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
Aside from a bunch of OST releases in 2025, LEE CHAEYEON had a low-key last year. The only major update from LEE CHAEYEON was her departure from WM Entertainment and her signing with DOD Entertainment. Her last comeback was back in 2024 with Don’t (which I actually never got around to reviewing). Earlier this week, she released her first single under her new company, No Tears On The Dancefloor, the title track from her 4th mini-album, Till I Die.
What attracts my attention towards No Tears On The Dancefloor is its melodic flow. It is definitely nice to hear such a vocally forward song with a strong melody, amongst the sea of other songs where the melodies just have not been enough. LEE CHAEYON does a great job of handling and delivering this track. There is something comforting and warming, as well as an emotional appeal, about her vocals that makes No Tears On The Dancefloor feel just right. The instrumental falls into the dance-pop realm, with nice disco roots and a really pretty string sample that appears throughout the song. The latter adds to the warmth, comfort, and emotional tinge of the song, while the instrumentation as a whole feels straightforward and relatively pure. The only thing I think is missing from No Tears On The Dancefloor is a more pronounced hook. The song already has pull as is, but I think something bolder would have really solidified the song.
The music video shows LEE CHAEYEON disconnected and absent-minded when she is not dancing. In the midst of these moments, she notices ‘flower people’, which may represent someone from her past. But when she gets to dancing (which she does so naturally), she is much happier and livelier. Even in the presence of these ‘flower people’, you can feel a very big difference in her demeanour and exterior presence. I am loving the whole dance montage with the flower dancer and the petals falling down around them. It was a stunning scene and shows LEE CHAEYEON in her element.
That last statement about the music video definitely applies to her performance as well. The performance was so well executed and captivating to watch. I particularly enjoyed how she and the dancer break away from the other dancers during the second chorus, as well as how she is reintroduced to the centre in time for the instrumental and dance break/outro of the performance (which I also enjoyed).
Song – 9/10 Music Video – 8/10 Performance – 10/10 Overall Rating – 8.9/10
Starting off the week is TWS, who is back with their 5th mini-album, NO TRAGEDY. Leading the new mini-album is the title track, You, You. This is the group’s first release since dropping the Korean version of Nice to See You Again, which is also featured on this mini-album.
You, You sees TWS venture into the house genre, with the track starting off super groovy and maintaining this same energy all throughout. You, You feels slightly more mature compared to their past title tracks, but does so without detracting from their well-known youthful energy. I also enjoy the bass that comes off the instrumentation – this aspect felt just right. The only difference between You, You and their past tracks that I noticed right off the bat was a ‘pleasantness’ factor. You, You does not feel as in-your-face in terms of energy and vibrancy as last year’s Countdown and OVERDRIVE did. But it keeps true to their roots, as already mentioned. The groovy track had me nodding along; the members delivered You, You solidly, and I liked the smooth melodies and catchy hooks. Overall, I enjoyed You, You. However, the track is shorter, ending after the second chorus. The house genre often lends well to an instrumental bridge (to bring in a cool dance break performance-wise), and some emphasis via a final chorus could have sealed the song and ended You, You on a bolder note. What we got was a great listen. But had You, You been given an opportunity to develop a bit more, it could have been better.
The music video shows TWS escaping fate (the bright star the members were trying to run from and dodge throughout the video) to stay in love with the person they are meant to be with. This complements the song’s lyrics and the concept of the NO TRAGEDY mini-album. Throughout the video, you see the bright, persistent energy the members give off as they run, dodge, and fight against the star. It was a fun video, overall.
The synchronisation of the performance was something I instantly noticed while watching their comeback showcase, and it definitely brings a cool element to the routine. I also liked the lightness and peppy nature of the moves, as well as the bright smiles, alongside the ‘Darum Darum’ post-chorus hook. It definitely was the defining part of the routine.
Song – 8.5/10 Music Video – 9/10 Performance – 8.5/10 Overall Rating – 8.7/10
The next review is for EVNNE’s Backtalk, their first release after Yoo Seungeon and Ji Yunseo left the group and the group reformed as a quintet. After releasing How Do I Do and the Love Anecdote(s) mini-album last year, EVNNE entered negotiations to continue as a group (as they are a project group of Boy Planet trainees who just missed the final ZEROBASEONE lineup). The five remaining members signed with Jellyfish Entertainment to continue EVNNE as a permanent group, while Yoo Seungeon and Ji Yunseo returned to YH Entertainment, the home of TEMPEST, YENA, and the upcoming group AND2BLE (which Yoo Seungeon will be a part of with other former ZEROBASEONE members Zhang Hao, Ricky, Kim Gyuvin, and Han Yujin).
Even after almost a week since its release, Backtalk hasn’t really made its mark on me. I did like the loaded synth background, and EVNNE’s delivery throughout was solid. In particular, there was some well-done vocal work right at the beginning and in the bridge that is probably the song’s best offering. But apart from that, Backtalk doesn’t have anything memorable to remember it by. There wasn’t a catchy melody or refrain to pull me in. What we did get instead was a pretty plain, unimaginative, slow chant of the song’s title, which wasn’t enough for me. Thus, Backtalk, with thanks to its shorter length, whisks by without drawing much attention to itself, leaving EVNNE’s new chapter as a permanent group lacklustre.
Backtalk, co-written by the members, acknowledges their limitations that others tend to point out and expresses their determination to prove everyone wrong on their new journey as a permanent group. Throughout the video, you can see and feel their angst at the ill-natured comments directed at them, but also their willingness to provoke in order to elicit them (a neat way to represent the process of EVNNE acknowledging their limitations). The exterior shots show the members climbing a hill, likely marking the start of their new journey. Drawing on the final lyrics of the song, there may be a struggle with the climb, but it is worth it when they reach the top.
I really like the slightly intense energy and subtle provocative vibe of the performance. It complements the lyrics and concept that the comeback was going for. Apart from that, it is another routine where nothing stands out on its own, but the whole performance as a piece was still worth watching.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
Also making their official comeback early next month with their 2nd mini-album, GreenGreen, CORTIS has already been busy this week, unveiling their new lead single REDRED. However, as mentioned in my previous review, I think CORTIS might have another single up their sleeve come 4 May when the mini-album drops. 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.
In an unexpected turn of events, I actually enjoyed REDRED. While it does contain aspects similar to GO! and What You Want (i.e., the autotune and repetitiveness) that I didn’t necessarily enjoy in those songs, REDRED manages to find a decent beat, thanks to the abrasive nature of the experimental electroclash and indie hip-hop instrumentation, which, combined with the rest of the song, drives it forward. I easily found myself nodding along as the song went along, vibing with the energy that comes from REDRED. What was also nice about REDRED was CORTIS’s straightforward take-home message, which used the concept of ‘red’ and ‘green’ colours to describe what they stand for (i.e., freedom to do what they want, having fun, risk-taking) and what they oppose (i.e., narrow-mindedness, being constrained and conforming to societal norms). It would have been nice to have a more memorable melody to remember REDRED by, rather than the shouty delivery that the group seems gung-ho about maintaining as a distinguishing element in some of their songs. But honestly, I see REDRED as an improvement, given that I enjoyed it quite quickly.
The music video shows CORTIS hanging out and having fun, whilst breaking the smallest of rules of mundane everyday life to seek the thrill of being themselves – using the coins underneath the token dispenser, taking a second scoop of ice cream, and making a mess of the toilets. The way the music video was shot was dynamic and felt extremely fun, complementing the group’s mischief and the fun they were having. After all, it appears CORTIS and the production team, appropriately named IDIOTS, directed the 3:30-minute music video.
The choreography for the comeback struck an interesting balance of intensity and lightness. I also liked how it was continuous and never let up. It made for a good watch, overall.
Song – 8/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.3/10
Jumping from the start of the week to the end, I am now reviewing LE SSERAFIM’s lead single, CELEBRATION, from their upcoming 2nd studio album, PUREFLOW Pt. 1. However, I suspect LE SSERAFIM has more title tracks up their sleeve from their upcoming album, which is due to be released in less than a month’s time. CELEBRATION serves as LE SSERAFIM’s first release since last October’s Spaghetti featuring j-hope (from BTS).
CELEBRATION sees LE SSERAFIM venture back into EDM with a hardstyle approach and melodic techno. I like the bold, powerful energy CELEBRATION brings, as you don’t often get much of this hard-hitting energy in KPOP these days. But while I want to say CELEBRATION delivers on this, the track’s ending says otherwise. It just abruptly ends and stops, leaving you wanting more, but in a very unsatisfying way. I have a feeling the producers kept the song short because of its relatively neutral, repetitive nature, which forced them to limit CELEBRATION. But it was a poor decision to keep us hanging and ultimately put me off the track. What keeps me on CELEBRATION is the members themselves. I kind of wish the dial on their vocals were turned up so they weren’t as soft. But that being said, their vocals were pretty and enjoyable, particularly in the verses and even over the EDM during the choruses. Overall, I did like the direction it was heading in, but CELEBRATION‘s execution fell short.
The music video starts off Halloween-esque, with a Frankenstein-like being peeling off his human mask to reveal his true face after returning home. But LE SSERAFIM comes into his home, kicking down the door, frightening the Frankenstein-like being (whipping something that resembles blood and cutting a cake with a chainsaw would probably scare most people) and running away with LE SSERAFIM and a bunch of others in hot pursuit. He runs as far as he can to get away from the group (through snow or the desert), escaping even to the moon. But LE SSERAFIM finds him in the end, only to hand him a ticket to the Creature Party and reveal themselves (and everyone else) are creatures. And as a happily ever after, they all start partying, celebrating and accepting the Frankenstein-like being as one of their own. Yay! But someone should give LE SSERAFIM a lesson on how to approach people without scaring them off.
Without a doubt, CELEBRATION was intended to be a performance piece. And it served well as one. The head-banging choreography (especially with their hair tied up) looked really cool, and I liked the sassy attitude that some of the members donned during the performance. I also enjoyed the celebratory aspect of the performance, which kept it true to the song’s message.
Song – 7/10 Music Video – 9/10 Performance – 10/10 Overall Rating – 8.2/10
Apologies again for the lack of reviews this week. They will be posted over the weekend and into next week.
NCT WISH made their comeback earlier this week with their 1st studio album, Ode to Love, since their debut in 2023. The lead single also shares the same name as the album. It is their first release since last year’s COLOR (the lead single from their 3rd Korean mini-album of the same name) and Hello Mellow (the lead single from their 1st Japanese mini-album, WISHLIST). NCT WISH also pre-released the single Sticky, which I have yet to review (but will do so in the future).
To me, Ode to Love is another pleasant track. Nothing more, nothing less. The UK garage instrumental was nice and gave off a bubbly vibe, whilst also leaning towards a softer, more muted tone. However, there were parts of Ode to Love, particularly the verses, where the softer, more muted tone made it feel empty. In addition, the Ode to the Family sample felt familiar but also basic. This was a problem, as Ode to Love didn’t have another hook to depend on or remember the song by. That being said, the vocals/rapping were all very enjoyable and geared towards their youthful charms. I did enjoy the slight burst of energy that came as part of the choruses. The stripped-down instrumental and breathy whispers during the bridge were interesting and added a nice texture to the otherwise relatively soft sound that Ode to Love was going for. Despite all the above, the likes and dislikes balance themselves out, leaving just a pleasant track to enjoy. But given what NCT WISH released last year, I think my preference is for them to release more youthful, energetic tracks.
The song itself is about spreading some warmth, and the music video does this through a dreamy motif. After all, what screams warmth more than a nice dream in your cosy bed? The members themselves have described the music video as beautiful, and I totally see why. But it is also not my personal style. The video has a very beige, pale colour palette throughout. Even the forest scenes on the outside adopted this tone, which was interesting. The dreamy motif continues into the starry night backdrop, and we also see sheep (that you would count to help fall asleep) chase the members. The members also don pyjama-esque outfits throughout the video to match the comeback’s overall concept.
The choreography for the comeback was light and fitting for the pleasant-sounding song. I quite enjoyed the stage, despite nothing necessarily standing out. But it was a good stage performance to watch, overall.
Song – 7.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.8/10
As promised in the Weekly KPOP Chart post posted earlier today, here is the next album review. The album subject is TWS’s 3rd mini album, TRY WITH US, which was released almost (2 days til the day) a year ago. Leading the 6-track mini-album is the title track, Countdown!.
TRY WITH US is a neat mini-album, overall, with playful and upbeat songs all throughout. Some are in a different style to what we are used to for TWS, while others were just the TWS that we know and love since plot twist (their debut) era.
Since TRY WITH US, TWS released their 4th mini album, PLAY HARD, led by the single OVERDRIVE. They will also be releasing their 5th mini album, NO TRAGEDY, at the end of the month, so keep your eyes out for that and my review of the title track. But until then, here are my thoughts on the songs on TRY WITH US.
TRY WITH US album cover
1. Lucky To Be Loved – The opening track for the mini-album, Lucky To Be Loved, also served as the mini-album’s secondary promotional track. Lucky To Be Loved features a smooth beat and soft EDM instrumentation that gives it an R&B vibe. What comes out of it for the group is a much more mature sound than normal. I remember this track being quite catchy, despite it not being of TWS’s signature upbeat, energetic style. I put that down to the group’s earwormy melodies and vocals, as well as catchy repetition of the song’s title during the chorus. It does zip by quite quickly, but if this is the quality of what they put out, I am not against TWS coming back to us with songs like this. (9/10)
3. Random Play – Youthful and cheerful is how I would describe Random Play. And as the song progresses, it brings in some cool, hefty and textural electric guitar to create a neat centrepiece for the track. The producers do a good job of keeping Random Play balanced, so it doesn’t get weighed down by the guitar work. Though with TWS’s vocals and the energy that they pull off time and time again, I don’t suppose that was too hard a job. I wish Random Play’s melodies were more fleshed out, as I don’t get much from that. (8/10)
4. Freestyle – Freestyle is both bold and playful. The instrumental is experimental in that it takes a few twists and turns, but it never loses sight of the bold, playful quality already mentioned. The members keep some of that through their vocals and rapping, though they both do get shouty towards the end. It becomes quite overstimulating by the end. I am also not sure of the baby sound effects (it felt distracting and out of place). But it is still a fun number for TWS. (7.5/10)
5. Now Playing (심야 영화) – I love how clean and refreshing the EDM instrumentation in Now Playing came off. It is definitely well-suited for the summery period that the mini-album was released ahead of. Combine that with the members’ harmonising vocals, laid-back vibes, catchy melodies, and beats, and you have a superior track from TWS to enjoy. It is one of the songs I had on repeat throughout 2025. (10/10)
6. GO BACK – GO BACK delves into that bright and super upbeat energy that TWS is known for. GO BACK does have a much more light-hearted vibe, and I also enjoy how interesting and energetic the instrumental is, particularly the funky undertones. The members channel the energy into their bold vocals and rapping, with the latter lending a hip-hop tinge when it does appear in the song. GO BACK serves as a strong ender for the TRY WITH US mini-album, wrapping it with a feel-good vibe in classic TWS fashion. (8/10)
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