Baby DONT Cry is nominated for Best New Female Group in the 2025 KPOPREVIEWED Awards. Support Baby DONT Cry by voting via the link today.
Next up on rookie fortnight is Baby DONT Cry, who made their debut back in June 2025 with the single F Girl. The group consists of four members (Yihun, Kumi, Mia and Beni) and is managed by P Nation (the home of HWASA, PSY, Crush, Heize and TNX). More recently, the group made their first comeback with I Dont Care, which will be the subject of a different post. For now, here are my thoughts on F Girl.
I can hear a lot of potential in Baby DONT Cry through F Girl, an edgy rock-influenced dance track. However, the spoken rap verses fall flat and do little to elevate the song or distinguish the group from its peers, as the instrumental remains repetitive and underdeveloped. The song improves in the pre-chorus and bridge, where the vocals are clean and the momentum builds. As for the chorus, it was cringy at first. But repeated listens have helped the central piece ofF Girl grow on me. That being said, I wish there were more to the instrumentation and that there were proper lines in the chorus. While the hook is catchy (thanks to repetition), the chorus feels a little elementary and one-dimensional. The track is strongest toward the end, where the heavier rock elements and “La La La” hook add attitude and energy. This is the energy that the track needed throughout, and this could have enhanced F Girl quite a bit. Overall, F Girl is a mixed effort, but it shows enough promise to warrant interest in the group.
As mentioned above, the release has a lot of attitude, and I find this a prominent aspect of the music video. And I thought the locations chosen for the music video helped infuse it with a bit of light-heartedness. Other than that, the members looked absolutely stunning, becoming the second strong aspect of the video.
The same goes for the choreography – it has attitude, particularly towards the end when the song amps up. Parts did feel a little elementary, like in the song, but it was still a good watch. I think having dancers really elevated the ending (like in the music video), and I wish they had incorporated some at the end of the performance.
Song – 7.5/10 Music Video – 8/10 Performance – 7.5/10 Overall Rating – 7.7/10
CLOSE YOUR EYES is nominated for Best New Male Group in the 2025 KPOPREVIEWED Awards. Support CLOSE YOUR EYES by casting your vote via the link here.
Welcome to rookie week fortnight. Over the next two weeks, I will be covering rookie groups from 2025 that I did not get a chance to review during the year. The once-a-day reviews will be in addition to the usual reviews of new songs released over the next two weeks. First up is CLOSE YOUR EYES, who debuted back in April 2025 with the mini-album ETERNALT. The lead single from ETERNALT is All My Poetry (내 안의 모든 시와 소설은). CLOSE YOUR EYES was formed through the survival show Project 7, which aired in 2024, and the group is expected to be active for 3 years.
All My Poetry is an R&B track, quite an unexpected choice for a debut track. Many groups, particularly males, would go with something powerful or energetic to kick off their careers. R&B standalone doesn’t give a newly debuted group much of a chance to make their mark. This is probably why I haven’t reviewed this song (which then delayed me reviewing any of their more recent comebacks – they have had two since their debut). That being said (and retrospectively), being an unexpected choice does help in some ways. It is admittedly refreshing and chill, which is quite nice in such a competitive landscape. Their vocals and rapping, whilst not groundbreaking, do sound pleasant, and the melodies in All My Poetry are smooth (which is synonymous with the R&B genre). Pleasant also comes to mind when I think of All My Poetry‘s instrumental. Altogether, it is a simple R&B track, done well.
The music video sees the CLOSE MY EYES members come together. And the group has Kenshin to thank for coordinating everything. The video starts with Kenshin alone on stage. He returns home and begins writing letters to the other members to bring them together. While doing so, he discovers his ability to manipulate time. This comes in handy later, as he uses this power to rewind and help the members meet up and come together. For example, he places obstacles or distractions (i.e., the deer and lollipop) in the path of one member so that they can be picked up by, or run into, another member. In the end, all the members meet up at Kenshin’s home to form friendly bonds to become CLOSE YOUR EYES to perform on stage. It is a nice video to showcase the group’s beginnings.
The choreography is quite pleasant, matching neatly with the R&B influences of the song. I also appreciated how it didn’t feel stereotypically youthful (i.e. cutesy), yet you still get a sense of youthfulness from the members and the routine. Their chemistry is also nicely portrayed throughout the routine.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
Stray Kids is nominated for Best Male Group and Best Stage Presence in the 2025 KPOPREVIEWED Awards. CEREMONY is also nominated for Best Dance Performance (Male Group) and Best Concept, while Hollow is nominated for Best International Song (Japanese). Individual members and units are also nominated for various song categories. Support Stray Kids, CEREMONY and Hollow by clicking here today to vote.
As alluded to last week, Stray Kids’ first mixtape (branded as SKZHOP HIPTAPE), 合 (HOP), is the final 2024 album that I will be reviewing for the time being. This means I can still review other 2024 albums I have missed in the future, but for now, I will shift my focus to 2025/26 albums. Anyhow, Stray Kids’ HOP features the title track Walkin’ On Water, solo songs that the group had performed as part of their Dominate World Tour, and two additional tracks (one of which is a collaboration with EPIK HIGH’s TABLO). It dropped back in December 2024.
The mixtape has some really great songs from the group and individual members. If you want to get to know Stray Kids more, then this mixtape is a good way to do so. Following the release of HOP, the group went on to release their Mixtape: DOMINATE single album, their fourth Japanese mini-album Hollow, their fourth studio album KARMA (with CEREMONY as the lead single), and their second mixtape DO IT (featuring the lead singles DO IT and DIVINE).
2. Bounce Back – Personally, I felt Bounce Back could have been a better title track, showcasing what the group has to offer across the board. Bounce Back combines old-school hip-hop and rock to create a cool diss track. It carries intensity and powerful energy from the start, making you want to stick around. Impressive rapping and nice vocals (for a hip-hop number) bring Bounce Back to life, courtesy of the members. (9/10)
3. U (ft. TABLO of EPIK HIGH) – Previously, TABLO from EPIK HIGH made an appearance in Stray Kids’ music video for MEGAVERSE. This time around, TABLO returns to collaborate with Stray Kids in U. This song is much more emotional than usual, showcasing the group in a different light. Both the group and TABLO’s delivery throughout the track pack a lot of emotion, with CHANGBIN (in the second verse) and TABLO (in the bridge) hitting hardest with their rapping for me. I also enjoyed the drum and bass in the instrumentation, as well as the soft vocals, which add to the emotional heft of U. (9/10)
4. Walkin on Water (Hip Version) – See my review for Walkin on Water above.
ROSÉ is nominated for Best Female Soloist and Best Vocal Performance (for toxic till the end) in the 2025 KPOPREVIEWED Awards. toxic till the end is also nominated for Best International Song (Western) and Best Pop Song of 2025. Support ROSÉ and toxic till the end by clicking here to vote today.
Next up on the album review segment of this blog is ROSÉ’s ROSIE studio album. Promotions for the album started with her massive global hit APT. with Bruno Mars, which dropped in October 2024. Then, she pre-released number one girl in November 2024 (which I never got around to reviewing until now), before dropping the album and the main title track toxic till the end in early December 2024. Alongside these tracks, ROSIE also features 9 more, bringing the total to 12.
Overall, ROSIE is a clever album that weaves in a love story. The album starts with the exciting idea of falling in love, then moves to actually falling in love, then to unfortunate heartbreak, and finally to coming to terms with it. The album is strongest when ROSÉ pours her emotions into the songs.
ROSIE Album Cover
1. number one girl (Pre-release Track) – ROSÉ starts off the album strong with the piano ballad, number one girl. The track is rather simple, consisting of ROSÉ’s impactful, emotional and raw vocals over a simple piano-centric instrumental. The combination of the two makes for a stunning ballad that leaves a deep impression that stays with you as you move on to the next song. There is a music video that follows the same frame of mind in being raw and simple. (10/10)
2. 3am – 3am brings together acoustic guitar and trap elements as ROSÉ reflects on insecurity and love at 3am. The lyrics are extremely relatable, and you can feel that from her vocals as well. Though pleasant, I wished the acoustic guitars were a little more prolific, especially as the trap elements come into play. They seemed somewhat lost in the background and overtaken by the trap elements as the song progressed, leaving behind what could have been an interesting combination. (8/10)
3. two years – two years reflect upon a relationship from years ago that one cannot forget. I really liked the synth work featured in the song, as well as the autotune that complemented it. The line “I try, I try, I try” hits hard, but I am loving how ROSÉ’s vocals carry it. two years come together very nicely, and I liked how it also reminds me of Taylor Swift’s work as well. (9/10)
5. drinks or coffee – Changing up the momentum on the album is drinks or coffee. Following a bunch of reflective or emotional tracks, drinks or coffee is more upbeat and features R&B influences. It is a nice song, but I wish there was a bit more to it (especially when compared to the other songs around it). (8/10)
7. gameboy – With an acoustic guitar loop and soft EDM in tow, gameboy brings us back to the topic of heartbreak. The lyrics see ROSÉ mature, realising that her lover was only there to cause heartbreak. I really enjoyed the melodies, ROSÉ’s vocal work and the rhythmic background. The “break” repetition in the background was also a cool element (though it hones in on the song’s message, making it bittersweet). (8.5/10)
8. stay a little longer – We return to emotional ballad territory with stay a little longer. ROSÉ’s vocals are amazing and breathtaking – the emotions are overflowing in this one. The instrumental features a perfectly paced piano and features some soulful rock towards the end to make stay a little longer hit a little harder. This track is not one to miss. (10/10)
9. not the same – ROSÉ continues the acoustic sound in not the same. The guitar plucking is quite prolific and this gives not the same momentum. What I liked about this track is that, at its peak, ROSÉ’s vocals soar, and this left quite an impression on me. The ‘shut down’ ending was a bit random, but upon reflection, it was a creative way to end the drive behind the track. (9/10)
10. call it the end– call it the end has one of the most memorable lines off the album – “Do we have a future? Or should I call it the end?”. The way ROSÉ sings this line and the piano instrumentation in the background just make this one line stand out and be impactful. The rest of the song is quite stunning in itself for all the same reasons, but there is something about that one line that really stuck out at me. (10/10)
11. too bad for us – too bad for us is another amazingly breathtaking track with amazing vocals from the soloist. The backdrop of this track is a stunning rock production that, when it peaks, creates an epic atmosphere. ROSÉ’s vocals grow alongside, and so too bad for us is quite an impressive number. There is also something familiar with the melodies about the track – I can’t pinpoint this familiarity (perhaps it is the classic nature of it), but I know that I like it. (9/10)
12. dance all night – dance all night remains in acoustic territory, but as a mid-tempo track. dance all night ends the album’s storytelling by expressing a message of coming to terms with heartbreak and moving on – the final stage of the album’s story that began with wishes for love, falling in love and then heartbreak from love. I liked the chill vibe of this song and enjoyed the brightness ROSÉ brought to dance all night, complementing its message. (8/10)
It’s been a while since we’ve heard from CNBLUE, so it’s great to see them come back to the KPOP scene. The veteran second-generation band’s last comeback was with A Sleepless Night in 2024, the lead track from their 10th mini-album, X. Earlier this week, the band returned with their third studio album, 3LOGY, and the lead single Killer Joy.
While Killer Joy is no I’m A Loner (for those who don’t know, this is one of CNBLUE’s biggest hits ever), I enjoyed the track for its lively, upbeat pop-rock. This is quite refreshing for CNBLUE as far as I can remember. I like how electrifying the guitar work is in Killer Joy, while the drums help bolster the track. JUNG YONGHWA’s vocals are solid, as always. I also liked the chanted bits of the song, which work well in the pop-rock environment. It was great to also hear the other members, KANG MINHYUK and LEE JUNGSHIN, during the performance of Killer Joy. While the melodies were great, I thought they could have been a bit sharper. But honestly, that is only a minor thing to work on in Killer Joy. I emerged from the song extremely satisfied and have been going back for more of Killer Joy.
In the description box on YouTube, FNC Entertainment has provided this summary of the music video: Beginning in the intimate setting of a rehearsal room, the music video for ‘Killer Joy’ depicts the gradual expansion of CNBLUE’s music, eventually connecting with the audience and transforming into a single, shared stage. Their powerful energy and immersive band performance create an intense sense of liberation. It doesn’t get more straightforward than that. I liked the montage of the members performing their songs and instruments in leather jackets between the first chorus and the second verse. It was brief, but a cool montage.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
MONSTA X is nominated for Best ‘Return to Stage’ in the 2025 KPOPREVIEWED Awards. Support MONSTA X by voting for them today via the link here.
JOOHONEY (aka JOOHEON) of MONSTA X kicks off the year with his first solo comeback since his 2023 debut with Freedom and the mini-album Lights. And he comes in swinging with his new single Sting featuring legendary boxer Muhammad Ali (through an infamous audio clip at the start of the song). In the lead-up to the release of his second solo mini-album, 光 (Insanity), he also pre-released the single Push, featuring labelmate REI from IVE.
Hip-hop tracks aren’t my usual preference in KPOP, and STING leans heavily into the genre, which works against it for me. That said, I appreciated the intensity that JOOHONEY aims to exude in the song. His rapping, though shouty at times, had good flow and convincingly delivers STING‘s aggressive tone, supported by abrasive synth work in the instrumental. Ultimately, though, my issue with STING goes beyond genre bias. I expected more from STING‘s chorus. The centrepiece, meant to be the hookiest part of a song, relies on a flute-like synth that doesn’t fill out the background as well as it should have, and JOOHONEY’s repetition of Muhammad Ali’s infamous line “Float like a butterfly, sting like a bee“. As such, I felt the chorus was uneventful and unimaginative. especially since others have been doing a similar thing with their chorus (though better). Elsewhere, the verses and bridge flew by, leaving little impression beyond the aggressiveness mentioned earlier.
The music video sees JOOHONEY channel the aggressive, intense nature of STING into the visual media of the comeback. We see JOOHONEY deliver the song with some head nodding, feeling the song’s vibes. We see him perform some choreography with the dancers. Honestly, it isn’t bad. But the most impressive parts of the video don’t involve him. Rather, it involves the bee that is the subject of the song – the CGI butterfly turning into a bee, the massive bee that sits behind the rapper at one point, and the bee that JOOHONEY spits out at high speed, enough to break the lens.
The choreography for this comeback is exactly how you imagine in it. Just as the music video does, the performance for STING portrays an aggressive, fierce side of JOOHONEY. I don’t think it is the moves, though. I actually put it down to his stage presence, which really leaves an impression as he performs the song, with the dancers helping fill any gaps along the way.
Song – 7/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 7.2/10
Support your favourite artists, songs and performances of 2025 in the 2025 KPOPREVIEWED Awards today by casting your vote via this link.
I am officially back reviewing new music releases, and there is no better way to start the year than with APINK’s latest comeback, Love Me More, which celebrates their 15th anniversary. The single is featured on their 11th mini-album, RE: LOVE, which officially dropped today (5 January 2026). This is their first comeback in almost 2 years, following D N D and the mini-album SELF in 2023.
Love Me More is a pleasant dance-pop track that evokes nostalgia. My first impression of the song was that it felt very much quintessential APINK – sweet and soft, whilst also mature and fitting for a group that has been around for 15 years! Instrumentally, Love Me More was quite nice. I appreciated that the new jack swing elements in the background offset the song’s delicate side. I also really liked the concentration in the bridge, which added a little edge to the track without completely changing the song or messing with the nostalgia of the music. As for APINK’s vocals, I enjoyed how they carried the chorus’s melodies and hooks. There is something about EUNJI, NAMJOO and BOMI’s vocals in the choruses that just elevates the song. Said melodies and hooks were also dreamy and catchy, and this has had me coming back for more. Overall, Love Me More is a nice release that shows that APINK still has it, even after 15 years. Congratulations to the group for reaching such a significant and rare milestone.
Similar to the song, the music video for this comeback is pleasant and inviting to watch. The video opens up with EUNJI digging a hole in the ground and sowing a seed. From there, cold days have developed and the land where the hole was dug been covered with snow. However, over time, that seed had grown into a tree, and by the end of the video, cherry blossoms had appeared, signalling brighter and warmer days ahead. If you are unaware, cherry blossoms are a hallmark of Spring in South Korea. The tree might also have a double meaning, as it can represent their careers: the members put in the hard work initially to grow, and they are now at a stage where they can comfortably enjoy the fruits of their labour. One thing I enjoyed about the video is that, regardless of the season or conditions APINK find themselves in, their presence is warm and comforting enough to make whatever feel the same.
The dance during the post-chorus hook (i.e., the choreography alongside the ‘Love Me More’ repetition) is also reminiscent of APINK’s past choreographies. I liked how this nostalgic theme continues throughout the entire comeback. As for the rest of the routine, it looks charming and graceful. The bridge routine also looks very cool, whilst also fitting APINK’s aesthetics.
Song – 9/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.8/10
IRENE is nominated for Best New Female Soloist, while Red Velvet – IRENE & SEULGI’s TILT is nominated for Best Dance Performance (Female Group), in the 2025 KPOPREVIEWED Awards. Support IRENE and TILT by casting your vote today by clicking the link here.
Confession time: I almost forgot to review IRENE’s debut mini-album, Like a Flower, in my pursuit to finish reviewing the 2024 albums I still haven’t reviewed (status update: there are only two more left after this one). But luckily, I remembered in time, and here we are. Like a Flower (the mini-album) was released at the end of November 2024 and features a title track of the same name. Another 7 songs are featured on the mini-album, including two special tracks (though I am not sure why they were considered ‘special’).
While some tracks did stick out to me even after a year, I didn’t remember Like a Flower as a strong mini-album with other great tracks, so much so that it’s a recommended one from me. More recently, IRENE regrouped fellow Red Velvet member SEULGI to reform the subunit Red Velvet – IRENE & SEULGI and released TILT.
2. Summer Rain – As a pop ballad, Summer Rain has me captivated with her nasally vocals and dreamy synth work. It was honestly hard for me to forget this side track even after a year since its release. Her ad-libs and the instrumental, as a whole, were just amazing. The melodies bring out that swaying motion that I have associated with good ballads. I also liked the addition of summer rain sounds at the start and end of the song, which gave the song a special touch. (10/10)
3. Calling Me Back – Calling Me Back sees IRENE venture into R&B territory with her vocals, and a powerful instrumental with futuristic influences, dreamy synths and heavy bass. This is a strong combination that leaves quite an impression. I really liked how IRENE pushed herself vocally in Calling Me Back, particularly in the choruses, which made the song very engaging. It was another song that was hard to skip. (10/10)
4. Strawberry Silhouette– Some people have said that Strawberry Silhouette could have been an alternative title track. And honestly, I agree with them. Strawberry Silhouette is a mid-tempo R&B dance track with a hefty instrumental, and IRENE delivers mature, sensual vibes with her breathy vocals. I actually quite liked it when the song focused on the instrumental heaviness and would have liked a longer rap sequence. Altogether, Strawberry Silhouette is quite impressive and memorable, whereas Like a Flower was not. (10/10)
5. Start Line – Start Line is a pop band track that combines a fulfilling band sound with synth bass to produce a very bright number. The same can be said about IRENE’s vocals. I did enjoy the energy of the chorus. It was fantastic, especially after the string of ballads and R&B numbers. If you also cannot tell from Start Line’s tone, the lyrics were also quite uplifting, and I recommend you check them out. (9/10)
6. Winter Wish – Winter Wish is a Christmas track, disguised as a pop dance track. Aside from the lyrics, Winter Wish also features the classic Christmas bells to bring about the festive sound. Aside from that, it was a simple and straightforward dance track, with IRENE’s vocals leaving a smile on your face. At least, that is what she did through the song to me. (8/10)
7. Ka-Ching (Special Track) – Ka-Ching is another dance pop track. I liked how it started off like an old-timey track and developed into a fun dance track whilst still maintaining that slight retro vibe. The whole track comes off as rather cute, and that energy is quite infectious. (8/10)
8. I Feel Pretty (Special Track) – Described as an acoustic pop song, IRENE closes the album with I Feel Pretty. Her vocals were effortless and lovely in this track. Those strings in the background were gorgeous and worked well with the lyrics, which were about falling in love with yourself. (8/10)
TWICE is nominated for Best Female Group and Best Stage Presence in the 2025 KPOPREVIEWED Awards. Click here to support TWICE by casting your vote today via the link here.
Towards the end of 2024, TWICE made a comeback with their 14th mini-album, titled STRATEGY, which was also the title of the lead single of the mini-album. That song, in particular, featured Megan Thee Stallion. My thoughts on the song and collaboration can be found below. STRATEGY (the mini-album) featured 7 tracks, including the aforementioned title track, a TWICE-only version of the title track, and 5 additional songs. Thoughts on the rest of the mini-album are below as well, but STRATEGY was another strong mini-album from TWICE.
More recently, in 2025, TWICE has gone on to release their fourth studio album, THIS IS FOR (featuring the title track of the same name), and a fifth studio album to commemorate their 10-year-long career, Ten: The Story Goes On (featuring the title track ME+YOU).
2. Kiss My Troubles Away – The lively all-English Kiss My Troubles Away was such an upbeat pop track. I really liked it. The instrumental itself is already quite bouncy, but I liked how their vocals made the song even more dynamic. Their vocals also added a pleasant touch to the song, making it even more enjoyable. Also, there were catchy melodies and the way the song’s title was sung was really nicely done. (9/10)
3. Like It Like It –Like It Like It sees TWICE delve further into synth-pop. I found myself digging Like It Like It a fair bit after its release, thus I am giving it the title of best track on this mini-album. I liked the depth of the instrumentation and the percussive elements. The Y2K vibes from the instrumentation were also quite cool. The vocal work in Like It Like It was also amazing, particularly during the pre-choruses, the middle part of the choruses, and during the bridge. The rapping in the bridge was also quite good, and I enjoyed how the autotune added dimension to the song. (10/10)
4. Sweetest Obsession – Sweetest Obsession has TWICE combining the bright and bubblegum side of futuristic pop with trap elements. At its peak, instrumentally, Sweetest Obsession was rather cute and refreshing. I can’t say the same about the vocal work, as it felt a little flat throughout the song, and I wish this aspect had been improved to make Sweetest Obsession hit harder. (7/10)
5. Keeper – TWICE makes their case for why we should have TWICE by our sides in Keeper. This is done over a dreamy synth-pop instrumental that sounds nice. The same thing can be said about their vocals, which bring an appreciative smoothness to the song. (8/10)
6. Magical – With the mini-album released at the end of the year, a nostalgic 80s synth-pop track that gives off Winter and Christmas vibes is definitely called for. To me, the all-English Magical is the mini-album’s underrated track, featuring drive from the instrumentation and members’ vocal work. (9/10)
7. Strategy – This is the TWICE-only version of the title track, STRATEGY. See my review for STRATEGY above.
CRAVITY is nominated for Most Underrated Artist, while SET NET G0? is nominated for Most Underrated Song, in the 2025 KPOPREVIEWED Awards. Their DARE TO CRAVE studio album has also been nominated for Best Album of 2025. Support CRAVITY, their song and album today by casting your vote via the link here.
CRAVITY returned to the KPOP scene in December 2024 with their first single album since their debut. Titled FIND THE ORBIT, the single album consists of just 3 songs, including the title track Now or Never. This single album was also CRAVITY’s first release since winning the show Road to Kingdom: Ace of Ace competition show. FIND THE ORBIT is a strong single album, with high-quality and enjoyable songs from CRAVITY. While it does play it safe, the songs are well done and have been ranked highly by me.
Since FIND THE ORBIT, CRAVITY has made a comeback two times: their 3rd studio album DARE TO CRAVE and the title track SET NET G0? in June 2025, and a repackaged version of the album, DARE TO CRAVE: Epilogue and Lemonade Fever in November 2025.
2. Secret – CRAVITY goes for disco pop in Secret. Their take on the genre is quite stylish and cool. There is a grooviness to Secret’s rhythm, which I enjoyed. I also appreciated the fresh vocals and rapping throughout the song, as well as the autotune and ad-libs throughout. Some bass would have taken the song to the next level, but Secret is already quite a strong song as is. (9/10)
3. Horizon – It was subtle, but I liked the way that Horizon soared. It would have been nice had it been more upfront, but it was still one of Horizon’s strengths. The instrumental was very dreamy yet dynamic, and the members’ vocals and rapping had an uplifting, encouraging tone that I enjoyed without even looking up the lyrics. (9/10)
Welcome to 2026 and Happy New Year to all! I am still reviewing 2024 albums (but the end of the pile is near), and next up is TAEYEON’s 6th mini-album, Letter To Myself. This particular mini-album dropped at the end of November 2024 and features a total of 6 songs (including the title track that shares the same name as the mini-album). Letter To Myself sets out to do exactly what every TAEYEON album release does: capture her stunning, engaging vocals through high-quality, beautiful songs. And that is precisely what Letter To Myself does. Of course, there is a standout song amongst the impressive or likeable tracks. Nothing is worth skipping on the mini-album.
Most recently, TAEYEON released Panorama, the lead single from her first Korean compilation album, released to commemorate 10 years as a solo artist, Panorama: The Best of Taeyeon. It features every single title track since her solo debut in 2017 and then some.
2. Hot Mess – Hot Mess was a strong track. I was captivated by TAEYEON’s vocals. From the engaging vocals in the verses to the descending melody to the unexpected vocal riff that works extremely well, everything that TAEYEON did was amazing in Hot Mess. Instrumentally, I think Hot Mess could have been stronger. The guitar work was nice, but I think it could have been rounded better. We do get a hint of electric guitar in the background, but I wish there were more of it to round out the song, especially towards the end. (9/10)
3. Blue Eyes – For Blue Eyes, we hear TAEYEON venture into R&B genre with some nice guitar work and trap elements to form its instrumental. Combined with TAEYEON’s vocals, you get a sweet and pleasant track that is quite likeable. (8/10)
4. Strangers – For Strangers, whilst it remains in R&B territory, I find the instrumental to be aligned with soft coffee shop vibes. While there is nothing wrong with such vibes, Strangers does have just enough oomph to the instrumental to keep it from being too dull. There is also a similar softness to TAEYEON’s vocals. Altogether, another enjoyable track. (8/10)
5. Blur – Without a doubt, Blur is the mini-album’s strongest track in a vocal sense. The way TAEYEON’s vocals build throughout the track is a journey, and her high notes at the end are impressive. Consider me blown away. I also liked how the instrumental complements all of her vocals (from beginning to end) throughout the track, despite being very consistent from the start. (10/10)
6. Disaster – Disaster brings some pop rock back into the mix. There also seems to be a punk-ish influence during the bridge, and I enjoyed the track’s rush of energy, thanks to the pop-rock instrumental. Again, Disaster is enhanced thanks to TAEYEON’s vocals. I love her mini buildups in the pre-choruses and the way she ended the track. (9/10)
The final review for 2025 is an album review for TWS’ LAST BELL, the group’s first single album. This single album dropped at the end of November 2024, alongside the music video for Last Festival (the single’s title track).
LAST BELL impressively closed out a big year for TWS, which included their debut withplot twist and their first comeback, If I’m S, Can You Be My N?. There was no skippable song on the single album, with all songs being quite enjoyable. I highly recommend this single album for you, if you haven’t heard of it yet, want to get into a new group or find a new song, or just want to listen to some good music to end off 2025. More recently, TWS returned with two mini-albums this year – one featuring COUNTDOWN (which has been nominated for Best Dance Performance (Male Group) of 2025) and OVERDRIVE.
LAST BELL Album Cover
1. Highlight (너의이름) – Opening up this single album is Highlight, which is an upbeat synth-pop track with soft and sweet vocals from the members. I enjoyed the familiarity of the melodies in the choruses, as well as the warmth that the members add via their vocal work. Altogether, Highlight sounds like a pleasant dance number to round out the year with. (9/10)
3. Comma, (점대신쉼표를그려) – Comma, is quite a groovy track, thanks to the groovy bass guitar and percussive elements that make up the instrumental. This is already a great start for a fun and exciting song. But there was more to Comma, than just that. I really liked the bridge, where the funkiness concentrated and a slight retro influence came into play alongside the rapping. The smooth vocals throughout the track and the catchiness of the hook were also standout elements in Comma,. Definitely my pick for the best song on this single album. (10/10)
ATEEZ is nominated for Best Male Group, Best Stage Presence and Best Visuals in the 2025 KPOPREVIEWED Awards. Ice On My Teeth (Olive Alive Ver.) is nominated for Best Remixed Track, Lemon Drop is nominated for Best Music Video, while In Your Fantasy is nominated for Best Concept, Best Electronic Song and Best International Song by a Korean Artist (English). Support ATEEZ, Ice On My Teeth, Lemon Drop and In Your Fantasy by voting here today.
Part 2 of the GOLDEN HOUR series by ATEEZ is the next album to be reviewed. The group’s 11th mini-album to date was released in mid-November 2024 and features 6 tracks, including the title track Ice On My Teeth. Overall, this was a very strong mini-album from ATEEZ, with some standout songs in the second half. As such, I highly recommend you check out GOLDEN HOUR: Part.2.
Before GOLDEN HOUR: Part.2, ATEEZ released GOLDEN HOUR: Part.1 (led by the single WORK) in 2024. More recently, ATEEZ also returned with GOLDEN HOUR: Part.3 (featuring Lemon Drop) in June 2025, before re-releasing the mini-album in July 2025 as GOLDEN HOUR: Part.3‘In Your Fantasy Edition’ with the single In Your Fantasy leading the mini-album.
GOLDEN HOUR Part 2 Album Cover
1. DEEP DIVE – Up first is the hip-hop DEEP DIVE. The synth work is cool – I particularly liked the etching synths in the background of HONGJOONG’s rapping at the end of the song. However, I would have liked the song more had the beat gone a little harder. I like the autotune filtering of the vocals, which helped keep them and the song lowkey. This very much complements the message of being in a state of being held down (not by choice, but constantly to the point that they know how to adapt in such situations). (7.5/10)
2. Scene 1: Value – Scene 1: Value is a predominantly instrumental track that starts off with some creepy and haunting orchestral and accordion music, which felt perfect for the introduction to a haunted house. I also believe there was some humming alongside this (though it might be an instrument). In piecing together the elements of this comeback, I think this track is intended for the mansion location in ATEEZ’s Ice On My Teeth music video (see the music video below). But in true ATEEZ fashion, the latter half of the track swaps out the orchestra and humming for a faint sample of the violins used in Ice On My Teeth, pounding (but very satisfying beats), and the slightly rapped line of ‘Great minds think alike’.
4. Man on Fire – Whilst also lowkey, Man on Fire features some really cool bass beats, hollow percussion and twirling flutes to become one of the mini-album’s strongest contenders for memorable tracks. For the most part, this is what the verses mainly consist of. However, when it came to the choruses and the instrumental break, I liked how the other synths filled out the rest of the background, taking Man on Fire to a whole new level. Powerful vocals and dynamic rapping also help with this. These were also quite memorable. (10/10)
5. Selfish Waltz – I alluded earlier that there is more than one song for the most memorable track on the mini-album, and Selfish Waltz is the alternative contender. I find this a refreshing number, despite the song’s lyrics being about a toxic relationship. I really liked the R&B vibes that come at the end of the choruses – coming off the subtly groovy background, this aspect of Selfish Waltz hits hard and gives off such a mature vibe. With regard to that subtly groovy background, I really liked the trance-like setup and the layering of synths. Selfish Waltz also boasts strong vocals and rapping from the members. There was a lot to like in the song, and I liked it. (10/10)
6. Enough– Being a year after the album’s release, the most succinct way I found to describe Enough is ‘uplifting atmospheric rock’. There was an epic vibe to the song, which I thoroughly enjoyed. It was also a genuine surprise to find out that most of the song’s lyrics were in English (sans a few lines at the final rap sequence shared by HONGJOONG and MINGI). Wished they’d gone all the way on that aspect, but that doesn’t diminish the quality of Enough. I felt some vocals were drowned out at certain points, and I wished this had been corrected. But Enough was also another memorable song and effort from ATEEZ. (9/10)
SUNGJIN is nominated for Best New Male Soloist, with Check Pattern nominated for Best Ballad in the 2025 KPOPREVIEWED Awards. Support SUNGJIN and Check Pattern by voting today!
The next album up for review is SUNGJIN’s (from DAY6) debut studio album, 30. This album dropped in November 2024. The studio album features 10 tracks, including the title track, Check Pattern. For those who missed it, Check Pattern earned a 10/10 in my full review earlier this year (link below). I had high expectations that the album would be similar to it based on my listens back then when it was first dropped and throughout this year. And this review validates that expectation. 30 is definitely a fantastic album, filled with various kinds of ballads. SUNGJIN made sure most songs were engaging and captivating, either by his vocals or instrumentation.
In 2025, SUNGJIN regrouped with his fellow DAY6 members to release their fourth studio album, THE DECADE, to celebrate their 10-year career.
30 Album Cover
1. Covered In Love (동화속아이처럼) – Opening SUNGJIN’s debut studio album is Covered in Love, a nice and bright pop ballad that sounds very welcoming and warm. SUNGJIN’s vocals and the song’s melodies have such a pleasantness that helped make the song inviting to all. These also complement the fondness he expresses in the lyrics of love in his younger years. (9/10)
3. I Don’t Wanna Do Anything (아무것도안하고싶다) – I Don’t Wanna Do Anything is such a relatable song for me. The title basically says it all. SUNGJIN presents this indie pop ballad with effortless simplicity, without cutting any corners. I really liked the nasally tone he adopts throughout the track, and the instrumental was quite dreamy, up until the bridge, where the song picks up. I wish the final chorus had continued the momentum of the bridge rather than just returning to the original choruses we’d already heard. But what we got in the end was still very good. (9/10)
4. Nowhere You Are (어디에도없는널) – Nowhere You Are goes with laidback vibes in a rock ballad style track. While combining laidback vibes and a ballad can sound like a bore, the rock influences that come through and SUNGJIN’s raspy vocals make it engaging. For the former, I enjoyed the instrumental most when it was building upon itself. With regards to the latter, you can also hear the emotions behind SUNGJIN’s vocals and lyrics, which speak to remembering a former relationship in the present. (8/10)
5. as always (나무는결국겨울을견뎌낼거야) – as always is another rock ballad, but it is an amazing one. At its peak, the instrumental developed into an emotively powerful backing piece (with thanks to the electric guitar riffs in the background), taking as always to the next level. The same can be said about SUNGJIN’s vocals. For me, the pause in instrumentation was the best moment in the song. It was well placed to give the song a moment to consolidate what it had built up towards and give the final chorus a chance to be quite impactful. Both was delivered and gave as always a breathtaking moment. (10/10)
6. Wednesday Night – Wednesday Night was a short yet upbeat track. While I do appreciate the upbeat instrumentation and brightness that the track exudes, Wednesday Night was a bit of a blur for me. Apart from the noted points, I don’t remember too much from it. (7/10)
7. EASY – EASY is another short one, and it is also upbeat. But what makes EASY more likeable and memorable is the retro vibes in the rock track. These retro vibes remained throughout the song and, combined with SUNGJIN’s brighter vocals, helped make EASY quite an engaging track to tap my foot to. (9/10)
8. You Wake Me Up – You Make Me Up is another powerful ballad from SUNGJIN. Without a doubt, the power comes from SUNGJIN himself and the dynamic lines in the song. His raspy vocals just give You Make Me Up so much emotion and colour. The instrumentation was also a stunner, building alongside SUNGJIN’s powerful delivery. (10/10)
9. I Don’t Wanna Lose – If there is any song that really sells SUNGJIN’s vocals on this album, it would be I Don’t Wanna Lose. The raspiness that SUNGJIN uses to launch into the choruses and maintains in the rest of the centrepiece of the song was amazing. The pre-choruses see SUNGJIN stunningly build his vocals. The chanty bridge was also a highlight and felt just right for that moment. The rock ballad instrumentation also helped to heighten the appeal, emotions and SUNGJIN’s tone in the song. (10/10)
10. Memories – Closing out SUNGJIN’s debut studio album is the single Memories. It is another emotive ballad where SUNGJIN sings about coming to terms with the need to let go of an old relationship. His vocals deliver so much emotion in Memories – it is purely captivating to listen to. The organ and orchestral instruments really bring it all together to make it even more heart-wrenching. (9/10)
CHANYEOL’s debut mini-album is the furthest I’ll go back to review in this hyperfocus period on 2024 albums. The mini-album, titled BLACK OUT, was released in August 2024. It features the title track, Back Again, a pre-release single that shares the mini-album’s name, plus four additional songs. More on these songs below. But overall, BLACK OUT was a pleasant album from EXO’s main rapper.
More recently, CHANYEOL returned with his second Korean mini-album, UPSIDE DOWN, in August 2025 and a Japanese mini-album, HIBI, in October 2025. CHANYEOL will also be returning as part of the EXO lineup in 2026.
2. Hasta La Vista – I quite enjoyed Hasta La Vista’s laid-back and chilled tone. To me, it felt like a neat song to have on in the background on a drive down the coast, with the windows down and you taking in all of the fresh air. The band instrumentation was nice and pleasant, while CHANYEOL’s raspy vocals brought a cool vibe to the track. The melodies were both easygoing and easy on the ears. (8/10)
3. Ease Up – Ease Up is another chilled song, going with an alternative pop instrumental. I find the instrumental for this track a little dull compared to the preceding track. That being said, it still carries forward CHANYEOL’s raspy vocals and easy-on-the-ears melodies, which are always a highlight for me. I also liked the high-pitched echo that follows some of his vocals, which is a nice element in Ease Up. (8/10)
5. I’m On Your Side Too – CHANYEOL continues to pick up the energy on the mini-album with punk rock instrumentation in I’m On Your Side Too. It starts off soft but develops into an impactful track. I quite enjoyed the soft “I’m on your side too” line that kicks off the chorus, which contrasts nicely with the oomph he follows through in the rest of the chorus, as well as the punk rock instrumentation. The rapping was a nice addition, adding to the punk appeal of the song. (9/10)
6. Clover – For his last song, Clover takes us into R&B territory with lo-fi beats. This is quite a dreamy listen and was extremely pleasant from the get-go to the very end. The exact same can be said about CHANYEOL’s vocals – there is less raspiness to his singing in Clover, and dreamy and pleasant descriptions do come to mind. The melodies also have a wavy effect, which makes Clover more likeable. (8/10)
JIN is nominated for Best Male Soloist, with the Japanese version of Falling (ft. TAKA) is nominated for Best International Song by a Korean Artist (Japanese) in the 2025 KPOPREVIEWED Awards. Support JIN and Falling by voting today!
Over a year ago, JIN made his first solo comeback since his 2022 military enlistment with his first solo mini-album, HAPPY. It is finally time to review the mini-album and all the songs that are featured on it, including the pre-release I’ll Be There and the title track Running Wild (links below, as usual). Per my rating below, I am quite impressed with the entire mini-album, with half the songs on the mini-album earning a 10/10 rating from me. I will admit I am easy to satisfy, but JIN really blew me away with these tracks and HAPPY overall. A definite, highly recommended album from me.
Before HAPPY, JIN made his solo debut with the digital single The Astronaut. More recently, JIN made a quick solo comeback just 6 months after the release of this mini-album, the subject of this review, with his second mini-album ECHO and title track Don’t Say You Love Me.
3. Another Level – Throughout this year, I have been working to an ‘epic music’ playlist, which mainly consists of cinematic instrumentals or dramatic covers of songs. Upon relistening to Another Level for this post, this can easily fit into the scope of that playlist. The intensity and power of the rock instrumentation has a ‘keeps me on the edge of my seat’ vibe, and I appreciate that JIN gives it his all to keep up with the epic nature of the backing. I also like the calculated filtering of his vocals behind autotune, which just heightens the appeal of the song. (10/10)
4. Falling (네게닿을때까지) – I really enjoyed JIN’s vocals in Falling, especially the oomph he gives to the chorus. The rock instrumentation is straightforward and very pure, with the modern style really complementing JIN’s voice. A Japanese version of Falling was released shortly after the mini-album dropped, featuring TAKA (one of the song’s writers). For me, the Japanese version had a bit more impact, especially in the choruses, which is why I nominated it for Best International Song by a Korean Artist (Japanese) of 2025. But that doesn’t mean the Korean version is anything less. (10/10)
5. Heart on the Window (ft. WENDY of Red Velvet) – JIN moves us into a blend of acoustic and pop percussion territory with Heart on the Window. He also joins forces with WENDY, who, as we all know, is an amazing vocalist. JIN holds up well alongside WENDY – I did have a concern that he could have been outdone in his own song. But that didn’t occur. In fact, Heart on the Window did not disappoint. Their harmonies and the song’s melodies were beautiful. I did feel the song was rather short, and I felt JIN was only getting started by the time it wrapped up. (8/10)
6. I Will Come To You (그리움에) – Finishing up the mini-album is the ballad I Will Come To You. As a song written for fans by JIN himself, I recommend you check out the lyrics (and a translation, if Korean is not your native language). It was so lovely to read, and it put a smile on my face – I am sure fans find it a very warm hug from JIN. As for the ballad, it simply features JIN’s heartfelt vocals and a simple piano accompaniment. To me, this helped make I Will Come To You feel much more profound and made JIN sound much more present. (10/10)
KPOPREVIEWED 