisation that I like YG artists best when they release pop-leaning music, as opposed to their usual hip-hop sound. I LIKE IT offers this pop sound through vibrant, bright synths. The upbeatness of I LIKE IT makes me want to dance and sing along to the catchy parts of the song, while there appears to be a bit of a twang mixed into the first verse, which adds a fun element to the song. What I also liked about I LIKE IT is the refreshing focus on vocals. For me, AHYEON really shines throughout I LIKE IT (her high note was impressive), though the rest of BABYMONSTER hold their ground quite well. The chorus brings a brightness to the song, while the post-chorus hooks were the aforementioned hooky bits of the song that I really enjoyed. That and the repetition of the song’s outro are stuck in my mind. The only aspect of I LIKE IT that holds it back for me is the background to the rapping in the second verse. It draws inspiration from reggae, which is suitable for summer, but I find it unnecessarily slows the flow of the upbeat energy that is coming from the track overall.
With this being a “summer comeback” for the group, their music video sees the members hanging about outside and having fun. All of the video is vibrant, colourful in the daytime and cool, breezy during the nighttime. Pretty much what you would expect to complement an upbeat summer track. The members look great throughout the video, and I feel like there is a slight badass vibe (i.e., ice cream set on fire) still making it into the video to keep to their usual image. The most interesting bit of the entire video is the ending, where the final music video for MOON (another side track from their CHOOM mini-album) is announced for an early August release. It is just an oddly plain announcement tacked onto the end, which I don’t think was needed and could have been done elsewhere through other media.
The choreography for this comeback was fun, bubbly and refreshing. No move really stood out to me, but I enjoyed how much the members enjoyed performing the song on stage. It is great seeing this side from them, and that is something that has me coming back to I LIKE THAT‘s stage performances.
Song – 9/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 8.6/10
STAYC made their comeback a couple of weeks back with 2 L0VE, the title track off their 6th single album 2:LOVE. It follows on from their early 2026 Japanese Mwuah single (from their Japanese Stay Alive studio album) and their 2025 I WANT IT Korean comeback (which I have yet to review).
STAYC knows how to put their best foot forward with another fun, vibrant pop track that fits neatly into their discography and the summer season. I really enjoyed the synth work in 2 L0VE, especially that striking, spiralling synth that appears at the beginning, after the first chorus, and at the end. The rest of the track is equally as lively thanks to the synths. STAYC’s delivery of 2 L0VE is also quite dynamic. I really liked SIEUN and SEEUN’s parts in the verses, particularly the twang they have in their lines. As for the chorus, the “2 LOVE 2 LOVE” opening is super catchy and hooky. I find them so brisk, while the rest of the vocals in the chorus just flow on through quite nicely. With the chorus the way it is and that opening synth, 2 L0VE is such a serotonin hit.
The lyrics and STAYC’s music video for 2 L0VE come together to depict the members’ persistence in their pursuit of love, whilst everything indicates otherwise for them. The members are left on read or ignored, their crush’s locker is full of love notes from others, and as part of their tennis concept, they are not scoring any points. By the end of the video, the members learn not to sit around for their crush to respond, only to receive a message from their crush right then, which is promptly ignored. Apart from that storyline, I really liked the vibrant and colourful side of the video, which is always fitting for the group.
I enjoyed how fun and cute the performance was. The slingshot moves alongside that “2 LOVE, 2 LOVE” line in the chorus were very cool and is a neat depiction of either their attempt at a cupid shot or to get their fans’ attention.
Song – 9/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8/7/10
Earlier this year, BELIFT Lab unexpectedly announced HEESEUNG’s departure from ENHYPEN and that he would stay on as a solo artist under the company. The official reasoning provided was ‘creative differences’, though let’s hope whatever happened was amicable for the sake of ENHYPEN and HEESEUNG. Anyhow, four months on, HEESEUNG has gone on to redebut as a solo artist under the new stage name EVAN with the single Ride or Die.
Ride or Die is a decent debut track. The single delves into an alternative rock sound, with hyperpop elements to fit into today’s music trends. What comes out in the end is an edgy, almost punkish track that has grit and intensity. Not bad on the background front. The chorus has a catchy melody that helps Ride or Die stand out to me. The opening line to the chorus is what has been playing in my mind lately, and I find myself coming back to Ride or Die from time to time. On the other hand, Ride or Die is short in length, and this hinders EVAN from really exploring the alternative rock sound to his full potential. Also, the autotune over his vocals was far too heavy. I get that it works well with the hyperpop elements and gives off a rough exterior to match the rock sound. But it masks his true vocals, which we have heard time and time again through his past ENHYPEN works. For this reason, I do prefer the live performances of Ride or Die, as we get to hear more of his vocals and less autotune.
The song expresses the idea of loyalty, commitment and perseverance in a relationship, no matter what. But the video doesn’t feature another person as the other side of the relationship. Instead, the music video sees EVAN exist as a ghost after being in a car accident. As the music video progresses, a worn-down car (I assume it was the luxury car we see earlier in the video) follows EVAN around. At first, EVAN tries to avoid the car, but the car persists (this represents the idea of loyalty and commitment depicted in the lyrics), and EVAN ends up reuniting with the car (cue the late-night drives). I find this idea of a relationship between a person and an inanimate object a little funny, though it isn’t unheard of. It is also a neat way of avoiding showing EVAN in a relationship, even if it is just acting.
Aside from the live performances giving us more of EVAN’s vocals over autotune, the choreography showcases some really strong energy from EVAN and the dancers themselves to reflect the intensity of Ride or Die. EVAN has showcased some good chemistry with the camera, which is a necessity after the shift from group to solo stages.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
KPOPREVIEWED 