It has been a while since we last heard from Red Velvet. The five-member SM group have been focusing on solo and unit work for the past 2 years since Cosmic, the title of both their last title track and mini-album. That changed earlier this week with Red Velvet returning with their 3rd special summer mini-album, Velvet Summer, and the title track, Surfin’ Boy.
In their earlier days, Red Velvet’s releases were categorised into two categories: “Red” (which refers to the bright, dynamic and poppy tracks they are known for) and “Velvet” (which, as the name suggests, are the group’s darker and sultrier releases). To me, Surfin’ Boy meets the criteria of their “Velvet” category. Whilst it is a dance track, the bossa nova guitars, reggae touch, and house groove come together to create quite a sophisticated and elegant sound. Throw in the members’ vocals and the catchy melodies, and Surfin’ Boy is quite a rich and decadent track. The bridge was indeed such a ‘chef kiss’ moment in terms of showcasing vocals; it was a definite highlight. However, Surfin’ Boy wasn’t great throughout. One issue I had with Surfin’ Boy is that it felt unnecessarily rushed. I am honestly not sure why there was little room within the song to take it in and process it. The second was the rap-speak that was going on. It just didn’t meld well with the rest of the melodies and flow of the song, which were strong aspects of Surfin’ Boy.
I have seen the social media posts of people theorising the video is about mermaids (played by Red Velvet) eliminating the men in the video. But now that has been mentioned, going from all men around them to just females at the end probably confirms that. Backing up this theory as well is the fact that one of the men’s webbed hands was seen later in a specimen jar, and YERI both pushed a guy to his death and aimed for another guy’s head with her crossbow. Quite an interesting concept, and I loved the dreamy execution of it all.
Those sophisticated and elegant vibes from the song come through the performance quite well. But it was the outro bit of the choreography that I really liked. It felt like the performance was building towards this peak, and the members looked like they had a lot of fun with it.
Song – 8/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.3/10
Timing just works out that I am up to reviewing Red Velvet – IRENE & SEULGI’s 2025 TILT mini album and that a full group comeback is just around the corner (literally in 2 days’ time). TILT was released in May last year (yes, I am very behind), featuring the title track of the same name and 5 side tracks. It also serves as the unit’s first comeback since their debut back in 2020 with Monster (the name of both the title track and their 1st mini album).
TILT is a solid mini album, with most tracks rated at the same level for me. There is one hidden gem amongst the side tracks, so continue reading to find out which song that is! And don’t forget to mention in the comments what you thought of TILT as well.
2. What’s Your Problem? (featuring JULIE of KISS OF LIFE) – Described as a modern take on 90s R&B/hip-hop, What’s Your Problem features some groovy undertones. The song has the squeaky synth and brass elements to thank for that. In addition to those, the catchy ‘Eh-oh-eh-oh-eh’ and some of their delivery, including JULIE’s featuring rap, are good callbacks to that 90s era of the genre. However, the instrumental and the rest of the pair’s vocals do get a little repetitive by the end, which does hold back What’s Your Problem. (8/10)
3. Irresistible – IRENE and SEULGI go for some jazzy and funky low-key R&B track. There is a very classy and elegant vibe to Irresistible. The guitar work was particularly rich and luxurious, while the pair sounded very alluring with their lower register and delivery. I feel like the song lacks depth, which could have made it even better. (8/10)
4. Girl Next Door – Of the songs on the album, Girl Next Door hits. The pop dance track has some serious bass and funkiness that sounds so good. The upbeatness, percussion and rhythm are so cool. The vocals throughout the track were equally as cool, and I love how reaching the chorus is. The chorus also manages to showcase some cool power vocals that also help put Girl Next Door in the limelight for me. (10/10)
5. Trampoline – The duo revisits R&B again, this time around mixing it with pop. The vocals were super sleek in this one, and the piano-and-synth hybrid instrumental develops into something quite cool. The beginning could have been cleaner, but once the background/song gets into gear, Trampoline sounds quite alluring. (8/10)
6. Heaven – Extending R&B into the mini-album’s final song, Heaven is actually quite a dreamy number. The simplicity of the drum beats, along with the synths in this song, made the track feel dreamy and straightforward. The same dreamy descriptor can also be said about IRENE and SEULGI’s vocals. I also liked how Heaven eases out of the mini-album, which makes it a nice ender. (8.5/10)
DAY6 appears to be focusing on solo work this year, with WONPIL making this solo comeback earlier this year (which I have yet to review) and, as of this week, Young K. The bassist of DAY6 has returned with Shut The Door, the lead single from his second studio album YOUNGEST. It is Young K’s first solo release since nothing but from his Letter with Notes studio album from 2023.
Shut The Door is a rather pleasant rock track that comes at the best time. Where I am, the weather is cold, and I have been tired from work (thus the lack of reviews). But Shut The Door joins the list of summer tracks that feel fresh and invigorating, breathing new energy into me. I enjoyed the emphasis on the song’s title in the chorus, which just gives the centrepiece some real oomph. Young K’s vocals are vibrant throughout the track, and I liked the synth/band instrumental’s drive. If anything, the instrumental could have been sharper. This could have made Shut The Door more impactful and ‘hit harder’. What also appeals to me is the song’s message, which also comes at the best time. Shut The Door expresses the message that everything will be okay, even if you need to take some time for yourself. And after the week I had, with my current state of mind, it is reassuring to hear Shut The Door. Don’t worry, I am totally okay; it’s just been one of those weeks where everything has felt uneasy.
The music video sees Young K play an actor on a sitcom, who just isn’t having the best day. He knocks everything over and causes delays in filming. It also doesn’t help that people are scolding him, asking him questions, and someone else is doing his job better. Frustrated, he runs off-set and isolates himself from the film crew. By doing so, he opens himself to a different world and gives himself a break from the constantly moving and packed world around him. Instead, he is able to enjoy some peace and quiet, as depicted by the ‘room on the road’ and field scenes. By taking this time for himself, he is able to return better and stronger, blasting (literally) back into the studio. The music video literally is a visual message reminding us to take some leave to avoid burnout and return invigorated, which is something I should be doing. (Again, don’t worry, I got some leave planned for myself!).
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
Not many groups get a chance to say goodbye to their fans before disbanding. Usually, the news is dropped quite suddenly and unexpectedly, with no opportunity for a final single or release. However, for some, they are given the rare opportunity for one final hurrah. This is where KARD find themselves. It has been announced that the quartet would be disbanding following the release of their studio album, Where to Now? (Part 2): Nowhere (which dropped today alongside the single Back To Life) and the completion of their ongoing world tour. Their last comeback was Touch, released last year.
If only Back To Life had been released a couple of weeks back during the World Cup. It would have been an ideal fit, with the new single sounding like an official anthem for the global event, especially the chorus. However, as we are past that, the dancehall and Moombahton track still fits in with the summery season in South Korea through its energy and upbeatness, whilst also developing a fun, celebratory flair given the circumstances of the comeback. What I liked is how all of this takes us right back to KARD’s roots in the tropical house that they debuted with. Back To Life feels like we have gone full circle. The chorus is catchy, with a nice melody and anthemic vibe (as already touched upon). A part of me wishes things were a tad sharper, particularly during that post-chorus, to just give the centrepiece more impact. The same also applies to the members’ delivery in both the vocals and rapping departments. The other drawback to Back To Life is that is, and felt awfully short. I wish there was more to the track, though this could be me wanting more from KARD before their final goodbye.
The music video carries both a celebratory and a reflective feel. It makes sense given what this comeback represents for the group. I did notice some elements from past music videos are incorporated into this comeback. Some are quite obvious, such as the ICKY footage that appears during J.Seph’s part in the second verse. Others took a little more time to come to mind (and a quick scroll of past music videos), including the old phones that all members spoke into appeared in their Oh Na Na music video, the yellow sports car from their Hola Hola music video, the spades that JIWOO stands on at the start is a callback to their card concept, and the key that SOMIN chucks onto the ground might be a subtle hint to the motel rooms from their You In Me video. Not sure if the other music videos are referenced in Back To Life‘s, but there could be elements that I have missed.
The choreography looks good. Nothing really stands out to me. But I enjoyed the fun energy that came from it, how the routine maintains the energy throughout the song (from what I could see from the music video). I am also sure the members had a blast performing it.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
fromis_9 made their comeback earlier this week with their second studio album, Glow Me, and the title track Vitamin ME. It’s their first comeback since their remake of Kim Min Jong’s White Memories, released in December, and their LIKE YOU BETTER summer comeback, both of which occurred last year.
Vitamin ME is a much more pleasant and soothing summer track compared to LIKE YOU BETTER. There is more of a sing-song, melodic touch to the new track, which makes Vitamin ME enjoyable. However, I much prefer the former song over the new one. For one, the bossa-nova instrumentation was pretty ordinary and didn’t spark much excitement throughout the whole song. The verses are cute, but they also feel empty for the most part and lack any memorable element. On the plus side, Vitamin ME‘s chorus is where the song has most of its meat, with strong melodies and hooks to remember the song by. And the vocals were strongest during the bridge. Overall, Vitamin ME is nice, but as mentioned above, I preferred LIKE YOU BETTER as a summer hit.
The music video can be split into two distinct yet overlapping concepts. The first sees the members going on vacation or serving as flight attendants (HAYOUNG was quite cute blowing up that life jacket), while the second half sees the group basking in the sun. The entire video also doubles as a massive product placement for the song (Vitamin ME). It sounds like a bit much, but it worked. The only ‘bad aspect’ of the music video was the poor incorporation of water during the final chorus part of the music video.
The choreography was cute. The same can be said about the members. As a result, the performances were also quite pleasant.
Song – 7.5/10 Music Video – 8/10 Performance – 7.5/10 Overall Rating – 7.7/10
Next album up for a review is RIIZE’s ODYSSEY, their 1st studio album since their debut in 2023. The 10-track album dropped in May last year and features the pre-release single Bag Bad Back and title track Fly Up. This album sees RIIZE put a strong foot forward, venturing down some really cool and dynamic sounds in the first half, and some nostalgic and heartfelt ones in the second half. If I took anything away from ODYSSEY, it is that they are the act to lead the next SM generation and that they are an act you should not underestimate.
Since ODYSSEY, RIIZE released the single album titled FAME in November last year, led by the title track of the same name, and returned last month with their second mini-album, II, and the title track Do Your Dance.
Within the album review are the music videos, track videos and visualizers that SM Entertainment released for each track. However, some of these videos don’t contain the full song. So, I have provided the audio below in case you want to listen to the album as you make your way through my thoughts on each song from ODYSSEY. Let me know your thoughts on the album in the comments below, as well!
ODYSSEY Album Cover
1. Odyssey – Opening the album is Odyssey, which is a neat track to ease us into RIIZE’s studio album. The synth work delves into the UK garage style and I enjoyed how light their vocal work was. This gives off the impression of an ethereal feeling, which works well with Odyssey’s lyrics, which is about going on a journey together to fulfil their dreams. The layering of vocals and those added dramatic percussion adds so much depth to the song, which leads neatly into the heavier pre-release that follows. (8.5/10)
3. Ember to Solar (잉걸) – What I liked about Ember to Solar is that it is a track that doesn’t let up. From start to the end, the instrumental and members are consistently driving the song forward in a dynamic fashion. The fast-paced and intense rhythmic percussion and brass get me hyped up each time I listen to, while the members showcase some strong vocal performances in Ember to Solar. While Fly Up was a fun title track, I think Ember to Solar could have been a very cool title track for the album. (10/10)
5. Show Me Love – Pop rock makes an appearance on Odyssey through Show Me Love. The simplicity and straightforwardness of Show Me Love is just ideal after 3 intense tracks that already vary in style. Show Me Love is easy on the ears, with the members sounding very pleasant throughout the track. There is also a nostalgic factor to the song that makes the track even more enjoyed. I also liked how WONBIN and SOHEE repeated the “Show Me Love” title in the chorus to build up their vocals. It isn’t my go to track on the album, but it is definitely a good one nonetheless. (8/10)
6. Passage – Passage is a short instrumental interlude, with an atmospheric energy to it. But the string brings in a dramatic flair that makes me want to know what is coming up next on the album. As it is only an instrumental interlude lasting 40 seconds, I have not provided a rating for it and it is not considered in the album’s final rating.
7. Midnight Mirage – While I do usually like vocally-focused tracks like Midnight Mirage, I personally felt the loudness of the vocals was a bit too piercing for the track. I wished it was toned down to allow more of the mid-tempo instrumental to peek through and to restore some balance to the song. Don’t get me wrong, RIIZE sounds nice throughout Midnight Mirage, especially when they harmonise together. But it shouldn’t make me reach for the volume to avoid having my ears overpowered by them. (7/10)
8. The End of the Day (모든하루의끝) –A big difference between this track and the previous is that the instrumental is more prevalent alongside the members’ vocal work. RIIZE goes for an early 00s pop ballad sound in The End of the Day. I enjoyed the nostalgia this track brings and I loved how dreamy the instrumental was. The members sound stunning throughout track, especially the chorus, where the members sing the opening line together. There are a few other elements that I am sucker for in this style of ballads that RIIZE nail, including the ad-libs and the way a pair of members share the “I’m always here” line within the chorus. Vocals alone make this track a ten for me. (10/10)
9. Inside My Love – RIIZE continues to delivery early 00s nostalgia through another soft pop track. Because of how hefty the beats/percussion are, I don’t consider Inside My Love to be another pop ballad, but it is almost in that territory. Once again, RIIZE doesn’t miss with their vocals and this elevates the track into stunning territory. One thing about songs from this era is that they are most heartfelt, which makes them so good to get lost into. RIIZE manages to encapsulate and replicate this emotion so well, hence the nostalgia. The downside to Inside My Love, it feels short. (9/10)
10. Another Life – With the second half of the album focusing more on emotions and vocals, I remember lowkey thinking Another Life would be another ballad. And while it does start off in that softer manner, Another Life ends up being quite a bold track by delving into rock elements that keep makes the track feel bold and intense. The gradual build-up within the song and the vocal ad-libs we get towards the end allows the track to really soar and blow me away. Where the song ends up and my affinity for these type of songs that just keep you on the edge of your seat, I can’t help but only score it this way. (10/10)
BABYMONSTER joins the lineup of summer comebacks with a music video and promotions for the side track I LIKE IT from their 3rd mini-album, CHOOM. This release follows on from the May release of the said mini-album and title track of the same name, and the June digital single Sugar Honey Ice Tea (which I will be reviewing soon).
I have come to the realisation that I like YG artists best when they release pop-leaning music, as opposed to their usual hip-hop sound. I LIKE IT offers this pop sound through vibrant, bright synths. The upbeatness of I LIKE IT makes me want to dance and sing along to the catchy parts of the song, while there appears to be a bit of a twang mixed into the first verse, which adds a fun element to the song. What I also liked about I LIKE IT is the refreshing focus on vocals. For me, AHYEON really shines throughout I LIKE IT (her high note was impressive), though the rest of BABYMONSTER hold their ground quite well. The chorus brings a brightness to the song, while the post-chorus hooks were the aforementioned hooky bits of the song that I really enjoyed. That and the repetition of the song’s outro are stuck in my mind. The only aspect of I LIKE IT that holds it back for me is the background to the rapping in the second verse. It draws inspiration from reggae, which is suitable for summer, but I find it unnecessarily slows the flow of the upbeat energy that is coming from the track overall.
With this being a “summer comeback” for the group, their music video sees the members hanging about outside and having fun. All of the video is vibrant, colourful in the daytime and cool, breezy during the nighttime. Pretty much what you would expect to complement an upbeat summer track. The members look great throughout the video, and I feel like there is a slight badass vibe (i.e., ice cream set on fire) still making it into the video to keep to their usual image. The most interesting bit of the entire video is the ending, where the final music video for MOON (another side track from their CHOOM mini-album) is announced for an early August release. It is just an oddly plain announcement tacked onto the end, which I don’t think was needed and could have been done elsewhere through other media.
The choreography for this comeback was fun, bubbly and refreshing. No move really stood out to me, but I enjoyed how much the members enjoyed performing the song on stage. It is great seeing this side from them, and that is something that has me coming back to I LIKE THAT‘s stage performances.
Song – 9/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 8.6/10
STAYC made their comeback a couple of weeks back with 2 L0VE, the title track off their 6th single album 2:LOVE. It follows on from their early 2026 Japanese Mwuah single (from their Japanese Stay Alive studio album) and their 2025 I WANT IT Korean comeback (which I have yet to review).
STAYC knows how to put their best foot forward with another fun, vibrant pop track that fits neatly into their discography and the summer season. I really enjoyed the synth work in 2 L0VE, especially that striking, spiralling synth that appears at the beginning, after the first chorus, and at the end. The rest of the track is equally as lively thanks to the synths. STAYC’s delivery of 2 L0VE is also quite dynamic. I really liked SIEUN and SEEUN’s parts in the verses, particularly the twang they have in their lines. As for the chorus, the “2 LOVE 2 LOVE” opening is super catchy and hooky. I find them so brisk, while the rest of the vocals in the chorus just flow on through quite nicely. With the chorus the way it is and that opening synth, 2 L0VE is such a serotonin hit.
The lyrics and STAYC’s music video for 2 L0VE come together to depict the members’ persistence in their pursuit of love, whilst everything indicates otherwise for them. The members are left on read or ignored, their crush’s locker is full of love notes from others, and as part of their tennis concept, they are not scoring any points. By the end of the video, the members learn not to sit around for their crush to respond, only to receive a message from their crush right then, which is promptly ignored. Apart from that storyline, I really liked the vibrant and colourful side of the video, which is always fitting for the group.
I enjoyed how fun and cute the performance was. The slingshot moves alongside that “2 LOVE, 2 LOVE” line in the chorus were very cool and is a neat depiction of either their attempt at a cupid shot or to get their fans’ attention.
Song – 9/10 Music Video – 8/10 Performance – 9/10 Overall Rating – 8/7/10
Earlier this year, BELIFT Lab unexpectedly announced HEESEUNG’s departure from ENHYPEN and that he would stay on as a solo artist under the company. The official reasoning provided was ‘creative differences’, though let’s hope whatever happened was amicable for the sake of ENHYPEN and HEESEUNG. Anyhow, four months on, HEESEUNG has gone on to redebut as a solo artist under the new stage name EVAN with the single Ride or Die.
Ride or Die is a decent debut track. The single delves into an alternative rock sound, with hyperpop elements to fit into today’s music trends. What comes out in the end is an edgy, almost punkish track that has grit and intensity. Not bad on the background front. The chorus has a catchy melody that helps Ride or Die stand out to me. The opening line to the chorus is what has been playing in my mind lately, and I find myself coming back to Ride or Die from time to time. On the other hand, Ride or Die is short in length, and this hinders EVAN from really exploring the alternative rock sound to his full potential. Also, the autotune over his vocals was far too heavy. I get that it works well with the hyperpop elements and gives off a rough exterior to match the rock sound. But it masks his true vocals, which we have heard time and time again through his past ENHYPEN works. For this reason, I do prefer the live performances of Ride or Die, as we get to hear more of his vocals and less autotune.
The song expresses the idea of loyalty, commitment and perseverance in a relationship, no matter what. But the video doesn’t feature another person as the other side of the relationship. Instead, the music video sees EVAN exist as a ghost after being in a car accident. As the music video progresses, a worn-down car (I assume it was the luxury car we see earlier in the video) follows EVAN around. At first, EVAN tries to avoid the car, but the car persists (this represents the idea of loyalty and commitment depicted in the lyrics), and EVAN ends up reuniting with the car (cue the late-night drives). I find this idea of a relationship between a person and an inanimate object a little funny, though it isn’t unheard of. It is also a neat way of avoiding showing EVAN in a relationship, even if it is just acting.
Aside from the live performances giving us more of EVAN’s vocals over autotune, the choreography showcases some really strong energy from EVAN and the dancers themselves to reflect the intensity of Ride or Die. EVAN has showcased some good chemistry with the camera, which is a necessity after the shift from group to solo stages.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
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
