Earlier this year, YH Entertainment withdrew their “trainees” from ZEROBASEONE (Zhanghao, Ricky, Kim Gyuvin and Han Yujin) and EVNNE* (Yoo Seungeon) to create the new male group, AND2BLE. Today, the group officially debuted with the single Curious and their debut mini-album, Sequence 01:Curiosity.
*YH Entertainment also withdrew Ji Yunseo from EVNNE, who ended up leaving the company soon after.
Curious is most enticing through its verses. The bold, thumping beat and powerful vocals from Zhanghao and Yoo Seungeon made for a very memorable start to their new chapter. Similarly, the thumping beat and Zhanghao created a really nice flow, while we got a little more from the other members through strong vocal work that followed. To me, the verses were a good showcase of their talents and skills, with their vocals definitely feeling refreshing. Curious ends up being more typical when it comes to the choruses. I did like how they maintained the bold energy in the central piece, but the chanting delivery was very ‘done before’, and the instrumental didn’t feel as exciting as the thumping beats at the start of Curious. After the second run of the chorus, the producers focused on a future house EDM instrumental piece that I have a feeling a few people might describe as loud and noisy. It closes out Curious, and I liked how they blended it with the “Da dda dum” hook from the very start of the song and choruses. This just makes the ending feel cohesive without having to rehash the standard chorus, and it doesn’t detract from the idea of offering something a little “different and new” to keep Curious engaging.
Curious‘s lyrics depict “the group’s confidence and ambition to face the changes brought by dangerous curiosity at the moment of a new beginning without fear” (from Soompi). Some digging around yields the following description from Chosun for the video: “The released video depicts the members waking up with a curious gaze in an experimental composition like a fantasy movie. The mysterious atmosphere, including the strange eyes of the five members staring at the front and the wing-shaped objects, added to the sense of immersion.” With all of this in mind, I am still not sure what the music video is about. But despite that, I do like this mysterious atmosphere, the industrial vibes and the members’ visuals throughout the video.
Performance-wise, it looks good. There is some cool footwork from the members, and I liked the hip-hop motif they brought to the choreography. It isn’t until the EDM instrumental break that the members show off more of their performance skills via an impressive dance break.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
After teasing their comeback a couple of weeks back with the EDM track CELEBRATION, LE SSERAFIM officially dropped their 2nd studio album, Pureflow Pt. 1, yesterday, led by the title track BOOMPALA.
No matter how many times I have heard BOOMPALA since its release yesterday, I am a bit lost and confused with the new song. On one hand, you have the track sampling the Macarena. The original is super fun, and BOOMPALA maintains that aspect to do it justice, even though it’s been high-pitched in this song. But at the same time, the track tries to create its own catchy, fun moment by building on the sampled Macarena with the spoken “BOOMPALA”, which has some earworminess to it, but its delivery does not have an ounce of brightness or excitement like the Macarena. LE SSERAFIM and BOOMPALA’s producers then try to add some melodic vocal lines, but they don’t add much to the song’s memorability. Elsewhere in the song, the verses don’t have much staying power, and the instrumental was a mixed bag (though best at its fullest). Overall, BOOMPALA tries to do a couple of things that I am not sure land with me.
The track expresses the message “that fear may be just an illusion depending on the perspective or attitude” (based on SOOMPI’s article). The music video shows the members and other people moving from different emotional states to a state of zen and at peace. I really liked the video’s colourful moments and overall vibrancy, which match the energy from the song’s instrumental and the summery period that South Korea is approaching.
The performance was very fun and energetic, so props to the members for pulling this off. With the song building on the Macarena, it would make sense for it to be a part of the performance. The ‘BOOMPALA‘ parts added variety and additional fun to the performance.
Song – 6.5/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 7.4/10
I.O.I, the first group formed from a survival reality show (Produce 101), celebrates its 10th anniversary this year. Quite amazing how 10 years have passed. Whilst active, I.O.I gave us Dream Girls, Whatta Man (Good Man) and the massive hit Very Very Very. Per their temporary contract, the group disbanded after less than a year. However, to celebrate their 10th anniversary, the group (sans Mina and Jieqiong) regrouped to release their 3rd mini-album, I.O.I : Loop, and its title track, Suddenly(갑자기).
While I appreciate Suddenly as a reunion song that brings back one of the biggest girl groups of their day, it just doesn’t hit as hard as their past tracks. I.O.I switches up their iconic Very Very Very cutesy sound for a much more mature profile, which makes sense after 10 years. To be fair, I didn’t expect them to replicate the exact same sound from when they were last active. However, I did hope for some energy and vibrancy. In making Suddenly more mature, the producers also made it extremely beige and dull. The synthpop instrumental does bring back a straightforward disco-retro sound, which was something that I liked about Suddenly. But the chorus and its melodies are surprisingly flat, lacking the excitement to draw me into the song. And there isn’t much to remember Suddenly by in the verses. The vocals were pleasant, but again, no one stood out to me in the track. Overall, Suddenly was good, but a missed opportunity for I.O.I to deliver something that truly celebrates their milestone.
The music video carries forward the retro vibes that Suddenly gives off, looking like it was shot with an old-style camera, with the occasional flickering dot in the footage that reminds me of a similar effect seen in older movies. A beige filter also appears to have been applied to reflect the song’s beige feel. Aside from that, not much else is going on in the video. I did appreciate seeing the 9 members again and wished that they had included some sort of reference to the other two members who couldn’t be part of this reunion.
There was a gracefulness to the performance which made the routine look really pretty and feel mature. All of this complemented the song quite well.
Song – 7/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 7.8/10
ZEROBASEONE has undoubtedly had a busy early 2026 with the release of their Re-Flow single album (led by LOVEPOCALYPSE), their final concerts as a 9-member lineup and contract negotiations (which led to four members, Zhanghao, Ricky, Kim Gyuvin, and Han Yujin, departing to re-debut as a separate group named AND2BLE later this year). Moving forward, ZEROBASEONE continues as a 5-member group, with Kim Jiwoong, Sung Hanbin, Seok Matthew, Kim Taerae, and Park Gunwook. Their 6th mini-album, Ascend-, dropped just yesterday and features the title track TOP 5.
ZEROBASEONE delivers a sexy, mature early-00s hip-hop and R&B sound in TOP 5 that feels very nostalgic to me. I quite like this track, especially with a clever title that might also be a play on themselves as a 5-member group moving forward. The groovy instrumental earns big ticks from me. The speak-rap delivery that serves as a primary hook for TOP 5 also works really well with this early-2000s hip-hop/R&B sound, and I genuinely enjoyed its flow. I liked how each member had a chance to deliver the hook in this motif, allowing each member to really embrace TOP 5’s sound. Some of the hooks are back up with really nice melodic vocal lines that add a smooth texture to TOP 5 that again works perfectly with the nostalgic profile. I do feel like TOP 5 could have been longer. The 2.5-minute length made TOP 5 feel swift and straightforward, but I think ZEROBASEONE could have done a bit more with the track (e.g., the instrumental break was too brief). But besides that, I really enjoyed their new single.
That sexy, mature vibe from the song was well captured in the music video for the comeback. The use of the shade black was very stylish and chic. The lighting and grey set design helped to bolden the black outfits the members wore, emphasising their good looks and fit bodies. I also enjoyed the use of the foreground and background throughout the video, which adds cool depth. Definitely a cool music video that works extremely well with the song.
There was a lot of opportunity in the performance that ZEROBASEONE really took and seized. The song allows for a flirty component in the performance that matches the mature, sexy vibe I keep mentioning, and the group infused it at the right moment in the routine. There was also groove and smoothness to the song that the performance also took on board, allowing ZEROBASEONE to really showcase their dance capabilities.
Song – 9/10 Music Video – 10/10 Performance – 9/10 Overall Rating – 9.3/10
The next album up for review is HIGHLIGHT’s 6th mini-album, From Real to Surreal, which was released a year ago. It is a short one, with just 4 songs making up its entirety – one of them being the title track Chains. Overall, this mini-album is fair but not their strongest effort to date.
Their last album release was Switch On from 2024, led by the single BODY.
2. Endless Ending (없는엔딩) (Pre-Release Track) – HIGHLIGHT liken a past relationship to a completed movie in Endless Ending, where the story and ending of the movie is unchangeable, but the members are unable to let go and pondering on what could have been. The mid-tempo ballad sounds bittersweet with you consider the lyrics and emotional tinge featured in their vocals. Endless Ending was also released under their original name, BEAST, after getting the rights to their original name back from their previous company. This has led to fans theorizing that the song is a reflection upon their journey thus far. That story, particularly where they had to say goodbye to some people, is also fixed and they wonder what the alternative ending would be like had the story been different. (8/10)
3. Good Day To You – Next up is a dreamy, jazzy R&B number. I liked the brass elements and piano in the song, which just give Good Day To You such a golden and sultry vibe. HIGHLIGHT sound so nice throughout the track, with their vocals and the melodies they bring to life give the track its smoothness and velvetiness. Overall, Good Day To You gives off very sophisticated vibes. (8/10)
4. Follow Me – Follow Me is the type of song that I have been drawn toas of late. The energy from the rock elements in this pop track feels bold (relative to the rest of the mini-album) and dynamic. However, I personally would have liked for the chorus to go all out. I get a sense the producers held back, and so Follow Me wasn’t as explosive as it could have been. I think they did this to complement the slightly softer vocals and harmonies that HIGHLIGHT brought to the song. Nothing wrong with that, I just love the idea that HIGHLIGHT could have really delve into the pop rock genre. (8.5/10)
BOYNEXTDOOR will be making their official comeback early next month with their 1st studio album, HOME. But kicking off the promotions for the comeback is the pre-release single ddok ddok ddok (똑똑똑; ‘ddok’ being the Korean word that describes the knocking sound, which is very fitting song title for BOYNEXTDOOR – see their debut concept). It’s their first release since Hollywood Action last year.
While BOYNEXTDOOR isn’t unfamiliar with hip-hop, their take on the genre has been more vibrant, bright and fun. And this is what I quite like about them. Their music ends up different to other acts who also explore the same genre and their playful take makes it easier for their songs to become earwormy and memorable. ddok ddok ddok hears BOYNEXTDOOR attempt a completely different take on hip-hop than usual, with the instrumental swapping out playfulness for seriousness. While exploration of different sounds and styles definitely should be encouraged, it shouldn’t come at the expense of individuality and personality. Here, ddok ddok strips out BOYNEXTDOOR’s personality and opts for pretty much a plain hip-hop approach which doesn’t differentiate it from the other hip-hop acts. I will admit that the “ddok ddok ddok, BND/1,2,3” lines in the choruses are catchy. But beyond that, there isn’t much else to remember the song by. I don’t feel much from the rest of ddok ddok ddok. Nor their delivery, especially since I felt like the members blurred together into one person in this song. I do hope that ddok ddok ddok is just an isolated case – I have grown to like BOYNEXTDOOR’s music, and wish for their vibrant and fun take on hip-hop returns.
While the music itself doesn’t sit right with me, the music video does for a number of reasons. Firstly, the members themselves look really good throughout the video. Secondly, the members’ interactions (or lack thereof) with the people around them actually gives off a cool aesthetic in the video. Thirdly, when it came to the group scenes like in the choreography shots, it is interesting to see how one member is always the one in focus, while everyone else is doing their thing (either posing or dancing) alongside that one member, but their actions doesn’t distract or take the focus away from the member in the spotlight. Clever use of camera angles, lighting and use of space.
From the music video, the routine for ddok ddok ddok looks intense and sharp, particularly when it came to the choruses. Unfortunately, with the members trying to balance delivery of the song with microphones, the live stages so far haven’t reach the full potential that the music video promises. You can definitely feel and see a difference when it comes to their dance break towards the end of the song.
Song – 6.5/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 7.6/10
2026 has delivered a surprise collaboration between aespa (a top girl group from SM Entertainment) and G-DRAGON (the leader and main rapper of BIGBANG). Their new single, WDA (which stands for Whole Different Animal), dropped on Monday this week and is the first of two title tracks from their upcoming Lemonade studio album. WDA is aespa’s first release since Rich Man and G-DRAGON’s first since Übermensch/Too Bad.
WDA is a hip-hop dance track with a really cool electronic-based instrumental. This aspect of the track was very textured and full of intense yet subtle energy. Paired with the member’s charisma, WDA sets itself up to be quite alluring. But beyond the ‘Whole Different Animal‘ repetition as its primary hook (courtesy of G-DRAGON himself), the track was largely forgettable and disappointing. The members, while having charisma as I already mentioned, simply talk their way through WDA. As a result, there aren’t any melodies or other hooks to remember the song by. I did like how G-DRAGON’s rapping in the bridge really concentrates the hip-hop sound mentioned earlier. But it was so brief, and I wished there was more to it. Overall, WDA brings together two strong and epic forces, but the final product just wasn’t as satisfying as you would have hoped it would be.
The music video for WDA was very intriguing and mysterious. Creepy at times, like that ‘street view’ shot to focus on KARINA at the start of the video. But it definitely shows the members off in a very industrial, stylish, and ‘don’t mess with me’ aesthetic. I also liked the unpolished, modern-day camera quality and the transitions between members during close-ups. All aspects of the music video looked super cool, making it a worthwhile watch despite the song.
The above can be said of the choreography accompanying this comeback. With their charisma and stage presence, as well as a strong command of the hip-hop motif, aespa delivers another memorable performance that you definitely need to check out.
Song – 6.5/10 Music Video – 9/10 Performance – 10/10 Overall Rating – 8/10
A couple of weeks back, NMIXX teased their comeback with the release of the music video for Crescendo. This week, they finally dropped the single alongside their 5th mini-album, Heavy Serenade. However, the official lead single from the mini-album shares its name with the mini-album. The new mini-album also serves as NMIXX’s first release since their strong Blue Valentine comeback.
I really enjoy the pretty and aesthetic sound NMIXX has been going for in Blue Valentine, Crescendo, and now Heavy Serenade. This style just reinvigorates the pop sound and gives it an impact that instantly leaves a good impression. However, Heavy Serenade is without its flaws. A recurring thought I had consistently had was that Heavy Serenade‘s overall sound could have been sharper. From the loudness of the instrumental in the chorus and some of the muffled delivery, I just think Heavy Serenade could have benefited from a cleaner sound. A really good example is the “We’re blooming” refrain at the end of the choruses – I thought it was really catchy, but it was undecipherable without lyrics. I also thought the rapping was awkward. However, there are some super-strong aspects of the song that should not be overlooked. There was great vocal delivery overall (SULYOON and LILY’s literal launch into the final chorus was epic) – you can feel the dreaminess side of the song through the vocals. I also really enjoyed how much oomph and power were behind the chorus and other parts of Heavy Serenade, which, again, adds impact and bolsters the song’s memorability. The contrast between hefty and pretty in the instrumental was another wonderfully interesting aspect of Heavy Serenade to reflect upon.
Based on the lyrics, which are about deep, definite love (lyrics meaning taken from SOOMPI), I assume the music video captures the members seeking various signs of love. From the power of music to signals, the members combine their efforts to find love in a grey and plain world. This is just my interpretation of the video, however, so I could be wrong. As for the ending, I do wonder if the snow outside hints at a future music video release for another side track or a comeback later in the year.
While I think the rapping is slightly awkward in Heavy Serenade, the choreography that accompanies JIWOO’s rapping was one of the boldest sequences in the routine. And I really enjoyed that part. I also enjoyed the prettiness of the routine that accompanies the “We’re blooming”, which definitely brings out that vibe from the song, as well. A great performance, overall.
Song – 9/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 8.6/10
CRAVITY made their comeback 2 weeks ago with the single AWAKE from their ReDeFine mini-album, their 8th to date. It is their first Korean release since their Lemonade Fever and Dare to Crave: Epilogue repackaged album in November last year.
As it has been 2 weeks since its release, AWAKE has had the chance to build and grow on me. And this has allowed certain parts of AWAKE to proliferate and elements to stick out. Truthfully, I think the members’ delivery could have been stronger and more prominent. While I do appreciate their softer, calmer approach throughout the song, especially during the choruses when the synths really kick into gear, their delivery also feels held back from reaching its full potential in AWAKE. The same could be said about the rapping, particularly in the second verse. An edgy factor is definitely incorporated, but I think there was a missed opportunity to really amp it up and hit AWAKE out of the park. Anyhow, the melodies accompanying the English lines in both the pre-choruses and the choruses ended up being quite memorable aspects of AWAKE. The purity of the melodies in the case of the pre-choruses, and the plainer melodies in the case of the choruses, of this alternative pop song manages to stick out for me. As for the synths, I enjoyed their dark tones and cool textures. Quite a lot to like in AWAKE, but it could have been better if the members had a stronger presence.
Is this the first time a priest concept has been carried out in KPOP? I can’t remember if it has been done before, so points for uniqueness. Anyhow, AWAKE is about “the process of defining oneself again the moment an end becomes a new beginning” (taken from SOOMPI). The music video shows the members training to become priests in a world about to be attacked by dark forces. The members use their divine powers to protect themselves, but this sets off a series of events that bring about their end and derail their path. However, at the moment it all ends, we see the members again at the start of the video. The video uses a serpent creature on rail tracks to depict the constant path the members are on, which becomes ‘derailed’ and is ‘eaten’ by another snake in the midst of the video. But at the end of the video, it is revealed that the serpent continuously circles and enters the head of the other snake, suggesting that redefining oneself at the end will always create a new beginning.
I liked the intensity and the drive behind the performance. AWAKE showcases their dance skills, and the members made the stage a really worthwhile watch as a whole.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Just the other week, CORTIS started teasing their comeback with the single REDRED. Earlier this week, the group officially dropped their 2nd mini-album, GREENGREEN, which is led by the title track TNT. This is CORTIS’s first comeback since their widely successful debut with What You Want and a bunch of other singles from their Color Outside the Lines debut mini-album (which I have yet to, but will, review).
TNT was a blur. No matter how many times I have listened to the song, I just haven’t been able to remember anything from TNT. I know it’s played, but it is so monotonous that it sounds all the same to me. While the grungy rock elements in the background held promise, TNT never developed instrumentally beyond its opening moments. The members’ contribution to the song was a mixed bag. Some of it had character. But, like the instrumentation, most of the members’ delivery lacked individuality and tone, leaving TNT without any appeal. The hooks were lacklustre, and TNT‘s short run time did not work in its favour. Overall, I am disappointed with TNT. CORTIS should have picked REDRED as its title track for the new mini-album and left it at that.
CORTIS is on the run from the masses in TNT‘s music video. It depicts societal pressure, as members dodge and avoid the idea of conforming with everyone else. The members are portrayed as your typical teenagers. And from their expressions, there is an element of thrill and excitement as they try to evade capture. Sometimes they are caught, but that just edges them the next day. At the very end of the video, I think we see the members turn around and go head-on with the crowd, showing their willingness to stand up for themselves.
The performance seems to build and play with the intensity of those grungy rock elements in TNT‘s background. Even without much else in the song, the members did a good job of commanding the stage, and this shows off their stage presence.
Song – 6/10 Music Video – 9/10 Performance – 7/10 Overall Rating – 7.1/10
Following the completion of his military enlistment in February 2025, KAI from EXO made a quick solo comeback with his 4th mini album, Wait On Me, in April of last year. It featured 7 songs in total, including the pre-release single Adult Swim and the lead single of the same name as the mini album. Wait On Me also serves as KAI’s first solo release since 2023’s Rover.
The Wait On Me mini album is not KAI’s strongest effort to date, but it is definitely up there. It just sits behind 2023’s Rover, which earned an 8.3/10 rating. That being said, Wait On Me did serve as a nice entrance for the 2025 summer period in a very KAI manner. More on each song below.
3. Pressure – The unexpected flute in the chorus, the deep, sultry rhythmic beats throughout the background and KAI’s alluring vocals made Pressure subtly intense and sensual. I really enjoyed the push he gives himself during the second verse. Slightly repetitive if I am being critical, but the short span of under 2:30 minutes prevents Pressure from being branded as boring. (9/10)
4. Ridin’ – Ridin’ is a very experimental and textural techno hip-hop track. It was quite a lot, so keeping KAI’s vocals either monotonous or low-key was pretty clever. It does come with some risks, such as the background overpowering KAI at some points. I did like the synthesiser that appeared in the earlier parts of Ridin’, and wish it had returned towards the end. It gave Ridin’ a shimmering feel that helped offset the heftier elements of the beat. (7/10)
5. Off and Away – I really enjoyed the Afro-beats in Off and Away. It made for a very chill, tropical-esque track without losing the R&B feel that KAI’s music tends to lean towards. It is also my favourite track off the mini-album. His vocal work throughout Off and Away was solid. I also really liked his shouty ad-libs at the end. It adds depth and a subtle edginess to the song, leaving a strong impression in Off and Away‘s final moments to remember. (10/10)
7. Flight to Paris – Jersey Club beats, dreamy synths and piano come together to create a soft finale for Wait On Me. Throw in KAI’s airy vocals, and Flight to Paris is such a nice and pleasant track to ease us out of KAI’s first solo release since 2023. (8/10)
BABYMONSTER was one of the groups to make their comeback this week, with CHOOM, the title of both the lead single and their 3rd mini album. Following CHOOM, music videos for the other singles on the mini album have been confirmed, with one being released each month up until August. However, noting YG Entertainment’s track record, let’s wait and actually see the video drop before we get all excited. CHOOM follows on from their WE GO UP comeback from October last year.
CHOOM, or ‘dance’ in Korean, goes for the bombastic flair and high energy through its synth instrumentation and hefty beats. But while it does hit that brief (it is a YG song, after all), the instrumentation feels pretty unmemorable. The only part of the background that sticks out for me is the guitar piece after the first chorus, as it is the only part of the CHOOM that feels unique. CHOOM also features underbaked hooks that don’t really make much of an impact, relying more on the already unmemorable instrumentation. Even the chant at the end (which has worked in some YG songs in the past) feels one-dimensional. As for the members, their delivery was strong as always. I am impressed with the rapping during the verses, and the vocals in the bridge were amazing. It is a pity that the material isn’t of the same high quality.
According to some media articles, CHOOM is about “uniting fans through dance”. But aside from the members, there isn’t much dancing throughout the video. We do see dancers in the song’s final moments, hyping the members and joining in on the choreography. But in the rest of the video, the background people were either frozen in time (in the case of the entire bank heist concept) or off to the side and barely in focus (in the case of the ballerinas – I haven’t included them with the dancers at the end because their presence felt more space-filler than intentional). I felt that, with such a message behind the song, the music video could have showcased more dancers and featured a wider range of dance styles to bring everyone together.
The choreography leans into that bombastic flair and high energy I mentioned earlier. I did like the vibrant, dynamic tone the members brought to the routine, especially in the chorus.
Song – 6/10 Music Video – 7/10 Performance – 9/10 Overall Rating – 6.9/10
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 Lee Know and Seungmin’s CINEMA. Links to the reviews of the other unit tracks (as they are released) are below the music video.
CINEMA is a rock ballad that opens with dramatic drumming and follows through with atmospheric vibes from the electric guitars. From there, the song slowly builds, introducing other band instrumentation to the backing, allowing the rock ballad profile to proliferate and intensify. Both Lee Know and Seungmin sound breathtaking and amazing throughout CINEMA. We all know Seungmin as the main vocalist of Stray Kids and as someone who can captivate audiences with his vocals. But Lee Know completely surprised me. The song showcases his improved vocals since his debut, and his ability to hold his own alongside a main vocalist is pretty remarkable. Both convey a hopeful, uplifting tone throughout CINEMA, delivering beautiful melodies and their vocal ad-libs and harmonies at the end give the track so much impact.
Set in a post-apocalyptic world, CINEMA‘s music video depicts the pair’s journey to ‘the stadium’, where they perform CINEMA. We see snippets of them penning the song together and making the physical journey to ‘the stadium’. Despite their car breaking down, which also tests their relationship, the pair supports each other in their efforts to realise their goals and dreams to perform. The storyline can definitely be seen as a representation of Stray Kids’ journey thus far with the rest of their group and their fans (more on this soon). The idea of the final destination being called ‘the stadium’ might also be a reference to their world tour, where they have performed in stadiums across the globe, highlighting their success and where they are at in the present.The most abstract aspect of the music video is the post-apocalyptic setting, which, in my mind, represents starting from nothing. Both Lee Know and Seungmin acted well in the video, as well.
I am not factoring their stage performances of CINEMA into the final rating (as there isn’t a choreography for this release), but I really enjoyed the idea of their fan names at each leg of their world tour scrolling across the screen in an ‘ending credits’ type of fashion. Again, this highlights the importance of STAYs in their journey of being Stray Kids.
Song – 10/10 Music Video – 10/10 Overall Rating – 10/10
Last week also saw the return of ILLIT, who made their comeback with the single It’s Me, and the mini-album Mamihlapinatapai. This is their first comeback since last November’s NOT SO CUTE anymore.
In terms of sound profiles, It’s Me really stood out among last week’s releases. I think there is potential for It’s Me to be one of the more memorable wackier tracks (think Orange Caramel). However, the track’s short-term effect might derail that potential long-term outlook. The techno nature of the backing was definitely attention-grabbing, while the clangy texture, fast-paced tempo and hefty bass of the instrumental (particularly during the chorus) made It’s Me very dynamic. It is unique, fun, and memorable. I personally enjoyed this aspect of the song, even if it does limit what ILLIT could have done with the delivery of It’s Me. On that front, I am not exactly thrilled with where it landed. I am impressed by the pre-choruses, which have a pretty melody and vocal line. Definitely one of the better parts of It’s Me. As for the rest of the song, their vocals and delivery were definitely energetic and leaned into that cutesy side that ILLIT is known for. But the spoken motif for the rapping comes off as monotonous, and the “Who is your bias?” repetitive hook, whilst catchy upfront, has nowhere to go but to end up annoying. I already feel that endpoint becoming reality whilst having It’s Me on repeat for the purposes of this review.
I do bring up the reference to Orange Caramel deliberately, as part of ILLIT’s music video is set in a Chinese-style restaurant that gives me flashbacks to the Shanghai Romance music video. I liked that little throwback. Elsewhere in the video, I enjoyed the start where the members randomly come together from different places ahead of It’s Me chorus. I found the stop-motion funny, and how the other people in the neighbourhood were trying to avoid the members at one point. This leads into a taekwondo-style scene, which is a nice way to represent their Korean culture and identity in the music video.
That idea of It’s Me being potentially wackier releases in KPOP definitely comes through strongly in this comeback’s performance. I am loving that twist just before the chorus, as well as the foot-tapping, bouncy nature and sharp arm positions of the chorus. If it hasn’t already, I can totally see the routine becoming viral and dominating social media. I would be disappointed if it didn’t.
Song – 6.5/10 Music Video – 8.5/10 Performance – 10/10 Overall Rating – 7.8/10
Earlier last month, news broke that MARK had not renewed his contract with SM Entertainment and would also depart from NCT (including NCT U, NCT 127 and NCT DREAM). As a fan of MARK, I was shocked upon reading the headlines, and I ended up postponing my review of his first studio album, The Firstfruit, to process the news. After a few weeks, I think it is now time to review the year-old album, which was led by the title track 1999, pre-releases Fraktsiya (ft. LEE YOUNG JI) and +82 Pressin’ (ft. HAECHAN from NCT), and 10 other tracks.
For me, The Firstfruit was one of the most anticipated releases in 2025. MARK has already debuted so many times throughout his career, but he was overdue for a solo debut. The Firstfruit showcases MARK in so many ways, and you can feel and hear MARK get personal throughout the album. I personally think these all made The Firstfruit a super successful and strong solo release for the resilient MARK, to the point of earning Best New Male Soloist in the 2025 KPOPREVIEWED Awards. I can’t wait to hear more from him in the near future and wish him the very best in the next chapter of his music career as a solo artist.
The Firstfruit Album Cover
1. Toronto’s Window – Opening up the album is a short number featuring MARK narrating reflections upon his childhood and how he matured over the years. This is done over a soft acoustic guitar backing and the sounds of children playing outdoors. It also sets the inspiration for the rest of the album. As Toronto’s Window is made up of narration and instrumental, I have opted to exclude it from the album’s final rating.
3. Flight to NYC – Flight to NYC is another short track. It is primarily an instrumental track (and thus not included in the final rating), featuring a soft, dreamy piano underlay and a brief EDM hip-hop piece. MARK doesn’t do a whole heap in this track, but his presence is definitely felt through the few lines and fittingly soft interjections he makes in the track.
4. Righteous – MARK taps into the NCT domain for Righteous (a lot of the track reminds me of NCT 127’s 2 Baddies), bringing more of that EDM hip-hop sound from earlier back into the album. It is not my usual song that I would go far, but I enjoyed his energy and how prolific he sounded as he rapped his way through Righteous and how this was supported by the additional rappers/vocals at the end. (8.5/10)
6. Raincouver – After some intense tracks, Raincouver is much-appreciated. It is a pleasant pop track with a bright, easy-on-the-ears vibe that I enjoyed. MARK sounds soft and lovely throughout the song, and I liked the soft repetition of the title (this became quite earwormy). Put all the pieces together, and you have a very comforting and warm track from MARK. (8.5/10)
7. Loser – Loser takes us back to acoustic territory, but also brings some vulnerable emotions to the album. Despite tugging on the emotional heartstrings, I liked MARK’s husky and raspy vocals, as well as his soft-spoken rapping in the second verse. His delivery definitely elevates Loser. I also liked the extra oomph he gives to the track towards the end, making this delicate song more impactful and thus allowing it to stand out more, enough to make it one of my favourite tracks in the release. (10/10)
8. Watching TV (ft. Crush) – Crush’s (a prominent name in the K-R&B space) smooth vocals and harmonies with the backing vocals at the start and throughout Watching TV make the track an instant attraction to me. Watching TV is predominantly an R&B track, but the array of styles in its background makes it super appealing in many ways. MARK was also quite captivating throughout the track in his own ways, and I was really digging how deep his vocals got during the midpoint of Watching TV. (9/10)
10. 200 – So I completely forgot about the music video for 200 (embedded below). Not sure what impression I had about 200 when the album dropped given that, but for this review, I found it hard to put this song down. The energy and style, both musically and regarding MARK’s part, are quite up my alley. 200 features an alternative rock style that draws upon a cool drumstep influence, and I liked how it drove the song forward during the choruses. MARK’s vocals and the textures he leans into for 200 bring a grungy style that just works well with the music and makes it hard to put down. (10/10)
11. Journey Mercies – Journey Mercies is another pleasant R&B track. The mid-tempo instrumental is atmospheric and dreamy, with a slight dramatic tinge at times. MARK’s vocals match the song’s dreamy profile quite nicely. But relative to the other tracks on the album, this one is also the plainest of the bunch. (8/10)
12. Mom’s Interlude – The penultimate track on the album is one that features a recorded conversation between MARK and his mum reflecting on his inspiration for the album. A soft piano melody is also heard in the background. It is a touching track for MARK, who probably keeps the conversation and track close to his heart. I love how there is an expression of love from mother to son in the simple question “What do you want you want for lunch?”.
13. Too Much – From the above expression of love between mother and son, MARK gives it back through Too Much. The track is a hybrid between a rock ballad (the choruses) and a clangy hip-hop sound (the verses), with a brief gospel choir in the background. I liked how much MARK could capture in the track through this hybrid sound. Like Loser, I am loving the extra oomph in the song’s final moment. Too Much is already quite impactful without the oomph, but is made better in its final moments. (10/10)
NMIXX is gearing up for their next comeback in May with their 5th mini-album, Heavy Serenade. Ahead of the mini-album is the pre-release track Crescendo, which dropped earlier this week. Crescendo is NMIXX’s first overall release since their TIC TIC collaboration with Pabllo Vittar and their first Korean release since Blue Valentine (title of both the lead single and their successful first album, which earned them Best Album of 2025 in the 2025 KPOPREVIEWED Awards).
With several pre-releases ahead of NMIXX’s album drop, as well as some of the side tracks from their Blue Valentine studio album, NMIXX is setting themself up to be a group that consistently releases artistic, aesthetic pop releases. Crescendo continues this trend for NMIXX, which showcases their vocal abilities in spectacular fashion. I am loving the verses, where their vocals captivate in various ways. The pre-choruses are my absolute favourite parts of Crescendo – both SULYOON and BAE sound very pretty in their respective pre-choruses, and I love the stilling effect that comes off from their parts. The contrast between verses/pre-choruses and chorus helps make Crescendo bold and attractive. Instrumentally, I enjoyed the way it built itself up, and the additional synth details add a freshness to the song. At times, the background also adds a playful effect to the song, giving it a different dimension and vibe that makes the track even better. Overall, Crescendo continues NMIXX’s strong release game and leaves me more excited for their upcoming comeback.
I have no clue what is going on in the video. According to Chosun, the music video is set in a silent post-apocalyptic world, where NMIXX infuses vitality into the silence. That is the best theory I can find, when also considering the meaning behind Crescendo‘s lyrics and title. Regardless of what the video is about, there is a definite, mysterious atmosphere in the video that makes it quite an intriguing watch. There are some aesthetic moments throughout the music video, such as the abstract angel wings and mouth-covering worn by the members, which I have no clue what they are meant to represent, but they look really pretty.
Song – 10/10 Music Video – 9/10 Overall Rating – 9.6/10
KPOPREVIEWED 