Category: KPOP

[Review] ONE MORE TIME – ALLDAY PROJECT

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One of the biggest rookies of the year is without a doubt ALLDAY PROJECT. In case you missed it, they kicked off their careers in June with the singles FAMOUS and WICKED. Almost five months on, they are back with their third single, ONE MORE TIME.

To be honest, I was a little sceptical whether the group would be able to exceed the heights of FAMOUS. But one listen to ONE MORE TIME, consider me hopeful. Can’t speak to their chart performance just yet, but things are looking promising on that front as well. I really liked the liquid drum-and-bass sound they used initially, with WOOCHAN and YOUNGSEO adding a delicate, sentimental touch through their vocals. From there, the instrumental gradually builds, with BAILEY, WOOCHAN and ANNIE doing a great job of matching the trajectory. The chorus kicks ONE MORE TIME up a notch with its drum-and-bass instrumental, increasing the momentum strongly (relatively to the earlier part of the song). This contrast between verse and chorus also helps make the centrepiece punchy. TARZZAN doesn’t appear until the second verse, with a rap sequence that I thought was somewhat classy, thanks to the atmospheric vibe going on. I liked the approach, but the rap sequence itself could have been executed better. BAILEY gives us a ‘calm before the storm’ moment for the bridge, before the instrumental switches from that drum-and-bass sound to a more electronic sound profile to close out the song. I personally enjoyed this moment in ONE MORE TIME, as it gave the song a more hyped and dynamic flair. Parts of me still want ONE MORE TIME to be more explosive and less ‘held back’ at specific points, but I think the end was satisfying enough.

I liked how the music video complements the differing momenta within ONE MORE TIME with the differing energies you would expect of a night out. The song started out slower (described above as delicate and sentimental), and the corresponding scenes show the members alone as if they are winding down after a long day. As the song builds, we see the members regroup and start hanging out together. In the choruses, we see the members dance together (but without a crowd), and the electronic and dynamic switch-up at the end of ONE MORE TIME is complemented by some club energy and a crowd to hype them up. It was a well-thought-out music video.

A dance performance has not yet been revealed for this comeback. But I could piece together enough of the reels to see what the dance performance would look like. And I am really digging what I’ve seen so far for earlier parts of the song. But it should come as no surprise that I am most excited for the routine that pairs with the electronic ending of the song, which features some interesting, fast-paced tutting and footwork.

Song – 9/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.7/10

[Review] Beat It Up – NCT DREAM

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Just four months after dropping their 5th studio album, Go Back to the Future (led by the singles BTTF and CHILLER), NCT DREAM re-enters the KPOP scene with another release, making this one of the busiest years yet! Their new mini-album, Beat It Up, features the title track of the same name. It also follows the solo debut of HAECHAN with CRZY in September this year (who follows MARK’s solo debut earlier this year, as well).

From the first listen, I found myself digging Beat It Up. It is a powerful and bold hip-hop track that boasts several prolific aspects. The first thing that really jumped out at me is the ‘Beat It Up‘ repetition in the background. While the thought that it might become annoying briefly crossed my mind, by the end of the first listen, I was really digging the repetition, both texturally and in its clean execution, as well as a catchy hook. Beat It Up also features some really cool rapping sequences. Both JENO and JAEMIN started the song off strong, but MARK’s sequence in the second verse really hit hard. The MARK and JENO combination as the pre-chorus before the second chorus was also a neat peak. It wouldn’t be an SM Entertainment song without some truly melodic vocals, even in a hip-hop song like Beat It Up. The vocals in the first pre-chorus and second verse really helped smooth out the bold energy, while the stripped-back bridge (a classic SM aspect) was beautifully executed by HAECHAN, CHENLE and RENJUN. JISUNG effortlessly pulls us right back into the hip-hop energy to lead us into a satisfying end to Beat It Up. Oh, and I haven’t yet spoken about the instrumental, which is full of ‘bold kicks and strong bass sounds’ (SOOMPI describes the song well, so I have borrowed their description of Beat It Up). It definitely delivers in impact and boldness.

Like the song, the music video definitely showcases NCT DREAM in a very cool limelight. The video opens with band-aids or minor scratches on the members’ faces, representing the scars they have received as part of their journey. Throughout the rest of the video, we see the members potentially engaging in heated moments with the actors in the background, a two-car head-on collision, numerous mangled bikes, crashing buildings, and a boxing ring match, all of which could explain the scratches and bruises. However, despite these, the members proudly display them as if they were battle scars and evidence of their hard work in achieving their current status. The scenes with the crashing buildings and the car collision floating in the sky (with MARK hanging onto a tyre and JISUNG/JENO in the car seats) were quite impressive moments in the video. The wiping transition at the start of the video (see the feature image for this post) was also very bold.

The boxing and punching references make sense for a routine to a song titled Beat It Up. While I am not sure if they make it into the choreography, the freestyle scenes throughout the music video also fit in well with the concept and the hip-hop nature of the song. But it is the routine for the final chorus that has me most excited. It seamlessly blends references and freestyle energy into one and serves as a really excellent closer to the dance.

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

[Review] WE GO UP – BABYMONSTER

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BABYMONSTER also made their comeback last month with their second mini-album, WE GO UP, led by the title track of the same name (focus of this post). It is their first album release in almost a year, following their November 2024 DRIP studio album, which was led by the double title tracks DRIP and CLIK CLAK. But that wasn’t their last comeback to date. The group returned in July 2025 with the digital single HOT SAUCE (which, unsurprisingly, I have yet to review).

BABYMONSTER really establishes themselves in WE GO UP, an intense and hard-hitting hip-hop dance track. The verses reveal some powerful rap performances, while the rest of the song presents equally powerful vocal moments. This is BABYMONSTER’s strongest foot forward as a cohesive group, and really sells the group in my opinion. For the instrumentation, we get a mixture of electric guitars, synths that resemble church organs and a proud thumping beat to drive and propel WE GO UP forward. I am particularly drawn to those electric guitars, especially during the moments in the song when everything is stripped away, leaving just the guitars. The chorus lines feature repetition of the WE GO UP title, and I really like the punch this gives the song. One thing that I think WE GO UP would benefit from is an instrumental break. This could be something to really give the song that extra oomph and capitalise on the badass and intensity that WE GO UP exudes. Extra points if the dance break that corresponds does the exact same thing on stage.

WE GO UP‘s lyrics are about aiming to be on top. And what better way to depict that than multiple battles throughout the video? Essentially, we see the members battle and destroy the bad guys. The battle scenes are epic, featuring members participating in action movie-inspired fight scenes that involve guns, explosives and snipers; a katana sword fight; an underground boxing match; and even a supernatural/elemental fight. All of these result in the members coming out on top and being victorious, proving themselves to be ones to fear in the futuristic city. I really like that montage where each fight is drawn out like blown-out particles. There is probably a more technical term for this montage, but that really looked cool and epic (if the rest of the video wasn’t already enough).

The performance also taps into that epic nature and attempts to be bold. But I don’t get that from the moves. It is more a matter of the demeanour of the members, which is more of that hype nature commonly associated with hip-hop performances. I wished the moves matched that vibe, so that the comeback is well-rounded on all fronts.

Song – 9/10
Music Video – 10/10
Performance – 7.5/10
Overall Rating – 9/10

[Review] ICU – Xdinary Heroes

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Xdinary Heroes returned last month with their 7th mini-album, LXVE to DEATH, and the title track ICU. This new release follows their July digital single, Fire (My Sweet Misery), which has yet to be reviewed, and their March mini-album release, Beautiful Mind, featuring the title track Beautiful Life.

For my constant desire for hard-hitting, intensely powerful and bold rock music, Xdinary Heroes is one band that I can rely on to deliver on this craving. And they have done it again with ICU. Right from the start, the band launches us into some awesome shredding electric guitars and pounding drumming, hallmarks of a great rock sound. What makes ICU even more so is simply the fact that the members never let up this energy, and it continues through to the end. Then come the members, who charmingly take us throughout ICU through some really prolific vocals and rapping. I also really like how they are confident enough to hit the high notes and scream and shout when needed throughout the song, giving ICU an even more engaging profile. And the melodies give ICU a memorable tinge, which helps make the song even more appealing. The ICU‘s bridge is probably the most memorable part of the song, kicking off with a heightened rock instrumental break and then moving into chanting that further hypes the song.

The music video sees O.DE being taken to the hospital in an unconscious state for whatever reason. My best guess is that the members (with him in on the plan, given they all appear behind the medical staff) purposely put him in that state, so they could all make their way to the big cat figure in the sky they love (or worship/believe in – but I am saying love because it looks like O.DE is also lovesick and has a locket of the members and the big cat around his neck). They almost make it to their destination, but O.DE’s locket chain breaks, and the cat becomes upset at that. Instead of welcoming the members, it shoots lightning from its paws, waking O.DE from his unconscious state and leaving him disappointed. I like how another version of the members play the medical staff, causing chaos throughout the video. The fun video ends with a shot of the van upside down underwater, with music still playing.

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

[Review] Say My Name – MIYEON (i-dle)

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Making her solo comeback last week was MIYEON from i-dle, with the single Say My Name, which serves as the title track off her 2nd solo mini-album, MY, Lover. This new release marks her first solo comeback in several years, following her solo debut with Drive and the mini-album My, released in 2022.

Say My Name sees MIYEON delve into a pop ballad, providing us with a perfect dose of melancholy that puts the lyrics into perspective (more on the lyrics later). The instrumental for this song features the usual suspects for a ballad at first. But as the song develops, the growing presence of drums and guitars gears it away from the traditional classical hallmarks of a ballad and into pop territory. Say My Name is made stunning with MIYEON’s vocals. The way she carries the melodies with her voice and falsettos during the choruses was definitely a memorable aspect of the song. The high note was also spectacular. As mentioned earlier, you can sense the emotions behind her vocals. I must admit that I did get worried seeing the length of the song, noting that I am not a big fan of the ongoing trend of keeping songs below the 3-minute mark. But Say My Name‘s short length strikes the right balance to make the song appealing without feeling too much or too short.

Say My Name is about wanting to let go of an ex, but being unable to entirely forget someone because you can still literally hear their voice and recall the good memories with them. The music video depicts heartbreak by showing MIYEON turning around when she thinks she hears her name, but there is no one around her. It becomes more heartbreaking when it is later revealed that she passes by or is a few steps behind a person who can only be her ex, which represents the idea that the memories linger. It is a rather minimalist and straightforward video, but it does a great job of portraying the lyrics. I also like how it complements MIYEON’s vocals. Listening to the song whilst watching the video made it feel like we were walking with her.

I am unsure if this comeback required choreography, particularly since MIYEON remains in one spot for most of it and only performs minimal moves during the performance. But the dancers do make it look lovely, and give the stage a bit more depth and dimension to enjoy

Song – 9/10
Music Video – 9/10
Performance – 7/10
Overall Rating – 8.6/10

[Review] Pinocchio – AHOF

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I am planning a week in the very near future that will focus solely on the rookies who made their debut this year. AHOF is potentially one of the groups I could cover during this week, but since I have already reviewed their debut single, Rendezvous, I thought I would focus on the groups that I have yet to review on the blog. This does mean I can push on and review Pinocchio, the title track from the group’s second mini-album, The Passage, which dropped last week.

Similar to their debut track, Pinocchio continues AHOF’s venture into the pop-rock soundscape. What I do like about Pinocchio is that it leans more towards the rock side of the genre. I also like that it doesn’t hold back its power and impact, giving us a taste each time the chorus comes into play. I quite like the chorus soars, creating an epic centrepiece for the song, and it does so refreshingly each time the chorus comes into play in Pinocchio. I find this offering to be very generous. In addition to the chorus, I am really digging how Pinocchio introduces rapping into the song during the first verse, giving the song a slight punch. And the vocals throughout Pinocchio are impressive, particularly in the chorus. However, while it sounds like Pinocchio is the perfect song, two minor aspects bug me about the song. The first is the pre-chorus. Usually, songs do something interesting with the pre-choruses, but Pinocchio actually does it the opposite. It just didn’t hit the same as the chorus and verses. And secondly, the transition between the bridge and the final chorus was somewhat abrupt, which caught my attention. However, as I mentioned, they are minor, so I have been able to overlook them and thoroughly enjoy Pinocchio.

Based on the SOOMPI article, Pinocchio reflects the members’ own growth by drawing parallels to Pinocchio’s journey to becoming human. The music video depicts the members coming to terms with their feelings of loneliness and isolation, finding solace in each other as they move forward with their careers. At the midway point, the members are pushed into chaos with abrupt and unexpected events in their lives (i.e., the stage explosion) and lose one another amid the chaos. However, the video shows the members finding each other again and coming together to tackle the unexpected and unknown future events (i.e., the snowstorm). I really like the autumnal colours in the video, which match the season Korea is now in.

The performance was great. I liked the balance between softer (during the verses) and more intense movements (during the chorus). This gave it an artistic vibe, which works well with the song. The dance also has references to Pinocchio (i.e., his long nose and such), which I thought was a neat tie-in with the song’s title and lyrics.

Song – 9/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.8/10

[Review] CYNICAL – SUNMI

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It has been a while since I wrote a review for SUNMI. The last one was 2023’s STRANGER. Since then, SUNMI has been relatively quiet, with only a single release in 2024 (Balloon In Love) and another earlier in 2025 (BLUE!). Last week, SUNMI made her solo return with her first studio album (12 years after her solo debut), Heart Maid, led by the single CYNICAL.

CYNICAL sees SUNMI tap into a groovy dance number, made hefty with electronic synths and solid bass. While the instrumentation is relatively neutral and consistent throughout the song, it has a certain vibe that aligns with SUNMI’s style and past release aesthetics (more on that later in the review). Nonetheless, the neutralness and consistency extend to SUNMI’s delivery of CYNICAL, with her vocals coming off as monotonous for the most part. This develops into an equivalent-style chant for the chorus. However, I think this is intentional, given that a definition of the word ‘cynical’ involves mocking others in a way that disregards them, and that is what she is doing in the lyrics. And while the repetitiveness usually doesn’t help make the monotonous approach appealing, CYNICAL might be an exception. I definitely would have liked to hear something more dynamic through instrumentation, vocals or hooks, CYNICAL still managed to stand out somehow. It could simply be because it has been a while since I last heard from SUNMI, but I think it is because CYNICAL manages to do something right.

The music video features a fun and comedic Korean ghost (played by SUNMI herself). I am probably one of many who thought this video and concept was a missed opportunity for Halloween 2 weeks ago. According to some comments under the music video, this is due to ABYSS (SUNMI’s company) delaying the comeback to the start of November, when it was initially scheduled for a mid-October release. It’s a pity that they couldn’t align it better with Halloween; this would have been so good during the spooky season. As mentioned, it features SUNMI as a Korean ghost, dying after twisting her ankle and falling to her death in a public bathroom. She doesn’t ‘cross over’ into the afterlife immediately, instead lingering in the world of the living for 49 days (a common Buddhist belief). Throughout the video, she mocks Death as he waits around to take her into the afterlife. In the end, he does take her to the afterlife, but without one last scare. I also mentioned that the video is comedic, especially at the start, where SUNMI has to change out of her club outfit and don her Korean ghost white outfit.

I thought the routine for this comeback was very good. She does an excellent job, as do the dancers, in making this feel creepy through their stone-cold facial expressions, while also making sure the moves complement the electronic synths of the song. The former actually taps in well with her past performances and concepts.

Song – 8/10
Music Video – 8.5/10
Performance – 9/10
Overall Rating – 8.4/10

[Album Review] GOLD (9th Mini Album) – ITZY

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The next album up for review comes from last year. In October 2024, ITZY made their comeback with their 9th mini-album, GOLD, which was led by the title track of the same name. Also featured alongside that track were five new songs and five re-released versions of songs ITZY had released earlier in 2024 as part of their BORN TO BE studio album, to include LIA, who was on hiatus at the time of their release. For the purposes of this review, given that I have already reviewed those tracks as part of the album they were initially released on, I will focus primarily on the new songs added to ITZY’s discography in October 2024.

While I am still not a fan of the title track, the rest of the mini-album was a solid release from the group. More recently, ITZY made comebacks in Korea with Girls Will Be Girls and Japan with Rock & Roll. In fact, the group will be making another Korean comeback (yup, this backlog of album reviews is definitely growing out of control) this coming Monday with Tunnel Vision. But before we can get there, here are my thoughts on GOLD.

GOLD Album Cover

1. GOLD (Title Track) – Click here for GOLD’s full review. (7/10)

2. Imaginary Friend – Click here for Imaginary Friend’s full review. (10/10)

3. Bad Girls R Us – The instrumental for this track was quite the surprise. From the house elements in the foreground to the thumping beat in the background and then the switch to an acoustic country twang, Bad Girls R Us was a very intriguing mix. This instantly draws my attention to the song. But ITZY seals the deal with their crisp vocals and rapping. Bad Girls R Us is an awesome and unforgettable track. (10/10)  

4. Supernatural – To me, Supernatural somewhat feels like a follow-up to the earlier track Imaginary Friend. Both songs have a subdued nature. But there are differences. Unlike Imaginary Friend, which was subdued through all elements, ITZY’s vocals are what bring the subdued nature to light in Supernatural. I liked that approach, but I wished the melodies were a little more developed. As for the instrumental for Supernatural, which does have a hint of that subduedness, it is also more upbeat and bouncier, which brings in energy to the song. However, those subdued notes still remain and help make the track feel aesthetically pleasing. (8/10)   

5. FIVE – The message that ITZY is better as five is such a meaningful message, especially since this comeback sees LIA return from a hiatus and the group reforming back into a quintet. FIVE is a well-balanced pop track with nice textures thanks to the synth work. The vocals were also lovely throughout the song. However, what I liked most about the track was the brief hip-hop switch-up that followed the first and last chorus. It was a memorable point in FIVE. (8/10)  

6. VAY (ft. CHANGBIN of Stray Kids) – ITZY join forces with labelmate CHANGBIN for the hip-hop track VAY. ITZY did a really great job in this hip-hop setting – I found myself vibing to their parts in the song. CHANGBIN adds his own flair through his parts, and I liked how he tempered his usual style to fit with ITZY. The instrumental was also quite crunchy, which was a nice and engaging textural component for VAY. (8/10)

Overall Album Rating – 8.5/10 (based on the new songs on the mini-album only)

As part of the mini-album, five songs from ITZY’s 8th mini-album were re-released to also include LIA, who was on hiatus when these songs were originally released. These songs were not included as part of the final album rating  

7. BORN TO BE (Final version) – Click here to see BORN TO BE’s full review. (7/10)

8. UNTOUCHABLE (Final version) – Click here to see UNTOUCHABLE’s full review. (8/10)

9. Mr Vampire (Final Version) – Click here to see Mr Vampire’s full review. (6.5/10)

10. Dynamite (Final Version) – Click here to see DYNAMITE’s full review as part of the BORN TO BE album review. ()

11. Escalator (Final Version) – Click here to see Escalator’s full review as part of the BORN TO BE album review. (9/10)

ITZY’s teaser image for GOLD.

[Review] Talk To You – YEONJUN (TXT)

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A year on from his solo debut with GGUM, YEONJUN from TXT is officially back with his first solo mini-album, NO LABELS: PART 01. Leading the mini-album is the title track Talk To You. Since GGUM, YEONJUN returned to his group for releases like Love Language, Beautiful Strangers, and most recently, Can’t Stop.

Talk To You is a very grungy and intense rock single. I found the instrumental to be very satisfying as a rock release, and I like that both the song and YEONJUN really focused on this influence without too much additional influence. The electric guitars really make the song, ensuring that the grunginess and intensity are a constant presence throughout Talk To You. YEONJUN himself does bring a hip-hop flair to his delivery, which I didn’t mind. With the help of the grungy filter that his vocals go through, he complements the rock influence quite well and allows Talk To You‘s hooks to effectively lean into the same influence. That being said, his vocals were strongest and most engaging when clear. The slurring at the start was a tad distracting, but it wasn’t the biggest deal-breaker. For me, the most significant deal-breaker is simply the fact that Talk To You was too short. The song was consistently in a high-tension mode, and the abrupt ending didn’t provide much closure. But overall, Talk To You is a decent listen that I think will grow on me substantially.

However, there is one caveat to that – I don’t listen to Talk To You while watching the music video. I was a bit slow to realise that the video featured 3 songs from the NO LABELS: PART 01 mini-album – COMA, Let Me Tell You (feat. Daniela of KATSEYE) and Talk To You. Before I figured out the three songs, I genuinely thought that these three songs were one singular song and was questioning YEONJUN and HYBE’s style for a bit. Anyhow, while the idea of three songs coming together to form one video does sound innovative, the music video simply combines three separate videos with what appears to be very little in common. COMA corresponds to a wild dance performance video, Let Me Tell You, which sees both YEONJUN and DANIELA performing sexily with a pronounced R&B style, while Talk To Me sees YEONJUN being a party-goer that everyone cannot get enough of. I wished there were common threads (and they probably are) to make the videos link up and be somewhat cohesive. I just don’t see them.

Performance-wise, YEONJUN only performs Talk To Me on stage. And once again, he does so with so much remarkable charisma and great chemistry with his dancers and the camera. This is definitely a stage worth watching! I liked that YEONJUN is willing to be loud on stage (not in terms of his vocals, but instead, his moves), and this really made various moments stand out on stage. I particularly like how the female dancers made their first appearance one at a time, and how the dancers were reintroduced throughout the performance via interactions with YEONJUN.

Song – 8/10
Music Video – 7/10
Performance – 10/10
Overall Rating – 8.1/10


[Review] FOCUS – Hearts2Hearts

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Since their debut earlier this year with The Chase, Hearts2Hearts have released two singles that I have yet to review – Style and Pretty Please. While the length of time since the release and their potential review might be an indicator, it can also be said that Hearts2Hearts is also impacted by my inability to keep up with new releases. Anyhow, Hearts2Hearts returned last month with their first-ever mini-album, FOCUS, and the title track of the same name (which is also the ‘focus’ of this review). Pretty Please, mentioned earlier, is a pre-release single from their first mini-album, FOCUS, as well.

What I liked about FOCUS was its constant and consistent groove. While consistency is something that is a hit or miss to me, it does well in FOCUS, keeping the house-based song buoyant and upbeat for the majority of the track. I also liked how the producers gave the song impact by adding just a bit more to the instrumental for the instrumental break bridge. It’s subtle, but it does wonders to FOCUS. The members deliver a more subdued tone to the song. I think the success of the song is simply the contrast between the subdued spoken tone and the upbeat groove that the instrumental delivers. Somehow, they both come out on top and give FOCUS a memorable aspect. However, the subdued tone and spoken delivery do mean that all of them merge together, and I don’t really hear much individuality between the members. I also feel that this combination limits the appeal of the hook, which I found to become repetitive with repeated listens of the song. So, I guess in summary, FOCUS is a mixed bag of both good and not-so-good aspects. But it’s still a decent listen, overall.

In FOCUS, Hearts2Hearts sings about how someone captures their attention and takes their focus away. Given their ages, the school concept makes perfect sense. While they should be focused on their studies, the person in question takes up all of their attention. I think the dance practice room location later on in the video fits in similarly, where the members should be focused on their dance moves, but yet they are distracted by the person (who, in the mirror, is Hearts2Hearts themselves). In particular, I like the final scene outside with the fireworks. Paired with the choreography and the members’ stoic expressions, it was a bold end to the music video.

Although it may not appear this way, the routine for FOCUS was exceptionally strong. The sharp movements during the chorus and the in-your-face approach they took during the dance break were really cool and super bold. If this is what they can do, I highly anticipate their next performance!

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

[Review] SUPERPOWER (Peak) – xikers

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One of the songs released last week that caught my attention was xikers’ comeback single, SUPEROWER (Peak), which serves as the lead single off their 6th mini-album, House of Tricky: Wrecking the House. Their last comeback, Breathe, was released in April this year, as part of their 5th mini-album, House of Tricky: Spur.

There were a few things that caught my attention within SUPERPOWER (Peak) whilst I was tuning into the new releases last week. However, ultimately, the song’s boldness was the most prominent and noteworthy aspect to discuss. The electro hip-hop background, from the hollow tinny beats at the start to the range of textured synth work in the verses, made this entire instrumental piece extremely appealing. Yes, it was loud, and I can understand why some might find it even obnoxious. But I really liked it. Even the instrumental break inserted at the end of SUPERPOWER (Peak) was very cool, and interestingly, it brought a touch of 2010s nostalgia to me. As for the members, they did exceptionally well with their aggressive and powerful raps and vocals. All the raps in the verses were super engaging, with each rapper bringing their own style to SUPERPOWER (Peak). As for the vocals, the autotune during the pre-chorus felt reminiscent of vocals from other electronic-based songs, while I really liked HYUNWOO’s powerful showing during the bridge. SUPERPOWER (Peak)‘s chorus sees xikers deliver the song’s centrepiece as a powerful shouty chant. While I don’t mind it, I do think it is a bit typical in the current landscape of boy-group music. But overall, SUPERPOWER (Peak) really excelled, and I really enjoyed it.

SUPERPOWER (Peak) is about how the members are in their most powerful form, which gives them the power to break down the walls and boundaries in their current form. This itself is essential context, as well as the fact that this album is the last in their House of Tricky series, which has been a consistent part of their album names since their debut. If you fast-forward to the end of the video, you will see the House of Tricky collapsing as the members leave the building, symbolising the closure and departure of the House of Tricky era. For some reason, xikers and the SUPERPOWER (Peak) conceptually fit in well with the industrial and underground setting, with the cyber cityscape in the background. Definitely a cool video, overall.

I really liked how the performance for SUPERPOWER (Peak) was both an intense routine and a hype routine. It was definitely a powerful routine, with xikers putting their all into the different ranges of intensity and building up the hype. I love how the dance break at the end of the routine (which coincides with the club vibe instrumental break of the song) was the peak moment of the entire performance, and it left me very satisfied and gratified with the routine.

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

[Album Review] LOVE RACE (15th Mini Album) – SF9

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If you cannot tell by the title of the post, SF9’s LOVE RACE is the next mini-album up for review (still a massive backlog to push through). It is SF9’s 15th mini-album since their debut in 2016 (almost 10 years ago!), and was released back in March this year. LOVE RACE features a total of 6 songs, including the title track of the same name. It is a solid mini-album overall, per usual for SF9. There are some terrific songs on the mini-album, so it is definitely worth checking out.

LOVE RACE (the mini-album) is their first comeback since August 2024 – the mini-album FANTASY and title track Don’t Worry, Be Happy. More recently, the group is embarking on a world tour.

LOVE RACE Album Cover

1. LOVE RACE (Title Track) – Click here for LOVE RACE’s full review. (8/10)

2. Suited – Leading on from the title track is Suited, a very smooth mid-tempo pop track. This helped make the flow of Suited feel velvety and stunning, and many of the song’s best attributes stem from this smoothness. The song’s chorus was very charming. I particularly liked the upward inflexion at the end of the chorus, which gives the track something intriguing and memorable to remember it by. The vocals (and their layering) in Suited were really well done throughout. As for the rapping, I liked how they fit into the song while still maintaining an edgy tone. (9/10)  

3. Side by Side – Side By Side is a great upbeat funky number. The energy that comes off this track is very refreshing. I also enjoyed the brightness exuded from the instrumental, making it suitable for a summertime track. The vocals and rapping were straightforward yet effective in contributing towards the same refreshing energy and bright tone. For this, it is my favourite track off the mini-album. (10/10)

4. WARURU – There was a lot that stood out in the electro-pop WARURU (which translates loosely to ‘Crashing down’). Firstly, I really enjoyed how JAEYOON (as the introduction), INSEONG and YOO TAEYANG delivered the pre-chorus. They really seized the opportunity to showcase their powerful vocals and did so very impactfully. I also enjoyed the line “Now you’re not the girl I used to know” delivered by YOUNGBIN and CHANI in the verses, which were memorable lines. The WARURU repetition was also noteworthy. This is all set against a solid background that enhances the dramatic nature of the song. (9/10)

5. No No No – I quite enjoyed how prolific the instrumental is in No No No. There is a strong funkiness to the instrumental, thanks to the electric guitar and brass elements, which come through quite strongly. The rest of the instrumental is strongly upbeat and comes off as ‘loud’ (but in a good way). I liked how the members really put themselves forward in the song through their rapping and vocals. The instrumental could have easily drowned them out, but SF9 ensured they were heard throughout No No No. I do think the song could have been blended together to be a little more cohesive. (8.5/10)    

6. Love Puzzle (숨은 사랑 찾기) – We go into lovey dovey territory for Love Puzzle, which likens their lover to be the missing puzzle piece they are searching for. Love Puzzle is one of those mid-tempo pop ballads that is warm, fuzzy and lovely. The members do a nice job of making their vocals and rapping sound cohesive, as well. I find myself rather neutral towards the song (mainly because I am not the target audience), but I am sure fans are enjoying this more romantic side of the group. (7/10)

Overall Album Rating – 8.6/10

SF9’s teaser image for LOVE RACE

[Review] Spaghetti – LE SSERAFIM ft. j-hope (BTS)

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LE SSERAFIM made their comeback last week with their first single album since their debut in 2022. Titled SPAGHETTI, the single album consists of the title track (and multiple versions) of the same name, featuring HYBE labelmate j-hope from BTS. This is LE SSERAFIM’s first Korean comeback following HOT and Come Over (from their HOT mini-album), and their first comeback overall since their Japanese comeback with Different (yet to be reviewed).

Look, the final product that LE SSERAFIM released was not on my KPOP bingo card this year. SPAGHETTI shows an entirely different side of the group that we have not heard from before. It is a lot more out there and wackier than any comparable LE SSERAFIM release—the only one that comes to mind is last year’s CRAZY, and that felt contained. For this reason, the heavy yet funky synth-and-autotune style of SPAGHETTI was engaging. It is definitely fun (cowbells tend to have that effect, which I am sure I have mentioned before on the blog), aided by the catchy hooks and repetition throughout SPAGHETTI. Similar comments can be made about the members’ delivery, but I also note that certain parts of the song made them seem charismatic. But while experimenting and doing something different is good (at least in my books), I think it should be acknowledged that this style switch could be jarring to some fans. As mentioned earlier, j-hope also features in SPAGHETTI, and I really appreciated his appearance in the song. I felt his feature grounds SPAGHETTI in a way that allows LE SSERAFIM to approach their parts in a more light-hearted manner. I love the oomph in the latter half of his part. It does wonders to SPAGHETTI.

People have described SPAGHETTI as a diss track aimed at their haters, and the lyrics do give that impression. I liked how they focused on a tasty and classic dish that many people would ‘eat up’. I also like how the video plays into the wacky side I mentioned earlier, with some scenes being a tad random (e.g., one member hanging out in the sauce and the members performing on a plate of spaghetti). I also appreciate that j-hope makes an appearance in the video. I do question some of the styling choices, such as the mechanic overalls. But it was a good video, overall.

I really enjoyed the performance of SPAGHETTI, particularly the sass and attitude the members bring to the audience throughout the routine. It definitely works well with the lyrics and the comeback’s concept. I particularly enjoyed the routine that accompanies the post-chorus hook (i.e., the “Eat it up”), with the members mimicking a ‘becoming sick’ motion. In contrast, the centre member tells people to ‘Eat it up’ through their moves. It felt like a fun part of the routine, with high impact on the message it was trying to push.

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

[Album Review] ALIVIO (5th Mini Album) – CHUNG HA

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CHUNG HA’s February 2025 mini-album release, ALIVIO, is up next for an album review. ALIVIO is the soloist’s 5th mini-album since her debut and follows the digital single Algorithm released last year. The mini-album features 8 songs, including the title track STRESS and a collaboration single with SUNMI. The latter in itself is something enticing and to look forward to, but there is a lot more to the mini-album, particularly in the latter half of the mini-album, where CHUNG HA featured strong track after track. You can read more about my thoughts on ALIVIO down below.

ALIVIO Album Cover

1. Creepin’ – The mini-album starts off with Creepin’, an R&B number with a slightly warp effect to its instrumentation. This is more of an observation and not a negative. As for CHUNG HA, she sounds amazing in the song. But overall, I found Creepin’ to be a little underwhelming and lacked something to make it memorable. (7/10)

2. Salty (with SUNMI) – CHUNG HA join forces with SUNMI to bring us Salty. With these two big names at the helm, there are high expectations for this single. In my personal opinion, they definitely delivered. I really enjoyed the retro/house combination that makes up the instrumentation, though I wished there was a little more bite to the background. The opening chorus lines “My diamonds are cold, but I’m not made of ice” and “All of my emotions they get exercise” also have a memorable ring to them. (9/10)

3. Loyal – I enjoyed the atmospheric instrumental behind Loyal, though I feel like Loyal was lacking a drop somewhere in its instrumentation. It wasn’t until the 2:05 minute mark (in a 2:42 minute long song) that Loyal’s instrumental changed gears slightly. Alongside the atmosphere are CHUNG HA’s vocals, which were stunning throughout the song. The repetition of the song’s title also helped key it in my mind. (8.5/10)

4. STRESS (Title Track) – Click here for STRESS’ full review. (8/10)

5. Beat of My Heart – The chorus for Beat of My Heart is what wins me over. More specifically, it is CHUNG HA’s breathtaking delivery of the central piece of the song that grabs my attention. The way her vocals soar in the choruses and throughout the song is really something. As for the instrumentation, it falls into drum and bass territory, and I love how much bite this influence gives Beat of My Heart. (10/10)

6. Even Steven (Happy Ending) – Even Steven is a song about getting back at the people who have wronged you. While the lyrics for Even Steven hint at a terrible past, they also give the song an empowering feeling. And as a result of this empowerment, CHUNG HA’s powerful vocals, as well as the presence of the electric guitars, add a lot more oomph to Even Steven. I also appreciate the song’s straight-to-the-point vibe. (9/10)

7. Thanks for the Memories – CHUNG HA takes us down rock territory in Thanks for the Memories, my pick for the most highly recommended track of the mini-album. I love the energy this gives the song, particularly in the choruses, and the added textures from the synths give it a fun edge. CHUNG HA’s vocals are superb, with her ad-libs feeling like the perfect icing to a cake. She nailed this song!! (10/10)

8. Still a Rose – Bringing the long mini-album to a close is Still a Rose. It begins with a powerful sample of Vivaldi’s classic Four Seasons. I liked how the sample leads into the rest of the song, which speaks to the idea that one can always emerge as a rose following struggles and lows in life. The rest of the song falls into place, with the melodies having a clean feel. The line “A rose is still a rose” is quite catchy, as well. (9/10)

Overall Album Rating – 8.8/10

CHUNG HA’s teaser image for ALIVIO

[Review] Youth – Lee Know (Stray Kids)

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Stray Kids recently made their comeback with their fourth studio album, KARMA, led by the title track CEREMONY. However, I still have a backlog of song reviews related to Stray Kids that I have yet to post, including the solo tracks from their Hop mixtape and the unit tracks from their Mixtape: Dominate album. I have already made a start on this backlog, with Lee Know’s solo single from Hop, Youth, up next. For the other reviews of Stray Kids’ solo songs from the Hop mixtape, see the links below the music video.

Lee Know’s Youth goes down the dance pop side of KPOP with a funky disco instrumentation. It is straightforwardly fun and upbeat, just as you would have expected with such an instrumental. In addition to the music, Lee Know’s vocals, right off the bat, fit in perfectly. He shines throughout the single with his fresh and pleasant tone, whilst also adding to the song’s brightness and energy. The pre-chorus was probably my favourite part as it offers the best that Lee Know has to offer as a singer. And Youth’s pre-choruses are just so repeatable. The chorus had a fun and catchy hook, and I enjoyed the bubbly pop nature of Youth’s centrepiece overall. I do wish Youth had some grit (in some shape or form), just to break up that consistent pleasantness. I think this would have done wonders for Youth, giving it dimension and more layers to enjoy. But overall, Youth is a nice solo single nonetheless.

The music video starts off in the midst of a bingo game, where an old lady cheats by pulling out a completed bingo card. However, the actual bingo card is missing the final letter ‘U’, hence why this raises suspicions with other players and management (which Lee Know is part of). While the rest of the management is made to play along with the situation, Lee Know breaks ranks, tells management that they should accept the win, as he will search for the missing ‘U’. He catches the ‘U’, which cues celebrations and allows the old lady to win the game. Obviously, the reference to the letter ‘U’ isn’t just the letter, but also the person who is willing to stand alone and be themselves (per the lyrics).

The choreography for Youth is cute and bubbly, complementing the song well. The jumps and energy that both Lee Know and the dancers put into the routine, and that we get out of the routine, are ideal for such an upbeat song. I like how the routine keeps things fun and lighthearted, especially the part where the dancers had to copy Lee Know’s surprise move(s) at the end of the routine.

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

I.N’s HALLUCINATION | SEUNGMIN’s As We Are | FELIX’s Unfair | HAN’s Hold My Hand
HYUNJIN’s So Good | CHANGBIN’s ULTRA | LEE KNOW’s YOUTH | BANG CHAN’s Railway

[Album Review] BLUE PARADISE (5th Mini Album) – ZEROBASEONE

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You know the term ‘no skip albums’? BLUE PARADISE, ZEROBASEONE’s 5th mini-album, can be described by that. While no song was a knockout (i.e., 10/10 for me), all 6 songs on BLUE PARADISE are of consistently high quality, making the album suitable for the ‘no skip’ description. For those tuning in for the first time to BLUE PARADISE or needing a reminder, the mini-album was released in February of this year, led by the single BLUE and the pre-release single Doctor! Doctor!. It follows their CINEMA PARADISE and GOOD SO BAD comeback last year.

Alongside BLUE PARADISE, ZEROBASEONE also released their 1st Japanese mini-album, Prezent, led by the single Now or Never (which I haven’t reviewed yet…). More recently, the group returned in September with their 1st studio album, Never Say Never, and the single ICONIK.

BLUE PARADISE Album Cover

1. BLUE (Title Track) – Click here for BLUE’s full review. (8/10)

2. Devil Game – Two elements in Devil Game really speak to me. The first is the song’s funky and groovy instrumentation. The funky bass and the background’s textural elements are all very cool. Definitely MJ-esque. The second element, and probably the most powerful in the entire song, is the vocals. I really liked all of their delivery within Devil Game, but I am loving the clear, crisp and strong vocals in the chorus, which keeps the song engaging. I love the alluring nature of the whispers in the pre-chorus, which just keeps the interest in Devil Game up. My only gripe about the song is that it has more captivating verses – everything standalone is great within the verses, but I don’t remember much from them as a whole. (9/10)   

3. Doctor! Doctor! (Pre-release track) – Click here for Doctor! Doctor!’s full review. (8/10)

4. Out of Love – The first unit track on this mini-album features Kim Ji Woong, Zhang Hao and Kim Gyu Vin. This trio brings us Out of Love, a bold pop-rock track. It basically grabs me each time and hooks me on. The energy that comes off the instrumentation is also very satisfying and just hits all the right notes that I want out of a pop-rock track. The chorus is also super catchy, engaging me more. All three members’ vocals bring character to Out Of Love – I just wish they pushed themselves further to round out the song sonically to match the bold pop-rock vibes. (9/10)

5. Step Back – We return to the funky vibes with Step Back, courtesy of Ricky, Park Gun Wook and Han Yu Jin. I enjoyed the R&B grooviness that Step Back exudes and how the R&B side of the track gives a subtle maturity to the song that the three members pull off well. The upbeat nature also gives off a fun vibe. While strong vocals were on full display, I have to admit that Park Gun Wook’s high note at the end of the bridge surprises me each time. (9/10)

6. Cruel – The remaining members of ZEROBASEONE, Sung Han Bin, Seok Matthew and Kim Tae Rae, bring us Cruel. The track is another on the mini-album that gives us rock energy. The only difference is that the track is firmly in the rock sphere, with no other influences impacting the purity of the instrumentation. I really liked the grungy vibes that the instrumentation gives. While Cruel’s vocals aren’t the strongest in my opinion compared to the rest of the mini-album, Cruel manages to stand out thanks to the members’ rapping, as well as their fresh tones in the song. (9/10)

Overall Album Rating – 8.7/10

ZEROBASEONE’s teaser image for BLUE PARADISE