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
Six months on from his solo comeback with No Labels: Part 1 (yet to be reviewed) and the single Talk To You, YEONJUN has made another return in the midst of summer with No Labels: Part 2 and the single Ice Cream. His solo comeback also follows TXT’s comeback from earlier this year, 7th Year: A Moment of Stillness in the Thorns, and the single Stick With You(which was picked as one of my favourite tracks from the 1st half of 2026).
Based on GGUM and Talk To You, I became excited upon hearing the announcement that YEONJUN would be making a summer comeback. The season of energetic and dynamic releases would be a prime opportunity for YEONJUN to flourish as a solo artist. But upon hearing Ice Cream, I don’t think that opportunity was fully realised. There were some likeable aspects of Ice Cream. The groovy bass in the background and the vintage drums were strong elements of the new song. I also really liked YEONJUN’s raspy vocals in the chorus and the grittiness that it gave the track. I also think the Ice Cream hook in the chorus was good (it reminds me of Robin Thicke’s Blurred Lines), but it could have been more substantial. I also feel like the rest of Ice Cream could have included more substance. The rest of the song is sparse, and the song was too short, thus a blur and having not much else to remember it by.
Ice Cream likens the push-and-pull of a relationship to the icy treat, where things can get ‘romantic’ when together but kept ‘cool’ when apart. The music video sees YEONJUN and the female character flirt with one another, with the world around them disappearing, freezing or slowing down when the pair bump into one another or interact with one another. The frozen ice cream at the start depicts how their relationship has not yet started, but the melted ice cream at the end of the video shows that the pair’s relationship in the video had created some heat. I quite liked this music video and concept, overall.
YEONJUN’s stage presence and flirtiness are showcased throughout the performance. These work well as part of the comeback, as seen in the music video. The choreography is definitely a very cool performance to watch. I liked his and the dancers’ energy, particularly the fluidity of the legwork in the post-chorus sequence on the stage.
Song – 6.5/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 7.5/10
KIHYUN is back with his first solo release in four years! The main vocalist from MONSTA X made his solo debut with VOYAGER in January 2022 and returned promptly the same year with Youth. After that, he enlisted in the military and was discharged in February 2025 before returning to music through MONSTA X’s N the Front comeback last year. Earlier this week, he returned with his second solo mini-album, Borderline, and the title track So Good.
With VOYAGER and Youth being some top-notch solo work, and knowing what KIHYUN is capable of with his vocals through MONSTA X’s releases, I had some high expectations for So Good. And as expected, KIHYUN delivers with the new song. So Good is a rock ballad. The instrumental opts for soft rock elements during the verses, and it knocks it out of the park by amping the background during the choruses. I found the way KIHYUN’s vocals soared during the choruses (relative to the verses) and at the bridge to be stunning and captivating. Elsewhere in the song, it was so easy to get lost in his voice. Something that So Good does well is its length. It’s short, sharp and sweet. Yet, its execution has me coming back for more.
According to Soompi, So Good is about trusting your instinct in a world that pressures you into expectations and norms, and that by trusting one’s instinct, life becomes liberating. In the music video, we see KIHYUN surviving in a dystopian world that used to be Earth. The video begins with KIHYUN lying in front of a crashed spaceship (as if he had been flung out of it). The expectation is that he would just give up, but after feeling his emotions, he moves on until he reaches a mountain of clothes. While I am not sure what the clothes mean, he dreams that there are better things at the top or on the other side of the mountain. However, the cartoon, which represents those societal expectations and norms, tries to stop him from climbing the mountain. But he pushes on and makes it to the top, where he thinks he finds water. But in reality, the mountain rumbles and pushes him away. In that moment, the video shows how liberating it is to trust your instinct, just like what the song’s lyrics suggest. I am not exactly sure if my interpretation is correct, particularly the ending. But this is my theory at the moment. Let me know if you have other ideas.
Song – 9/10 Music Video – 8.5/10 Overall Rating – 8.8/10
Since their rebrand as i-dle last year, the 4th-gen female KPOP group has been busy with the release of We Are (their 8th mini-album; album review incoming) with the title track Good Thing, their 4th world tour Syncopation, and the release of their first English single, Mono (ft. skaiwater). Earlier this week, i-dle made their second comeback under their new brand/name with their 9th mini-album, We Made, and the title track Gimme Dat Love. The group also pre-released Crow, which I will make sure to review soon.
I hope one day, i-dle will return to a fuller and in-your-face sound that they had under their (G)I-DLE days. That was my first impression upon listening to Gimme Dat Love. It is i-dle’s attempt at a sultry vibe, with sparse Latin percussion to give Gimme Dat Love some oomph. While they do deliver on that front, Gimme Dat Love‘s execution was not. Instead, their new song feels remarkably empty. You could describe the song as minimalist, but I feel like that would be justified if a minimalistic aesthetic were felt and heard. I don’t get that from Gimme Dat Love, however. The verses didn’t grab much of my attention, which was a major problem at the start (there wasn’t really much incentive to continue listening to the song other than the sultry vibe), and the anti-drop in the choruses took away any momentum that the decent string-featuring pre-choruses had built up. When it came to their delivery, Gimme Dat Love lacked substance and appeal. While the “Gimme dat love, love, love.. love” hook was striking in its own way, it was also incredibly dry and unexciting.
i-dle dials up the heat in the music video. From a hot summer’s day to a hot shower and sauna, we see the members mingle with other people throughout the video. There is definitely a lot of passion within the groups of people the members hang out with. Given the current summer season, the sultry sound identified above and i-dle’s willingness to show off a mature side, this music video makes logical sense, particularly since Gimme Dat Love is about attraction to one another.
The choreography for this comeback is probably the best aspect of this comeback, in my mind. As mentioned before, the chorus is striking in its own way musically. But on stage, it was the most striking aspect of the performance. Elsewhere, the routine feels sensual in a refined way. The intensity of the outro looked a little odd without much of a beat to it. But it was appreciated, so it infused some more oomph into the song.
Song – 6/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 7.1/10
It was previously alluded to be posted by the end of June, but the album review for BOYNEXTDOOR’s No Genre has finally arrived just a few days after the end of June. No Genre is their 4th mini-album, released in May 2025, and features 7 songs. This includes the title track I Feel Good, the English version of the title track, and their earlier 2025 hit, IF I SAY, I LOVE YOU. No Genre was a particularly strong showing from the group, demonstrating their ability to handle a variety of styles and sounds compellingly.
ICYMI – BOYNEXTDOOR returned recently with their 1st studio album titled HOME and the title track VIRAL.
No Genre Album Cover
1. 123-78 – Starting off the mini-album is the vintage pop number, 123-78. Despite being about a breakup, with the song depicting the members as just dumped, 123-78 is somewhat comforting and upbeat. I really liked the brass elements and the golden, retro vibes that song exudes. The vocals and tinge of rapping in 123-78 fit the vintage pop/retro era really well, showcasing the members’ versatility with music styles and tones. (10/10)
3. Step by Step – What a pleasant number. While Step by Step didn’t instantly grab my attention like other songs on the mini-album, I still enjoyed it. The song’s groovy, funky city-pop underlay was really nice, and I liked how smooth and stunning their vocals made Step by Step sound and feel. The ending, however, was too abrupt for my liking, and that thought still stands even after a year. (8/10)
4. Is That True? (장난쳐?) – Is That True? is an easy-going, carefree pop track, with its lyrics wishing the best to a former partner who has moved on with someone else. The members’ vocals were quite nice, and I do feel like they were genuine with their message behind the lyrics. Otherwise, that easy-going and carefree tone would not have made much sense. I also really liked the beat and the bounce of the song. It was hard not to do a little dance to the song because of it. (9/10)
5. Next Mistake – Next up is Next Mistake, an R&B track with a glitchy and techno instrumentation. This is honestly quite a cool and unique combination. I liked how BOYNEXTDOOR and their producers for this track didn’t shy away from either side of the song. Again, Next Mistake features some really nice vocals and rapping from the members, especially the falsettos in the choruses. (8.5/10)
After going viral earlier this year with the track RUDE!, Hearts2Hearts made their comeback a couple of weeks back with their second mini-album and title track of the same name, Lemon Tang. Seems like lemons are all the rage this year for the female groups of SM Entertainment.
Despite being released for almost two weeks now, Lemon Tang has yet to evoke much from me. A brief listen to the song can tell you that Lemon Tang is a cute, vibrant summer comeback song. I totally realise that. But for me, Lemon Tang lacks substance. The song’s hooks and melodies haven’t reeled me in, and the instrumentation has been pretty unimaginative (sans that piano ripple at the start and beginning of the final chorus). Thus, I don’t remember much of the song. I also feel like Hearts2Hearts delivery was pretty flat despite Lemon Tang being noticeably vibrant and bright in nature. Besides that, I don’t have any other thoughts on the song to share. Though ‘not much’ is pretty much a consistent thought I have about the song. Maybe more listens to Lemon Tang could remedy that.
The music video sees the members on a tour bus. Along the way, YE-ON spots an attractive guy who is transporting lemons somewhere. The lemon truck gets into an accident with a van, forcing the bus to stop. For some reason, the tour guide and the members get off, with everyone on the bus continuing on their trip. Guess the members made it to their destination. From there, they visit a seaside town for their trip and a lemon farm, where YE-ON musters the courage to make contact with the attractive guy from earlier. Though she embarrasses herself right after handing the lemon to the guy by tripping. Plot-wise, I think the music video starts strong, but becomes very disconnected soon after. Though everything was cutesy, vibrant and bright as you expected from listening to Lemon Tang.
That last sentence pretty much sums up my thoughts on the stage performances, as well.
Song – 5/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 6/10
SEVENTEEN is at the point in their careers where some members need to enlist in the military. So the number of members currently actively promoting is dwindling, making it hard to promote as a group. Thus, SEVENTEEN have been focusing on unit activities more recently. SEVENTEEN have successfully launched BSS (which is now inactive, given HOSHI has enlisted), JxW (made up of JEONGHAN and WONWOO, also currently inactive), HxW (HOSHI and WOOZI, also inactive), CxM (S.COUPS and MINGYU) and DxS (DK and SEUNGKWAN). Yesterday, SEVENTEEN debuted their latest unit, V8 (VERNON and THE8), with the single singasong and their eponymous mini-album, V8.
singasong delves into electronic and hyperpop. I thought it was a pretty decent track and enjoyed it on my first listen yesterday. singasong had a catchy and very hummable hook and a fun video game vibe from its background to remember it by. I also feel like there was enough of a club beat to give singasong some much-appreciated oomph. But the new song isn’t perfect – singasong is repetitive, which places it in a neutral state of flow. I also wish VERNON and THE8’s vocals were not as low-key as they were. It was an interesting choice, and I do realise that they played to their strengths by keeping themselves low-key and processing their vocals the way they have. But the song needed some variety, and the pair are overpowered by the background many times throughout the song. But overall, I think the stronger aspects of singasong help overcome the weaker aspects, which is why I enjoyed the song nonetheless.
The music video sees VERNON and THE8 being carefree and hanging out with their peers and each other. This reflects well with the lyrics, which are about ‘charging forward without hesitation, embodying the spirit of youth breaking free from rules and limitations’. From the start, we see the pair break away from the idea of Korean music at that club and the karaoke set. Things get wild and unexpected from there, with the pair embracing it all to represent the lyrics visually.
Shuffling is back! Personally, to me, this dance style feels rather dated, given that it was big whilst I was growing up. But certain trends will re-emerge (for better or worse – shuffling has already made a few comebacks since then), and I can see V8 bringing it back again by simply promoting this routine. Their movements across the stage, whilst shuffling, made the routine look very cool.
Song – 8/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8.2/10
JIN’s 2nd mini-album, ECHO, is next up for an album review. Released in May 2025, ECHO features 7 songs, including the title track Don’t Say You Love Me. This particular mini-album comes 6 months after JIN released his first mini-album, HAPPY, which featured the title track Running Wild.
ECHO is quite adventurous, exploring multiple genres. Each song on this 7-track mini-album was different to each other. Thus, making JIN’s release exciting to listen to. There are a few 10/10 songs on here, and the rest of the mini-album was also of a similar quality. Another ‘no skippable’ mini-album. Continue reading to find out what I thought about each song.
2. Nothing Without Your Love – JIN pours his heart out in Nothing Without Your Love as he sings fondly about the missing piece in his life. The track takes on Brit-pop, which has a spacious yet atmospheric flair to it. Throw in JIN’s vocals (that just goes hand-in-hand with the genre) and that already mentioned outpour, and you have a stunning track that is hard to pass up on. (9/10)
3. Loser(ft. YENA) – JIN changes gears through Loser with a fun pop-punk track, featuring the always bubbly YENA. Both work well with this style and each other to create this awesome track that ended up being one of my favourite side tracks of 2025. Their chemistry is one of the things I remember the most about the track. I particularly liked it when they were echoing on another or alternating between each other (depending on which part of the song you were at). Loser’s energy was fabulous and super addictive, and I really liked how catchy the track was. (10/10)
4. Rope It – JIN delves into the country genre with Rope It. This was another fun song and a definite blast to listen to, especially since it wasn’t expected of JIN. I liked how infectious the energy is, which always makes me want to boogie when the song appears on my playlist. (8/10)
5. With The Clouds(구름과 떠나는 여행) – With The Clouds sounds like 2 songs stitched into one. The first is a vibrant up-tempo rock track that has a crisp, refreshing tone. The second is another rock track of a slower melody, which brings out an emotive tone from JIN. I like the way the song melds into one, but it did require a bit of getting used to to really appreciate the track. It is different and unique (though not unheard of), so props to JIN and the producers for experimenting within With The Clouds. (8/10)
6. Background – JIN’s emotions pour out in this pop ballad. I really liked the rock/band elements in Background, which adds so much and appreciated oomph to elevate JIN’s vocals. I remember finding it easy to get lost in the melodies, emotive vocals and instrumental when it was first released. Over a year on, it still has that pull and appeal. (10/10)
7. To Me, Today – I really enjoyed the momentum that the chorus builds into alt-rock To Me, Today. It takes the song into soft head-banging, foot-tapping territory and feel-good vibes that just work really nicely with JIN’s vocals. I also liked the punchy “The One” in the background of the chorus. It adds a playfulness to the song that works nicely with where the alt-rock lands in the track. (9/10)
It has only been a couple of months since Adrenaline and ATEEZ’s 13th mini album, Golden Hour: Part 4. But yesterday, ATEEZ returned with the next instalment of their Golden Hour series (Part 5) and its lead single, BAD.
BAD incorporates Brazilian Funk to infuse some fun and to pull in current trends into ATEEZ’s discography. After all, it is summer, and such energy (when done right) can make the song feel synonymous with the hot season. The start is ear-catching thanks to the Brazilian Funk. But the song then barely barely moves on from its beginning, keeping BAD‘s instrumental similar throughout its verses and choruses. As a result, BAD feels empty and dull. BAD only steps it up in the final chorus, adding more bass to make the ending feel more pronounced. While appreciated, it is too late in the song to spark much excitement. As for the chorus, the monotonous repetition of the song’s title only adds to BAD‘s dullness. There have been times where the delivery works, but with BAD‘s already empty feeling, the monotone and repetition didn’t help as much. The members’ delivery was good, overall. Their rapping was decent, and the vocal moments, when they finally appeared in the bridge, had potential. Again, it was a pity we had to wait that long to get to something appealing.
Unlike the song, I enjoyed the music video. It sees the members confront their lover, who appears to have played multiple people (including the ATEEZ members) in the past, making them fall in love with her. Her finger is full of wedding rings, and we see some members on dates with her, while other members catch on or discover her scheme. Later on, she uses her charm on other people to hypnotise them into helping defend her, rivalling the members in the courtroom. We see a great montage of everyone (including the accused lover herself) performing ATEEZ’s choreography, before walking out of the courtroom with a ‘not guilty’ verdict. But in an unexpected twist, an epilogue video uploaded after the music video dropped, shows WOOYOUNG succumbing to the hypnosis, just like everyone else who defended the accused lover. Assuming Part 5 follows the same promotional agenda as their past releases, we might get treated to a second music video for a follow-up single from the mini-album to connect to the broader Golden Hour lore.
The choreography for this comeback is on par with their other routines. There is definitely a sensual vibe in the routine, especially the chest pops at the end. There is also a subtle, powerful quality that works well with ATEEZ’s alluring performance style and makes the routine even better.
Song – 6/10 Music Video – 8.5/10 Performance – 9/10 Overall Rating – 7.4/10
In a flurry of announcements earlier this week, Stray Kids confirmed that their upcoming comeback will be in August with their 10th mini album, THIS & THAT, a new pre-release single RUN IT would be unveiled later in the week (today) and plans for a world tour that shares the same name as the mini album and starts in July. Today, I will be reviewing RUN IT, their first major release since Do It and DIVINE from the end of last year.
RUN IT sees Stray Kids focus less on the electronic sound that they have been promoting over the past couple of releases and focus more on the anthemic and melodic side of music. This anthemic side felt as if Stray Kids were rallying the troops for their next release, which is a different way of hyping up the crowd for the upcoming release. The brass elements and militaristic percussion style really complement this idea as well. The chanty aspects of the chorus pull everyone together to be as one, fitting for the ongoing World Cup. RUN IT also features a more prevalent focus on vocals. Whilst very nice sounding (FELIX and LEE KNOW’s bridge moment, as an example), I will admit that some of the vocals do feel overly soft for the broader feel of RUN IT, which holds the track back and softens the powerful potential of the track. RUN IT really feels strongest during those anthemic chants and through HAN and CHANGBIN’s rapping at the end. I really appreciate the oomph that the rappers give in the song’s final moment, and their transition from one another was quite seamless.
RUN IT appears to build on the traditional concept that DIVINE‘s music video flourished with and combines it with an army-building concept (going back to the idea of ‘rallying the troops’). The black-and-white contrast of their outfits and the dancers’ outfits probably represents differences between people, and it’s through Stray Kids’ confidence and leadership that brings everyone together as one, per the ending of the video. I also enjoyed the artistic side of the music video, which brings out a whole different vibe and pace from their usual style and concept.
Like all of their choreography, Stray Kids impresses with this one. On this occasion, they really embraced a powerful and intense side to showcase their confidence and drive that they express in RUN IT‘s lyrics. I do wonder how they will bring everything together on stage, but I am definitely hoping for each member to have a solo moment as shown in the music video. That is most likely enabled by how the music video is set up, but that would be a cool stage concept, especially for Stray Kids. I am most excited for FELIX and LEE KNOW’s solo moments during the bridge.
Song – 8.5/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8.8/10
I deeply apologise for how long (1.5 years, if you are curious) it has taken me to review what is BOYNEXTDOOR’s biggest hit to date. In my sad excuse of a defence, I was on holiday when it was released and came back to a massive backlog of reviews – one of which was this track, which ultimately got lost in my unsuccessful attempt to catch up. Released back in January 2025, IF I SAY, I LOVE YOU ended up becoming a big hit, particularly for a male KPOP group in 2025. IF I SAY, I LOVE YOU also featured as part of BOYNEXTDOOR’s NO GENRE mini-album that was released in May 2025 (led by the single I FEEL GOOD). This review also flags the incoming album review for NO GENRE, which will be released later this month.
ICYMI – BOYNEXTDOOR most recently returned with the single VIRAL and the pre-release track ddok ddok ddok from their 1st studio album, HOME.
While IF I SAY, I LOVE YOU is an upbeat dance pop song, the song lyrics focus on the bittersweet events following a breakup and the desire to confess even though it might be too late. BOYNEXTDOOR’s tone and take on such a sensitive and vulnerable time in the song is rather playful, which is why the song is so intriguing. Even without the context of the lyrics, that playfulness and brightness from the song still transcend to the audience. Another charming point of IF I SAY, I LOVE YOU is its simple and straightforward melodies and hooks. Both elements were easy on the ears and catchy, especially the chorus. But for me, after an entire year of hearing the song, the most appealing and memorable aspect of IF I SAY, I LOVE YOU is the funky electric guitars that follow the chorus. This section alone consolidates everything I have described about the song thus far and adds a touch of vibrancy to emphasise its light-heartedness. And the members’ delivery of IF I SAY, I LOVE YOU has really cemented BOYNEXTDOOR’s sound.
My theory about the music video is that TAESAN get a second chance at confessing his love to his crush. But only after he mistakes another person for his crush and gets knocked out by a snowball. In between being knocked out and waking up from the incident, we see what life looks like without his partner, aligning with the lyrics. He becomes secluded from the world, staying at home and trying to keep himself busy. Throughout the video, he (and the members, who aren’t physically there with him – they appear to be part of his personality) is reminded of the love and memories with this crush. From there, he wakes back up in the snowfields and seizes the opportunity to confess to his crush (correctly) this time.
The performance was fittingly playful and bright to match the upbeat tone of the song. I liked the energy the members put behind both their live performance and choreography. It wasn’t enough to earn a nomination in the 2025 KPOPREVIEWED Awards, but it was still a worthwhile watch.
Song – 8.5/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 8.8/10
KPOPREVIEWED 