Category: KPOP

[Review] BOTH SIDES – NCT JNJM

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Today sees NCT launch a new unit (their 7th to date!) featuring members JENO and JAEMIN. Dubbed NCT JNJM, the pair debuts with their mini-album and title track of the same name BOTH SIDES. Both JENO and JAEMIN also form part of NCT DREAM, who most recently was promoting Beat It Up late last year.

BOTH SIDES playfully portrays confidence, with the pair singing and rapping about their good looks. The opening commentary was so cringy. But it suited the upbeat and bright tone that the song opts for, which gives BOTH SIDES an undeniably fun and lighthearted sound and vibe. Their delivery gears towards the hip-hop genre, and I feel the pair do a decent job with making their take on the genre enjoyable. BOTH SIDES also feels very polished and features smoothness that works well with the bright tone I already mentioned. This helps glide us through the song. But with its short span below 3 minutes, BOTH SIDES was over before you know it. However, I find this to be quite disappointing. I honestly thought we were shortchanged as I was expecting something a little more substantial to follow through based on the trajectory the song was going. Perhaps an instrumental break to enable the pair to show off more of a performance side, or something that just ended the song more on a strong note and not have it fizzle/mellow out.

With a song that highlights their visuals, it makes complete sense to show the pair’s strong visual game and have everyone swoon over them. That whole bar scene with JENO making a drink and JAEMIN picking up said drink highlighted their visuals in such stunning manner. Aside from looks, the music video does feature a small plot line, with the pair chasing after a female character and trying to get her attention. But it all fails, especially at the end where they flat on the ground and the female character overlooks them as she opens the door to peer into the hallway. I also appreciated the comedic moments of the video, such as the window cleaner falling for JAEMIN and then JENO.

From what I can see in the music video, the performance goes for an easygoing and casual routine. Despite not liking the end of the song for reasons mentioned above, I actually liked the dance that accompanies it. The swing and the lighthearted nature reflected well with that aspect of BOTH SIDES.

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

[Review] BLACKHOLE – IVE

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IVE is officially back with their new second studio album, REVIVE+, featuring their latest title track BLACKHOLE. Also from the studio album is the group’s pre-release track from a few weeks ago, BANG BANG.

To me, the best part of BLACKHOLE is its dramatic flair. It takes a few seconds to really land. But once it does reach the pinnacle of that power, the track is at its best and is a force to be reckoned with. The synth work in BLACKHOLE, particularly during the final chorus, was commendable. It also held its ground during the moments where BLACKHOLE wasn’t reliant on being dramatic and powerful. The same could be said about the vocals and rapping, though I will admit that it took a few more listens for me to warm up to the members’ delivery. What I am most hung up on with BLACKHOLE is the lack of a strong melodic material or hook to remember the song by. Take away the instrumental, and I am not convinced BLACKHOLE has much to stand on. But as a whole piece with all the elements together as it should be, BLACKHOLE is a bold and intense song that is quite memorable.

Like the song, the music video is quite a statement piece in terms of visuals. Their company has gone all out, probably to match the powerful nature and boldness of the song, setting parts of the video in a stadium and filming the members at new heights (i.e., the Sky Bridge at the Lotte World Tower). Even the shots indoors looked amazing. The members’ visuals and outfits were also stunning.

Once again, IVE impresses with their performance. The routine really keeps up with the momentum of the song without a hitch and the members do a great job at executing the performance. Not sure if the tables/extra stage will be a feature on the music shows, but I liked how it gave some extra height and dimension to the performance. The part with LIZ walking on top and the dancer sliding the bottom was iconic. Similarly, the routine alongside the bridge was also a moment to enjoy.

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

[Album Review] Accidentally On Purpose (2nd Mini Album) – SEULGI (Red Velvet)

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After a bit of a break from the album review front of the blog, it’s now back. We are getting right into SEULGI’s 2nd mini-album, Accidentally On Purpose. Released in March 2025, the mini-album features 6 songs, including the title track Baby, Not Baby. Overall, Accidentally On Purpose is another strong mini-album from the solo artist, on par with her 2022 debut mini-album (led by the single 28 Reasons).

Also, ICYMI – SEULGI, as part of her promotions under the unit Red Velvet – IRENE & SEULGI, was chosen as Best Unit and Best Overall Artist in the 2025 KPOPREVIEWED Awards. Click here to find out who else came out on top in the other categories.

Accidentally On Purpose Album Cover

1. Baby, Not Baby (Title Track) – Click here for Baby, Not Baby’s full review. (9/10)

2. Better Dayz – Better Dayz commands your attention, both on this mini-album and in the broader landscape of KPOP as well. The song definitely has a wow factor thanks to the combination of experimental yet bold, gritty instrumentation and SEULGI’s flirty vocals. With such descriptions, you can definitely tell these elements give Better Dayz a whole heap of character and personality. I also like the shocking, dramatic change at the end of Better Dayz. Definitely a statement piece, definitely a standout track. (10/10)

3. Rollin’ (With My Homies) – Next up is a laidback and fun R&B pop track. Rollin’ (With My Homies) is a track that I wouldn’t mind playing whilst in the car with a friend who also vibes with KPOP. SEULGI’s vocals are really nice throughout the track, as well. My main complaint is the abrupt ending. It felt like the producers didn’t know what to do with the song in its final moments. (8/10)

4. Whatever – I feel like Whatever is an R&B song that could easily been executed by Red Velvet. But it definitely sounds more intimate under SEULGI’s vocals. I liked the mid-tempo nature of the song, which keeps the track nicely upbeat. There seems to be a bit going on in the background – the plonky percussion and subtle brass were nice elements, though I am not sure if the song needed everything. (8/10)

5. Praying – Praying is the song from this mini-album that feels most aligned with 28 Reasons (SEULGI’s first mini-album). I found this track to be quite breathtaking, particularly thanks to SEULGI’s vocals. There is something about the way she executes this track that stills me and lets me take it all in. At first, she takes on a huskier, lower tone, then builds as the song progresses. The moody, slower and darker instrumentation really sets the scene. Another definite standout on this mini-album. (10/10)    

6. Weakness – The mini-album finishes up with Weakness, a mellow love song that sounds nice. SEULGI’s vocals bring a bright pop to the song, which was much appreciated, as there wasn’t much else to the song that really stood out to me. (6.5/10)

Overall Album Rating – 8.6/10

SEULGI’s teaser image for Accidentally On Purpose

[Review] RUDE! – Hearts2Hearts

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Somehow, I missed the news that Hearts2Hearts would be making their comeback in February 2026. But I haven’t missed the music video release and have jumped onto it today to review the new single, RUDE! (otherwise, I might not review for months, given my track record). This is their first comeback since October’s FOCUS.

To me, RUDE!‘s background resembles FOCUS‘ instrumental. The consistent funkiness and groove behind the house-based instrumental feels like it was pulled from FOCUS‘ But there are some differences, mainly through how the members deliver their lines, that sets the new song apart from its predecessor. Hearts2Hearts’ vocals provide a bright tone to RUDE!, which is much different to the subdued tone the group had adopted previously. In turn, this helps make the chorus sound punchier and leads to a catchy centrepiece. I also quite liked the follow-up post-chorus instrumental part that followed the second and final choruses. It was a neat way to add more to the song without detracting from, or over-engineering, RUDE!. Interestingly, while I praised FOCUS‘ bridge previously, RUDE!‘s bridge is its least appealing asset. The spoken-rap sequence by JIWOO and JUUN was just clumsy and doesn’t fit with the rest of the song. But besides that, RUDE! is a neat follow-up in Hearts2Hearts’ discography.

I quite liked the social media concept they had going on in the video. It is fun and unique. From what I understand, the members operate a social media account, working to build their following. Along the way, someone they are interested in starts liking their post (excessively, might I add). But when they interact with the person, they were told they are rude (based on STELLA’s commentary). Some of the members don’t care, while the others try to figure out what went wrong (hence the fighting in the end). But they resolve conflict by taking a photo together to post onto their social media account. I am not to sure if I interpreted it right, but I relate the member playing the offline game on their laptop in the midst of the fight (thinking, eating popcorn whilst there is drama around you). Also, the end reveals the likes are not coming from a person, but rather a cat who is just randomly pressing the screen.

From what I can see in the music video (as all music shows have been canceled this week due to Lunar New Year celebrations), the performance is cute and features a slight bounce that complements RUDE! nicely. I could also observe sharpness and synchronisation, which definitely levels up their execution and performance, overall.

Song – 8/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.2/10

ICYMI – Hearts2Hearts was voted for Best New Female Group in the 2025 KPOPREVIEWED Awards. Click here to find out who else came out on top in the other categories.

[Review] CINEMA – WOODZ

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WOODZ will be making his official solo comeback next month with his first studio album, Archive. 1. But ahead of that comeback, WOODZ has teased his return with the pre-release single CINEMA. Previously, he heard WOODZ through I’ll Never Love Again and Falling (ft. Young K of DAY6).

CINEMA is a solid pre-release, a rock ballad that is very much familiar territory for WOODZ. It isn’t ground-breaking or the first of its kind, but it is still beautiful and an emotional release, with the music video enhancing the latter. But on its own, my emotive heartstrings were still pulled and tugged whilst listening to CINEMA. The build-up in WOODZ’s vocals, from the low, almost-whispered beginnings to the powerful end, makes this such a satisfying single. It is solid outputs like this and I’ll Never Love Again that make WOODZ worthy of his nomination for Best Vocal Performance in the 2025 KPOPREVIEWED Awards. Did you all vote him to be the winner of the category? Find out tomorrow! The rock elements develop in a similar way, giving momentum and drive to CINEMA. Can’t wait to see what else he has on offer through his studio album drop!

The music video shows the male lead sitting in a cinema, rewatching moments from his last relationship, including when the relationship began to blossom and the bitter end that hurt everyone involved. And it is in this moment of reflection at the cinema that he realises that he truly misses the female lead. I do wonder what some elements mean, especially those at the end, such as the candle held by the female lead, the arrow and drop of gold held by the male lead and the shirt that says ‘Theia Mania’ (divine madness) plays into this breakup. While I feel like some of these can be connected to the moment, they are oddly specific and might play into the actual music video for WOODZ’s upcoming title track. It wouldn’t be the best first time the pre-releases hinted at something incoming.

Song – 8/10
Music Video – 9/10
Overall Rating – 8.4/10

[Review] Mama Said – KickFlip

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It has been over a year since KickFlip made its debut on 20 January 2025. In celebration of that milestone, I am finally getting around to reviewing their debut single Mama Said. The single was featured on their first mini-album, Flip it, Kick it!, which also dropped on the same day. As part of their debut promotions, the group also pre-released the single Umm Great, which I will revisit for a review ahead of their debut mini-album.

Timing was one reason I didn’t review KickFlip’s debut when it happened (I was on a family holiday when it was first released). Another reason is that Mama Said didn’t really capture my attention, and there were several reasons for that. Personally, back then and now, the pop-punk dance track felt relatively heavy, instrumentally speaking, placing Mama Said in a slightly awkward position: there is energy that drives the song forward, but the overall feel doesn’t match that energy. This affects the members’ delivery, which was mostly low-register rapping or rap-speak, making Mama Said neutral and consistent. I expected some vocals to come into play throughout the song to give Mama Said some liveliness and more colour. And while we did get some, the vocals in Mama Said don’t reach that potential. But it isn’t all bad news for Mama Said. The lyrics that express the idea of rebelling against nagging words from adults (i.e., their mum, if we were to take the lyrics literally) and forging their own path were quite fun and refreshing. And there were aspects of Mama Said that I did warm up to, like the brief instrumental break in the bridge.

After their mum leaves the house for the day, the KickFlip members wake up and go about their day. In this light-hearted music video, things they do go against what their mum says (e.g., making a mess in the kitchen, eating cereal with milk inside the box, blasting music and making a mess in their rooms). Eventually, the members also step out of the house and do things that go against society’s norms, like walking under traffic blockage signs, leaning against trucks when they shouldn’t, spinning society’s view, walking along the sides of buildings, etc. This all culminates in the members coming across a special skateboard, which they use to ride down the side of the building. And they do all of this before they get the ‘Mama signal’ that their mum is returning home, who still sees them as her good little boys (despite all the havoc and mess they made throughout the day).

Despite what I said earlier about the song, KickFlip’s debut performances were quite energetic and lively. I put this down to the members’ execution and delivery of the performance. Moments I particularly liked were the “Ooo, Ooo” moments in the post-chorus hooks and the dance break that comes with the instrumental break.

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

Don’t forget to also check out my reviews for KickFlip’s subsequent comebacks, FREEZE and My First Love Song.

[Review] Fame – RIIZE

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Back in November 2025, RIIZE made their comeback with their second single album, Fame, which featured the title track of the same name. Unfortunately, I was unable to review the track at that time. But as the saying goes, better late than never. Before Fame, RIIZE also returned earlier in 2025 with the studio album Odyssey (yet to be reviewed) and the title track Fly Up.

Fame tackles hip-hop once again, with the song described as ‘rage hip-hop’. While it isn’t the usual style of music I would listen to (the primary reason I have taken a while to review this track), I do appreciate the combination of rage beats and rhythm, hip-hop influences, and the shrillness of the electric guitar (though this did get much at times). The resulting instrumental features robustness that makes the song bold, while the electric guitars brought an alternative-esque influence to Fame. On the vocal front, it was solid all around. I liked the amount of vocals you got in Fame, in comparison to rapping. It felt balanced and well-rounded. I liked the emotional heft RIIZE poured into Fame, and that you also get out of the song. I also liked their control against the paced nature of the song. The rapping in this song was also pretty good, especially the lower register spoken parts. Stronger hooks and melodies would have reinforced the song. I know it isn’t common, especially in hip-hop songs, but Fame needed something memorable to hold my attention and bring me back for more.

Fame explores the desire for love and emotion over fame and fortune. I think the video explores two sides of each member, even though they are one person. One side is the ‘fame’ version of the group. We see them on screen, on the sound stage, and in front of the cameras in the video, though this version is portrayed as quite suffocating (very close shots of their faces, cameras right into their personal space, in a closed room, performing while their surroundings are on fire). The other side is the ‘behind the scenes’ version of RIIZE that we see for the majority of the video – they perform on the big spinning platform, and they appear to be in rehearsals (based on the more casual outfits). This side is allowed to explore those emotions and the idea of love. In the end, it appears that the desire for love and emotion prevails, as the small room off the side of their spinning platform, where we see the fame version of the members in some scenes, explodes.

The performance for Fame is pretty good. While it was an intense routine, I liked how it complemented the song’s pacing. The best part has to be the outro/dance break we get at the end of the performance. The way the members came at us was peak intensity.

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

[Review] BANG BANG – IVE

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Ahead of their upcoming comeback with their second studio album, Revive+, later this month, IVE pre-released the new single BANG BANG yesterday. BANG BANG attempts to join a list of successful pre-release singles in IVE’s repertoire, like Kitsch, Either Way, Off The Record and last year’s REBEL HEART.

Previously, I noted that I haven’t been a big fan of IVE’s songs that have taken an edgy route. Though I think I am warming up this sound profile from IVE, given that I did (and still do) enjoy Accendio and TKO. And while I didn’t review XOXZ favourably at first, the song has grown on me a bit since then. The only outlier appears to be 2023’s Baddie. BANG BANG joins the list of edgy songs I like from IVE. And in my books, it also joins the list of the group’s successful pre-releases. BANG BANG‘s attempt at edginess feels quite sophisticated and sleek. It is also quite fun, with the old Western influences adding some intriguing flair to the song. The club beat and bass make the track hit hard and drive it forward. I do think BANG BANG could have done with less clanginess. It feels the void during some parts, but it just makes BANG BANG feel, well, unnecessarily clangy and clunky. Vocally, IVE does well in the song. But the true shiners in BANG BANG are the rappers, REI and GAEUL. Their part in the second verse was very impressive, with REI getting a chance to show off her rapping and GAEUL following through without disrupting the song’s flow.

Based on the music video, the members appear to be outlaws, as indicated by the wanted posters. But instead of going into hiding or living in fear of being caught, IVE is very much out and about, living life boldly and without concern. At one point in the video, the members were practically dancing behind a police officer without a care in the world or fear of being caught. Though I am not sure what to think about the floating train – no theories there. As usual, the members look fantastic, with their visuals on full display (see the featured image as evidence).

From the members’ sensual moves to the more upbeat chorus, this routine definitely delivers impact and intensity. But the defining moment of the choreography is when LEESEO is front and centre, and the dance leans to the left in a rolling motion. Very cool, and again, super impactful.

Song – 9/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 9.2/10

[Review] Adrenaline – ATEEZ

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ATEEZ made their comeback yesterday with their 13th mini-album, Golden Hour: Part.4, and the title track Adrenaline. It is the first comeback since last year’s In Your Fantasy era in Korea and their Ash era in Japan. The group is currently on their In Your Fantasy tour, which kicked off mid-last year and will continue through to April of this year.

With a title like Adrenaline, the song essentially promises a rush that will get your energy up and going. The verses kick it off, or continue the song, on a strong note, while the pre-choruses build the suspense. Adrenaline does a fine job of setting itself up. I wished I could say the same about the choruses. Admittedly, Adrenaline‘s centrepiece starts off strong, with heightened, bombastic EDM synths that feel well-rounded and logical. But it just ends there, and I find it incredibly frustrating that there is no follow-through. The centrepiece needs the extra support of a second part to feel like a satisfying, complete release of energy that Adrenaline has been building up to. I thought the bridge was handled well by the members, but the vocal processing was a tad overdone for my liking. This could have been said about a few other parts of Adrenaline as well. I did like the return of the chorus synths for the instrumental break, with an added pitting synth to drive the part forward. And for the final part of Adrenaline, I liked the direction, but the way it was produced felt a little too easy. Some more explosive synths to give the outro its last hurrah would have done the job.

The music video for Adrenaline is a powerful and impactful. There are some solo shots throughout the music video that made me go “wow,” for the way they complement the song’s powerful nature and highlight the members’ looks. HONGJOONG looks at the start with his eye patch being one of these shots. YEOSANG’s swept-back blonde hair look is another, as well as the aerial shots of WOOYOUNG at the end of the video (for obvious reasons). Post-production really lifted this video, as well. The only thing I thought was a bit funny was the lack of aggression from HONGJOONG, when he was supposed to shout “Turn the thing off“. The vocals just do not match the calm expression shown at that time.

As for the choreography for the comeback, I really liked the intensity, aggressiveness, and power they brought to, and gave off during, the performance. The presence of the dancers also heightens all of this. That whole dance break that coincides with the instrumental break was super cool, with YUNHO’s floor part being the biggest highlight of the performance. I also liked the choreography’s outro, with it leading the song to a strong ending on stage.

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

[Review] Grenade – ONEUS

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Earlier this year, it was announced that ONEUS would be leaving RBW Entertainment this month and that the group would have one more comeback under the label. That comeback, Grenade, occurred 2 weeks ago, and the group continues to promote as a four-member lineup, as SEOHO is currently completing his military enlistment (having enlisted prior to their last comeback, X). However, it was recently revealed that all five members had signed with B-WAVE Entertainment, and the group would continue their promotions together.

Grenade strives to be an edgy, hip-hop dance song. But it ultimately underwhelms and feels flat in pretty much all regards. The foundation was okay, with the instrumental opting for a bouncy and percussive production. This is probably the only thing Grenade has going for it, but even that was lacking. It needed much more to make Grenade feel a lot more appealing. There wasn’t anything to give it some oomph or detailing to make the instrumental exciting. The backing just felt stuck in neutral gear and stayed the same from start to finish. It doesn’t help that the members were pretty much the same in Grenade. Their delivery, whilst consistent with past tracks, just felt hollow here. Grenade doesn’t offer much in terms of hooks, opting for a spoken repetition of the song title as the primary hook. It is rhythmic, but that is more so the result of the instrumental than the hook. Melody-wise, nothing really stuck out for me. It really pains me to write such comments for ONEUS, especially since we know what they are capable of. That standard was just forgotten in Grenade.

The music video is okay. It fits the brief of being dark and edgy, just like the song. There just wasn’t much in the video to comment on. The most I can speak of are their outfits (which had a traditional Korean influence that felt like a callback to ONEUS’ peak eras of Lit and LUNA), some dynamic camerawork, and the post-production effects at the end (LEEDO turning to dust and HWANWOONG catching fire). The latter adds a mysterious vibe to the video.

The choreography for Grenade exudes a tough, edgy vibe. It also plays into the song’s rhythmic side. But because of the song, I just didn’t find the routine to be that exciting. There was definitely potential, just held back by the music itself.

Song – 6/10
Music Video – 7/10
Performance – 7/10
Overall Rating – 6.5/10

[Review] LOVEPOCALYPSE – ZEROBASEONE

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ZEROBASEONE is officially back with their special mini-album, RE-FLOW (yeah, I checked the articles to be sure this time) and the title track LOVEPOCALYPSE. Previously, the group had pre-released the singles Running to Future (yet to be reviewed) and ROSES ahead of this special comeback. RE-FLOW could potentially serve as ZEROBASEONE’s final release after two and a half years, as they approach their scheduled disbandment date in March 2026. Presently, the members are connecting with their fans (ZEROSES) on their Here & Now tour throughout Asia.

As mentioned in my review of ROSES, songs released by a group ahead of the inevitable are often sentimental ballads dedicated to the group’s fans. But just like the pre-release track, ZEROBASEONE flips the script by making an upbeat drum-and-bass track their final song. I liked the addition of guitar, which just makes LOVEPOCALYPSE a little more electrifying and powerful. Still, there is some commonality with the ballads mentioned earlier: LOVEPOCALYPSE‘s lyrics bring a sentimental touch and are written in a way that is anything but for the fans. Anyhow, what makes LOVEPOCALYPSE even more special is the way the chorus is executed, bringing back fond memories of their debut track In Bloom. This is quite a nice touch to LOVEPOCALYPSE, taking the group full circle with their release. I also really liked how the vocals surge with the music in the chorus. It has impact, though it could have been better capitalised, with a stronger melody and hook, to make LOVEPOCALYPSE an even more prominent song in ZEROBASEONE’s discography. Despite that minor desire, LOVEPOCALYPSE ultimately celebrates ZEROBASEONE and ZEROSE’s bond, and it succeeds in doing just that.

For LOVEPOCALYPSE‘s music video, I am glad we see the actual members in some form (though an actual music video would be nice). For this video, we see footage of the members from their tour. To break up the footage, there is animation of a person (assuming to be ZEROBASEONE) falling from an asteroid, finding a blue rose (which transformed into their light stick – this transition amazed me) before the world collapses. But in this process, the person holds onto the blue rose they found, and at the moment of collapse, they are reborn into a planet of blue roses.

Song – 9/10
Music Video – 8/10
Overall Rating – 8.6/10

[Review] Mono – i-dle ft. skaiwater

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Please bear with me as I catch up on some of the more recent KPOP releases from the last couple of weeks. First up is i-dle, who made their comeback last week with the single Mono, featuring British rapper skaiwater. It is their first release since Good Thing and the solo comebacks from YUQI (with M.O) and MIYEON (with Say My Name).

Musically, Mono is a pleasant number, and I quite enjoyed it. However, this wasn’t my first impression of the mostly English song (there was one line sung by SOYEON in Korean, which I think was intentional, to retain the true meaning of the Korean phrase). At first, I thought Mono‘s monotonous approach would be far too dull for my taste. Even after the first listen, I wasn’t sure about the subtlety of their delivery and the minimal melodies. But after a couple of repeats, I can say I find the melodies, hooks, and that subtle nature of their vocals quite appealing. The minimalist yet trendy instrumentation also spoke volumes, rounding out Mono nicely. skaiwater’s featuring was interesting. Whilst the rest of Mono was quite sterile, their slurred lines add a bit of texture and murkiness to the song. It stands out and gives Mono a little reprieve from the monotone direction it adopted. But the part was so brief, I didn’t think it was necessary. But that was only a minor detail. The other big part of Mono is its lyrics, which promote inclusivity and self-expression, regardless of your demographic.

There were some creative choices in the music video that didn’t make much sense to me at first, but they clicked into place by the end. For example, the prominent focus on rotations and circles, the large cone that is constantly drilling and whirling throughout the video. Turns out, these elements form circular patterns (i.e., patterns within a circle that is arranged around a central point). The monochrome aesthetic predominates for most of the video, showing that everything (and everyone) is the same regardless of our differences.

The stylists for this era of i-dle’s career have done an amazing job. All their looks over the past week on the music shows have been stunning, and they form a memorable part of their comeback for me. As for the choreography, I enjoyed how well the routine complements the music. It was so soft, yet had a subtle impact. I also like how skaiwater’s part was retained for the performance, giving the opportunity for all of the members to participate in a dance break.

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

[Review] 404 (New Era) – KiiiKiii

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As I mentioned previously, I would return to review the 2025 rookies I had already covered on the blog before Rookie Fortnight if I had time. Unfortunately, time escaped me. But I thought it would be nice to wrap up Rookie Fortnight with a review of one artist I specifically named in that previous post. The artist in question is KiiiKiii, who made a timely comeback this week with 404 (New Era), the title track from the group’s second mini-album, Delulu Pack, which dropped on Monday this week.

404 (New Era) is a UK house-inspired track that draws on the 90s club sound and inspiration from the Y2K era, combining energy and nostalgia. It is a lot of fun and definitely infectious in many ways. The production was hard to pass up, and the song’s hook was super catchy. It had a lot of drawing power, despite being delivered in a spoken manner. I can already feel that this track will only grow on me from here on out. I also like the attitude the members exude throughout 404 (New Era), which is reminiscent of voguing (suitable for the era the song draws its influences from) and catwalk/modelling vibes. 404 (New Era) would have been better if the members had been allowed to add a bit of individuality. I think that got lost in the way the song was executed. But that is only a minor issue in an already great track.

The music video opens with the members celebrating the incoming now-upon-us 2026, before the video shows the members hanging out in Sydney, Australia. I guess the members are wishing for a new era, based on scenes of them making a wish and revisiting past eras throughout the video, including Y2K and the 60s/70s. I find it a bit funny that the ’90s/’00s is now associated with the ‘retro’ ’60s/’70s, just because I was alive during the Y2K era. My age aside, I like how they bring these eras together through a fashion photoshoot over a simple white background that reminds me of Calvin Klein ads from the 90s. But the colour and vibrancy from these shots bring out some modern flair to the video as well.

As mentioned earlier, 404 (New Era) has a bit of a voguing influence in the song. And I see a bit of that in the way the members execute the different moves in the performance. Their synchronisation also makes the routine look cooler, and I enjoyed the cutesy vibes the members subtly add to the performance.

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

[Review] Champagne Poppin’ – KANG YUCHAN (A.C.E)

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In March 2025, it was announced that A.C.E. would not renew their contracts with Beat Interactive, their home since their 2017 debut. It was also announced that the group could continue to use the name A.C.E for future promotions, which suggests hope for a comeback. However, since then, the members have signed on to different companies. KANG YUCHAN (the focus of this post) signed on with WAY BETTER: the home of from20, Hello Gloom, Lim Se Jun (formerly of VICTON) and YYJ. Following this, he made his solo debut after eight years active in KPOP with the single, Champagne Poppin’.

A full English song is on-brand for WAY BETTER. I just didn’t expect an all-English song to be the first out of the gate for KANG YUCHAN. Is it a bad move? Not at all. I really liked the song. Champagne Poppin’ is a sleek and groovy number, with the synth work being the song’s strongest asset. In addition to being sleek and groovy, it also exudes elegance and maturity. I really appreciated the smoothness of the chorus, thanks to KANG YUCHAN’s vocals, the tight synth production and melodies. Though I would have liked something more pronounced to give the chorus something stronger to remember Champagne Poppin’ by. And while I enjoyed the smoothness, it made Champagne Poppin’ feel overly consistent and neutral. The R&B-influenced vocals throughout the song were one of the creative choices that I mentioned before. I really liked this approach, but I also think they add to this issue. KANG YUCHAN’s vocals simply glide over the instrumentation and don’t really anchor itself in it. While the rapping in the second verse was also a neat surprise, I can say the exact same thing about it. Overall, it is a decent debut track. But Champagne Poppin’ just needed something more.

KANG YUCHAN plays a bad boy in the music video for Champagne Poppin’. At the police station after being arrested, KANG YUCHAN runs into the lead female character played by PARK HEE JUNG, who has also been arrested. They end up establishing a relationship in the short time they are held in the police cell, before somehow escaping and overpowering the officers. They then go on the run, taking an old storekeeper hostage in her shop and stealing money from the bank. Essentially, they become a modern-day Bonnie and Clyde. In the end, they celebrate their spree and their capture by the police. I liked the story, but thought the ending was pretty tame. I think more of their spree and them running off together would have been a good story (though it doesn’t fit the Bonnie and Clyde story).

Unfortunately, Champagne Poppin’ was not promoted on music shows, and a dance practice video didn’t drop until the middle of his 1st mini-album promotions in November 2025. From that dance practice, the performance was more freestyle than structured. That being said, the performance was laid-back and chill, whilst also cool and smooth.

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

[Review] Flip The Coin – NEWBEAT

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Another group to have joined the ranks of rookies in 2025 is NEWBEAT. They are a 7-member male group, consisting of Park Min-seok, Hong Min-sung, Jeon Yeo-yeo-jung, Choi Seo-hyun, Kim Tae-yang, Jo Yun-hu, and Kim Ri-woo, under Beat Interactive. They debuted in March 2025 with the single Flip The Coin from their first studio album, RAW AND RAD.

Flip The Coin sees NEWBEAT debut with a hip-hop song that draws on 90s influences. And at a glance (which has been my exposure to the song until today), Flip The Coin nails the era and then some. The rapping, a major method of the song’s delivery, was pretty strong. But upon further inspection, Flip The Coin has its flaws. But before we get to those, I will mention that I enjoyed the detail in the instrumentation: the piano in the background of the first verse and final chorus, and the grungy electric guitars and brass during the bridge. They gave Flip The Coin some extra flair. Back to the flaws: since the 90s influence has been done so many times, the song needed something hooky to draw me back to it. Listening back to it, I can see why I never remembered much of the song. There was just nothing memorable or catchy enough in Flip The Coin to bring me back. Furthermore, the shouty motif didn’t help; it drained the song of its ability to connect and thus appeal. As a result, Flip The Coin was left behind and didn’t capture too much fanfare from me.

Truthfully, I have no clue what the music video is about. We see the members play two versions of themselves: a futuristic one and a mythologically inspired one. Both sides appear to be competing against each other at the peak of their worlds, though I have no clue what. I have no idea what the turntable that requires a tooth to operate is meant to represent. Past the confusion, the visual aspects of the music video are what I thought were cool. The post-production work was very detailed and cool-looking. I also liked the dark nature of the music video. It gave off a mysterious, intriguing vibe. I also liked the fast-paced camera work and transitions, which made the music video dynamic to watch.

As for the performance, I quite liked the intensity and energy the members brought to their routine. You could see the bouncy hip-hop influences come to life in the performance. The bridge was definitely the coolest moment of the routine, with the performance turning into a brief yet exciting hype dance battle.

Song – 6/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 7.2/10

[Review] ZOOM – USPEER

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Next up on Rookie Fortnight is USPEER, a 7-member female group (Yeo Won, So Ee, Si An, Seo Yu, Da On, Chae Na, and Roa) who made their debut in June 2025 with the single ZOOM. They were formed under WM Entertainment (the home of OH MY GIRL and ONF). However, this year they transferred to MW Entertainment after their contract with WM Entertainment ended.

Truthfully, the primary reason I haven’t reviewed USPEER yet is that I wasn’t a fan of their debut track. There were some good moments in ZOOM, which I will expand upon in a moment. But the biggest blocker for me was the 2 forms of the drawn-out “ZOOM” that kicked off the song, and that appeared in the chorus. The former, in my opinion, did not do a great job of setting up the song, while the latter became quite obnoxious over time. Elsewhere in ZOOM, I didn’t think their cutesy flair fit the harsh, hefty synths and instrumentals. The verses also do not add much to the song – I honestly couldn’t remember anything from the verses for the purposes of this review (and this comment literally follows several repeats of ZOOM to prompt some thoughts. But there is some good in ZOOM. The pre-choruses showed potential, especially since they provide ZOOM with melodic material and give the vocalists a chance to showcase their abilities. I also didn’t mind the middle bit of the choruses (the part sandwiched between the elongated “ZOOMs”, which featured some rock influence). The bridge was also a nice peak for ZOOM. Production-wise, those harsh, hefty synths and instrumentals mentioned earlier worked well, adding robust textures and solid intensity to the song.

ZOOM‘s music video is another video featuring a teenage/school theme. Though their take is somewhat unique in focusing more on sports and after-school activities. I enjoyed the video’s brightness, which works well with the song’s energy. Similarly, the same could be said about the sports/after-school focus. Other than that, not much else to discuss on the music video front.

The routine does a decent job of showing off the members’ youthful charm, but in a slightly edgier motif that complements the song overall. Nothing really stands out in the performance, though I did appreciate the smoother moves during the pre-chorus and the slight hip-hop influence on the bridge.

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