Red Velvet’s IRENE made her comeback at the start of the week with her 1st studio album, Biggest Fan, and the title track of the same name. It serves as her first music release since the return of the subunit she is part of alongside fellow member SEULGI, and her solo debut in late 2024 with Like A Flower (the title of both her debut mini-album and title track).
What I really like about Biggest Fan is its dance-pop instrumental, which provides a funky, groovy backing for the track. The upbeat nature and vibrancy of the background helped make Biggest Fan feel bold and commanding, even if it wasn’t the intention. I enjoyed IRENE’s nasal tone, which is on full display throughout Biggest Fan. And the primary hook, “Lookin’ at you, Lookin’ at me“, while repetitive and could have been spruced up with a different set of lines in its second half, was catchy and earwormy – it’s the most memorable aspect of Biggest Fan. The thing holding me back about Biggest Fan is that I like the individual elements on their own. But when they come together, I don’t find the same level of engagement in the song. Potentially more interesting verses and a stronger first half of the chorus (i.e., the half of the centrepiece before the mentioned hook above) could help make Biggest Fan more engaging.
The music video sees IRENE exude confidence in her beautiful visuals. Everyone around her becomes her ‘biggest fan’ throughout the music video – from walking in public, the modelling world, to even on stage. I was also struck by her visuals in this video. In the end, she embraces her fans as she makes global headlines. I did notice that the headlines said she was making her solo debut through Biggest Fan, which was an interesting detail. One thing that struck me as I was watching the music video whilst writing this review was that I don’t think I have any reason to go back to it. Aside from what I mentioned above, there wasn’t much else to the video, nor was there much else for me to seek it out.
The performance was good. I really like the tutting-esque poses that IRENE and the dancers did during the aforementioned hook, as well as the overall brightness of everyone during the performance.
Song – 8/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 7.7/10
Making his solo debut last week was KANGMIN, who hails from VERIVERY. He is the first member of the group to release a solo album, with Free Falling as the lead single from his 1st solo single album of the same name. We last saw KANGMIN through VERIVERY’s RED (Beggin’) comeback from December 2025.
While it might be a little soon to say this, KANGMIN’s solo debut came and went quite quickly. And that is rather disappointing, as there are some good elements in Free Falling that make it a neat song. I like the bossa nova influence that features in the verses, and this leads well into the smooth R&B chorus. Interestingly, Free Falling also serves a side of drumstep in its chorus, which felt odd. But further listening to the song has helped warm me up to it – I have realised that it gives Free Falling a bit of a kick and energy that I have grown to appreciate. There are some things I think Free Falling could have done better. A transition between the initial chorus and the second verse would have been worthwhile. What we get feels more like a copy+paste situation between the two segments. I also wish there were more of KANGMIN’s personality or individualistic style in the song. His vocals complement both the bossa nova and R&B influences in Free Falling and, altogether, sound quite nice. But somehow his presence is lacking. I am not sure how else to describe this feeling.
According to the official description of Free Falling, the lyrics “refer to the point right before one can fully orient themselves in the air, as opposed to a fully uncontrolled fall. One may not be sure exactly where they’re headed in free fall, but they must move on nonetheless”. The latter sentence of this description is depicted throughout most of the music video. We see KANGMIN waking up in random locations, only to be wary of his surroundings and being prompted to run away from something we don’t actually see, constantly seeking a way to “move on”. The pattern repeats each time he awakens in an unknown territory. At one point, we see KANGMIN free-falling into the water, and even then, he is moving, signifying that, no matter the circumstances or unknowns, he remains in a constant state of motion to move on.
Just like the song, the performance has this smoothness that I quite liked. In contrast, however, I also really enjoyed the routine when the drumstep kicks in. The brief influence sees KANGMIN and the dancers bring in some small kicks, which gives Free Falling a relatively dynamic feel that felt just right within the context of the broader performance.
Song – 8.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8.3/10
It has been over a year since Stray Kids released their single album, Mixtape: dominATE. Despite being a big fan of Stray Kids (I acknowledge I give them a lot more attention than any other group), I have yet to review any tracks from their Mixtape: dominATE. As the one-year anniversary has just passed, now would be a timely moment to review the tracks on it. The lead single is the Korean version of their 2024 Japanese single, GIANT (which I have yet to review but will do later). Alongside GIANT are unit tracks – this post focuses on HAN and FELIX’s Truman. Links to the other unit tracks (as they are released) are below the music video.
Of the unit tracks on Mixtape: dominATE drew the least amount of attention from me, despite being quite striking in its own way. This is mainly because Truman draws heavily on hip-hop, which is not my go-to genre. I am not anti-all hip-hop songs; it is just that the very serious tone and dark intensity make it hard for me to enjoy Truman. I do appreciate these elements to some extent, as they infuse the song with character and lend it a striking atmosphere within the EDM background (relative to the other unit tracks on the single album). The soft opening over a jazzy-esque background was nice, before the EDM kicks in and the pair change up Truman completely (similar to the plot twist that featured in the movie The Truman Show – the lyrics of Truman also draw upon the same material). FELIX’s presence at the start of the song was very distinctive, and JISUNG’s dynamic rapping (particularly in the second verse of Truman) shows me that this pairing is not to be messed around with.
While the song didn’t draw much attention from me, the music video did quite the opposite. Amid the dark hip-hop profile and the serious/intense atmosphere created by the song, the music video did creep me out a bit. The reason for this is the hooded dancers/figures that both HAN and FELIX rap around. And while their presence is similar to that of other background figures/dancers in other Stray Kids videos, it is the close-ups where you see nothing but a black void that gets me. Apart from that, both HAN and FELIX have quite a commanding presence throughout the video, which I am sure fans of the duo will like.
Song – 7/10 Music Video – 7/10 Overall Rating – 7/10
TEN released his 2nd mini-album, STUNNER, led by the title track of the same name, just over a year ago. It is now time for its album review. STUNNER features a total of 7 songs, including the already-mentioned same-name title track, an English version of the title track, the pre-release BAMBOLA (which I haven’t reviewed yet, as of this post), and 4 side tracks. It is a very strong showing of TEN’s abilities, with each song being stunning in its own way. Continue on with the rest of the post to see my thoughts on each individual song, and let me know in the comments if you agree.
2. Enough For Me – Enough For Me is a smooth R&B pop track that sees TEN pitch himself boldly to his lover. TEN sounds super charismatic in this song, and I imagine this is exactly what the performance for Enough For Me will embody. The beat for this track is amazing (has me grooving along), while the lyrics are delivered in a manner that is extremely catchy and memorable. The slight dramatic turn at the bridge was very cool and enough flair to make Enough For Me a highlight. (10/10)
3. BAMBOLA (Pre-Release Track) – So, I completely missed the release of BAMBOLA last year. Not sure why, but I didn’t register its release for a very long while. Anyhow, BAMBOLA is a cool experimental dance track, featuring fast-paced synth work that comes off as edgy, very textured, and alluring at the same time. Each time I listen to BAMBOLA, I can’t help but be captivated by the unique, abstract vibe the song brings. TEN sounds great throughout the track and stands his ground over the background, but the instrumentation is the main attraction. I am still not sure if that is a great thing to say, but I am still into the track overall. (9.5/10)
4. Sweet As Sin – Sweet As Sin brings back the R&B genre, but mixes it with the hip-hop genre to create a completely different, bold yet sensual, atmosphere that would translate perfectly into quite a performance piece. I really liked the heft from the beats, and TEN sounds just as charismatic here as he did in the first track, but in a darker light. His ad-libs in the final chorus are very gratifying, and the preceding instrumental break was a highlight of the song. (9/10)
5. Waves – Next up is the atmospheric Waves, which brings together Afrobeats and reggaeton. I love how soft the beats are, which is why I described the song as atmospheric. Laid-back and chill also come to mind. TEN sounds really nice throughout the song, as well, complementing the aforementioned laid-back and chill vibes. (8/10)
6. Butterfly – The mini-album mellows out further with Butterfly, a ballad featuring beautiful piano work, dreamy synths and soaring strings, alongside TEN’s delicate and emotional vocals. I would have never expected this from TEN, but Butterfly is a beautiful song. An English version of Butterfly is available on YouTube. (8/10)
7. STUNNER (English Version) – See my review for STUNNER above.
It has been over a year since I reviewed a YENA release. The last being 2024’s NEMONEMO, though she did make a comeback last year with Being a Good Girl Hurts, which I have yet to review. More recently, she made her comeback with her 5th mini-album, Love Catcher, featuring the lead single Catch Catch, which has been doing the rounds on my social media.
Catch Catch takes me back to the cutesy, fun side of KPOP that I didn’t really love all that much back in the day. But in the current KPOP climate, it stands out with its earwormy hook, light-hearted and energetic vibes, and bright, hyper/electropop instrumentation. And all of this comes together to create a memorably fun track. There are also second-generation vibes emanating from the song, which is another aspect of Catch Catch that ‘takes me back’ and must be acknowledged. Of course, it is YENA who is the vector for such a song. She has a reputation for the cutesy charm, so it makes complete sense that she is the one who brings us Catch Catch, and I honestly cannot think of any other artist who would successfully nail Catch Catch like YENA has. The rapping in the bridge was a complete surprise, which shouldn’t be the case given her role as a rapper in IZ*ONE, but it’s been a while since I heard this delivery from her. The only thing holding back the song for me is the verses. They don’t have the same hold on me, compared to Catch Catch‘s centrepiece, and I wish there was something to the verses that does just that.
The music video sees YENA teasing and running away from some serious-looking people. After responding to a distress call from a friend and blowing up the serious people’s hideout in the desert, YENA is branded a ‘public enemy’ and hunted down. Along the way, she uses her bright, cute charms to ‘persuade others to ‘escape’, though she can be spotted miles away. But when all else fails, she chooses violence to bring down the serious crew. I love the fact that they had a muscular man don the yellow retro dress to play YENA during the fight scene – quite hilarious. I also enjoyed the rest of the retro concept, styling and patterns in this video, which all felt very complementary to the song.
YENA turns up the cute charms to make the performance super engaging and fun. It definitely comes naturally for YENA, and this alone makes her pretty unique in the current KPOP landscape. The main point of the performance is super fun and catchy, hence why it has become the Catch Catch trend.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
YUNA, the maknae (youngest member) of ITZY, is the group’s second member to go solo, following YEJI’s solo debut with Air last year. She made her solo debut earlier this week with the single Ice Cream and mini-album of the same name. This release also comes during the re-emergence of the group’s That’s A No No on the Korean music charts.
Ice Cream is another pleasant song. But unlike the other songs I recently mentioned as pleasant but not in a positive way, I do think Ice Cream does enough to earn a pleasant descriptor in a positive sense. It is the retro-esque, synth-based instrumentation that wins me over, striking a balance between lightness, upbeatness, and funkiness. YUNA also sounds very sweet, which is fitting for a song titled Ice Cream. The song’s melodies and hook have also been growing on me since its release at the start of the week, and it has actually evolved into quite an earwormy track. YUNA’s rap-speak sequence was actually the most surprising aspect of the track to do just that. The biggest weakness of Ice Cream is its repetitiveness. I noticed the first time around that after Ice Cream progressed past the first chorus, it no longer offered anything new or developed further. Instead, it just repeated everything that had been heard earlier, which is a bit disappointing. Glad it has grown on me. Otherwise, I don’t think Ice Cream would have attracted too much attention because of this.
Right from the start of the music video, I wondered whether there would be a falling scene in each of ITZY members’ solo debuts. Both YEJI and now YUNA fell and landed in very model-like poses, and if every other member did the same for their solo debuts, this would be quite fun. Anyhow, the video shows YUNA getting ready to become someone’s ice cream, as expressed in the chorus. I really like how they infused a melting concept into some of the imagery, which was rather cool (ha!). This really highlights the idea of YUNA and the dancers being ice cream. I liked the little stop-motion of the dancers chasing YUNA at the end of the video, and the music video does an amazing job showcasing YUNA’s visuals.
The performance has a mix of fun and sweet elements, both of which make the stages engaging to watch. YUNA’s stage presence was also notable, and I enjoyed the bouncy aspects of the routine. The rap-speak moments of the song are where the routine is most memorable for me.
Song – 8/10 Music Video – 9/10 Performance – 8/10 Overall Rating – 8.3/10
AB6IX made their comeback last week with the new single BOTTOMS UP and their 3rd studio album, SEVEN: CRIMSON HORIZON. It is their first since their 2025 STUPID comeback, which I apparently never reviewed (yes, somehow I managed to surprise myself with that realisation). Keep an eye out, as I will definitely return to review their last comeback. But for now, here are my thoughts on BOTTOMS UP.
BOTTOMS UP is a pleasant pop track. I enjoyed the mid-tempo, upbeat feel of BOTTOMS UP. And I enjoyed the extra bit of rock that comes through in the final chorus (I appreciate the funky affair it brings). Though I wouldn’t mind it if the rock dial was just turned up a nudge. The members’ vocals and rapping round out the song well, with the vocals in the pre-chorus being a particular favourite of mine in BOTTOMS UP. But while I liked the song, the pleasantness admittedly makes it feel forgettable. And as such, BOTTOMS UP just hasn’t been sticking with me as much. I worry that if I don’t write the review now, I might forget about the song’s existence entirely. It would have been nice if AB6IX had done a bit more with BOTTOMS UP by giving it more substance.
The song conveys a simple message: not to worry when life doesn’t work out and to enjoy the present. In the music video, we see AB6IX experience some inconveniences in life – when you run out of that treat in the fridge, you cook something inedible, you make a bigger mess when cleaning the original mess, the clothes shrink in the wash, you can’t find the right outfit, etc. But no matter the situation, AB6IX comes together to celebrate the present and forget those unfortunate inconveniences and mistakes. After all, as PARK WOO JIN raps in the song “Yesterday’s gone, and tomorrow hasn’t come. Just look ahead and live in the moment, I guess“.
Undoubtedly, BOTTOMS UP is a bright comeback. And this comes off strongly in the performance. From the stages I have watched for this comeback, the members look like they are having fun. And this grows exponentially as the performance progresses. I liked WOONG’s little ad-lib towards the end that the members have to follow – such techniques keep the performance engaging and fresh, even if the energy and vibes from the rest of the performance are already doing so.
Song – 7/10 Music Video – 8/10 Performance – 8.5/10 Overall Rating – 7.6/10
ICYMI – BTS made their grand, long-awaited return at the end of last week with the single SWIM and their 5th studio album, ARIRANG. Their last official release as a group, before going on hiatus due to mandatory military enlistments, was the single Take Two, released in 2023. Rest assured that, while it has taken me a couple of days to review the new track (I was out of town), I didn’t forget about it and checked it out upon its release. It is pretty hard to miss BTS’ comeback, especially since it was so highly anticipated by many (myself included).
While SWIM features the familiar vocals and rapping of BTS (more on this later on), I would best describe the alternative pop song as a fairly pleasant release. While ‘pleasant’ is commonly a positive descriptor, I have previously used it in a manner that isn’t as positive, and I think SWIM falls into this grouping – ‘pleasant’ in the context of SWIM is neutral and beige. The synth work in the instrumental was pretty lacklustre and didn’t do much to help make the song memorable. I think its intent was to be atmospheric, and at times it definitely achieved that. But as a whole piece, it just doesn’t hit the mark. Nor was there much of a strong hook. The repetition of the song’s title does a bit of work, but it is best described as beige. However, there are some good things out of SWIM. I did enjoy the song’s more melodic touch, with the flow mimicking the sound of peaceful crashing waves. And I enjoyed the raspy, husky vocals throughout the song. Altogether, it was nice to hear BTS again after a long time, but SWIM was neither the track nor the style I was expecting for their grand return.
Most of the action in the music video was by the female lead, who I believe was holding herself back and unable to get past life’s obstacles (i.e., being stuck on a boat, the waves). But with the help of BTS (through some captaining and sailoring), she navigates through the waves and takes command of her journey forward. My take on the video is based on SOOMPI’s interpretation of SWIM‘s lyrics, which was reported in this article. I honestly wished we saw more of the BTS members throughout the video, given its is their big comeback. But it was still a nice video nonetheless.
The performance accentuates the song’s smoothness. There isn’t much else to say about the choreography, given that SWIM isn’t a performance-based song.
Song – 7/10 Music Video – 9/10 Performance – 7/10 Overall Rating – 7.6/10
It has been a year since Stray Kids released their single album, Mixtape: dominATE. But despite being a big fan of Stray Kids (I acknowledge I give them a lot more attention than any other group), I have yet to review any tracks from their Mixtape: dominATE. As the one-year anniversary is tomorrow, now would be a timely moment to begin reviewing the tracks on the mixtape. The lead single is the Korean version of their 2024 Japanese single GIANT (which I have yet to review, but will do later this month). Alongside GIANT are unit tracks, with this post focusing on CHANGBIN and I.N’s Burnin’ Tires. Links to the reviews of the other unit tracks (as they are released) are below the music video.
Burnin’ Tires earned a nomination and emerged as the winner for Best Electronic Song in the 2025 KPOPREVIEWED Awards. And I am here to tell you why. Burnin’ Tires blends punk rock, synths, and rap into a super dynamic, fast-paced track. The resultant mix definitely drives (ha!) the song forward and heightens the excitement as the song progresses. That electric guitar that comes through at the end was undoubtedly super cool and just feels perfect at the end of the song that gets your adrenaline pumping. Both CHANGBIN’s and I.N’s delivery of Burnin’ Tires gives the song some grittiness and texture as the instrumental literally zooms ahead. Their delivery is also lively and energetic, which adds to the dynamic and excitement already mentioned. Their chemistry also gives Burnin’ Tires a fun edge, as well. I must also commend CHANGBIN’s rapping throughout the song, super dynamic and intense – earning him a nomination for Best Rap Performance in the 2025 KPOPREVIEWED Awards. To me, Burnin’ Tires was the standout track from the mixtape and has remained so even after a year.
Keeping to the fast-paced nature, the pair compete against each other (and a bunch of other people) after discovering a competition for 10 quintillion won. The pair race to the goal, but this is reimagined as a virtual road race, a fight scene, and then a dance battle. They eventually win (as shown in the post-ending scene), with the pair earning a speeding ticket along the way. I also liked the inclusion of parkour scenes and the teasing scenes between the pair.
With such an upbeat and dynamic track, it makes sense for this unit track to have some choreography. While the stage does involve both CHANGBIN and I.N running around (makes perfect sense), they do get into a motorcycle formation with the dancers and pull off some dance moves alongside the electric guitar at the end. I also enjoyed the little skit they have at the end of their performance – it adds to the fun and playful energy.
Song – 10/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9.5/10
To avoid another year-long delay in reviewing P1Harmony’s new comeback, I have decided to review it as soon as possible. Last week, the group returned with their 9th mini-album, UNIQUE, and the title track of the same name.
Right off the bat, P1Harmony does not hold back in UNIQUE. I enjoyed the boldness and power behind the track. As the initial song off their mini-album, UNIQUE definitely commands attention and is full of intensity. The approach suits the Brazilian phonk/EDM combination quite well (at least based on my exposure to it) and showcases a more serious side of P1Harmony that we are not just used to. I can totally understand why UNIQUE might be a little overwhelming to some. But in my opinion, UNIQUE holds up well. However, by being bold and through the approach undertaken, some aspects were lost in the shuffle. UNIQUE doesn’t have much of a melody or hook to remember it by. It may be bombastic, but there isn’t really anything aside from the instrumental that gives UNIQUE, well, its uniqueness. There is a chorus, and it definitely has substance thanks to the instrumentation. But when you really dig into it, you realise it is very much empty and just heavy. It is an odd predicament.
The whole music video paints a very vivid picture of why P1Harmony is unique. The video’s darker aesthetic was quite cool and edgy, and the visual effects were awesome. That whole montage of the members’ solo shots from the 2:40 mark was jaw-dropping, while the transitions between JIUNG, SOUL and JONGSEOB just after the first chorus were so smooth. It is a short song and thus video, but there was a fair bit going on, based on what I have mentioned, that it doesn’t feel short.
The performance is amazing. The members looked super cool on stage, and their serious demeanour as they perform oozes so much charisma. Their execution of the chorus routine is my favourite part, with the centre member doing a slightly different set of moves from the other members. The contrast is subtle, but very impactful.
Song – 7/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8/10
Xdinary Heroes’ 6th mini-album, Beautiful Mind, is the next up for review. Released over a year ago, the mini-album consists of 7 songs in total – one of which is the title track Beautiful Life. This follows on from their last mini-album, LIVE and FALL, which is led by the track Night Before The End.
Xdinary Heroes’ self-produced albums have emerged as thorough, high-quality releases that showcase their musical talents. Beautiful Mind is another example of just this, with some songs on this album confirming their place in the industry. Some of their side tracks have become staples on my personal playlists, and this mini-album definitely has a few of them. While it didn’t leave the same impression as their 1st studio album, Beautiful Mind is definitely up there. Continue on reading to find out my thoughts on this mini-album.
Beautiful Mind Album Cover
1. FIGHT ME – Xdinary Heroes begins the mini album with an awesomely intense alternative metal rock track. I really liked the highlights of electric guitar in the background and was blown away by how it intensifies in the final moments of the track. The drumming in this track serves as a powerful foundation, keeping everything tight. Powerful vocals make their mark in the track as well, with this being the reason why the atmospheric bridge was the highlight of FIGHT ME. JOOYEON’s powerful high note in the final chorus was spectacular. (9/10)
3. more than i like – more than i like is ‘relatively’ more mellow compared to the other tracks on the mini album, with the band expressing the message of thanks to someone they love. But this does not mean Xdinary Heroes hold back their rock sound. Instead, it is another intense rock number, with cool synths, interesting effects on the ends of some lines, and hard-hitting drum beats that intensify the track. (8/10)
4. Diamond– Despite the unsuspecting title, this track is probably not for the faint of heart. As you get further and further into Diamond, there is no doubt that the members really put in a lot for this track. All-English lyrics, explosive instrumentals (thanks to the fast tempo drumming), cool synths, peak intensity, solid vocals and an impressive ender from JOOYEON. I won’t tell you what that ending is, as it is something you need to discover for yourself. (10/10)
5. Supernatural – After Diamond, the ballad Supernatural brings much-appreciated relief by slowing the tempo and intensity. You can hear the emotions behind the members’ vocals and their instrument playing. I do like the atmospheric approach of the background, which goes well with the song’s lyrics about the recognition and acceptance of love. (8/10)
6. George the Lobster – George the Lobster, as random as the title may seem, is actually inspired by a lobster named George, who was estimated to be 140 years old when he was caught in the late 00s in NYC (he was released back into the wild shortly after capture). The song also returns to the mini album back to upbeat territory with a straight forward rock number, with a super awesome electric guitar solo at the end. There is also a hint of funkiness to the background. The pre-chorus is rather unexpected, going in a completely different direction to the rest of the song. It stands out and I quite enjoyed the sudden switch. The softer approach to begin the second chorus was also a cool choice. (8.5/10)
7. BBB (Bitter But Better) – I really enjoyed the anthem chorus in this one. It’s catchy and super memorable. BBB also aims high and scores with its really pure and bright rock instrumentation. There is also another guitar solo from JUHAN at the end, which I really enjoyed. It ends the track and mini album on such a cool and electrifying note. (9/10)
Overall Album Rating – 8.8/10
Xdinary Heroes’ teaser image for Beautiful Mind.
ICYMI – Congratulations to Xdinary Heroes, who were announced as the winners for Best Band Performance with Beautiful Life in the 2025 KPOPREVIEWED Awards. They were also nominated in some other categories. Click here to find out who else won in the 2025 KPOPREVIEWED Awards.
KickFlip will be making a comeback early next month with the release of their next mini-album, My First Kick (with one member, AMARU, on hiatus for health reasons). Ahead of that release, the group returned earlier this week with the pre-release track, Twenty. It is the group’s first album release since their 3rd mini-album, My First Flip, led by the single My First Love Song in September last year. KickFlip also released a digital single album, From KickFlip, To WeFlip, to coincide with their 1st anniversary earlier this year.
Twenty kicks right into gear, bursting with energy from the very first second, with its rock energy. I really enjoyed the propulsion and blastfulness that the rock instrumental brings to the song. The guitar work was definitely admirable and gratifyingly intense, while the percussion added great textures and moments to the song. Altogether, Twenty‘s instrumental creates a very powerful atmosphere. And it alone makes Twenty quite memorable and fulfils a constant craving I have for rock music. Both KickFlip’s vocals and rapping in Twenty sound good, and I appreciate that they can be heard over the powerful rock instrumentation (some songs don’t do this as well, creating an unbalanced song). The wavy melodies, particularly in the chorus, also felt very memorable. Similarly, the way everything intensified in the final chorus, with the instrumentation and vocals, ends the track on such a strong, positive note. The letdown in Twenty was its bridge. It was nice and pleasant, but it felt a little generic amid everything else going on in the song. But that was honestly a brief moment, and so it is a minor critique of an otherwise bold and great song.
The music video reminded me of TWS’ hey! hey! from 2024, with the biggest difference being the unfortunate rejection that DONGHWA receives at the start. This sparks a road trip amongst the members, who do face some problems along the way, like the breakdown of their van (leading them to sleep directly on the road – maybe they shouldn’t have taken such an empty road). They end up hitchhiking successfully, even though the driver almost left most of the members behind in the beginning. From then on, the members have a successful rest of the trip, stumbling across the beach and finding their way onto a boat, where a humpback whale crashes into one of their group shots. In a post-credit scene, we see one of the members find a post-it note with the message “Whale, I miss you” on it. This message links back to the song, which is about getting a second chance to confess one’s love next time around, with the post-it note giving hope that that second chance can come again.
I highly recommend you check out the stage performances for this track. Their stable vocals are one aspect I was amazed by, especially given such upbeat choreography. As for the routine, I really enjoyed it. Nothing necessarily stood out on its own, but I liked how the routine complemented the track’s energy and melodies.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
KARD is at a point in their careers where the members are exploring solo activities, alongside group activities. Their last group comeback was last year’s Touch. Since then, BM has continued solo activities with Freak (ft. B.I) — he made his solo debut in 2021 with Broken Me. And as of last month, JIWOO made her solo debut with Home Sweet Home and her debut mini-album, (EX)IST.
For JIWOO, I personally associate her with R&B, and hearing that Home Sweet Home taps into that genre makes perfect sense. Her husky vocals and rapping are on full display, while the song’s moody atmosphere becomes quite stilling. The hefty, pulsing yet sparse beat that dominates the background creates an alluring tension that builds into a promising crescendo. But the anti-drop chorus robs us of what could have been an awesome chorus. The same hefty, pulsing yet sparse beat returns, and, combined with the song’s lacklustre repetition of the title, Home Sweet Home slips into neutral drive. And with the sparse beat being a constant feature of the song, the track becomes quite forgettable and, over time, repetitive. The saving grace of the chorus is JIWOO’s charisma in the second half of the centrepiece. And the saving grace of Home Sweet Home overall is the instrumental break – it continues the alluring tension mentioned before, but does so in a slightly different manner than the rest of Home Sweet Home (which is much appreciated).
If you haven’t looked into Home Sweet Home‘s lyrics yet, you will find they are about inviting someone over for some sensual activities. And the music video definitely delivers on mature shots of JIWOO. Nothing explicit, but the imagery of JIWOO definitely embodies some of the descriptors I have used for the song – charismatic, alluring. She looks damn good throughout the video. The music video is also quite minimalist, drawing on the song’s spareness. The best part of the video coincides with the instrumental break, when we are given more and treated to the sexual chemistry between JIWOO and the dancer. It was brief, but definitely memorable.
There has been little promotion for JIWOO’s solo debut, but she did perform the track at the Taipei stop of their Drift tour (some fancams are available). There isn’t much of a routine until the end, beginning with the dance break, when JIWOO bring forth a sensual vibe to her performance. Between this and the dance break in the music video, I think there is enough to give a performance rating.
Song – 7/10 Music Video – 7/10 Performance – 7/10 Overall Rating – 7/10
P1Harmony is due to make their comeback later this week with Unique (the title of both the lead single and the group’s 9th mini album). But before that, I think it is time I get around to reviewing their May 2025 comeback track, DUH!, which was featured on their 8th mini album of the same name (yet to be reviewed, but this song review will make way for that post). Before that was SAD SONG (title of both lead single and their 7th mini-album).
While it has taken me 10 months to review the track, DUH! was quite a grower for me. The vintage hip-hop foundation was quite appealing, backed by some unexpectedly catchy squirrelly sirens. I feel like these play such a substantial role in DUH! that they would have given me the impression they could become annoying over time. But interestingly, my fondness for them, alongside the rest of DUH!, just grew. On the members’ front, there was some really nice vocal work in the song, particularly in the pre-choruses. I appreciated the smoothness that they bring to a rather beat-heavy song. As for the rapping, P1Harmony have already established themselves as quite a strong group on this front and DUH! consolidates that further. DUH! also boasts catchy, playful hooks and melodies, making the track even more appealing. What I also enjoyed about the track was its straightforwardness and no-nonsense approach. The trendy take on vintage hip-hop was throughout the song, with nothing to distract us from that vision (or the auditory version of that phrase, whatever it is). Thus, DUH!‘s consistency is a major asset of the song.
Continuing from the beginnings of becoming a HERO from theirSAD SONG music video, DUH!‘s music video and song sees the members flip the script and become a HERO who ‘refuses to be taken for granted’ and ‘asserts an undeniable presence with lines like “Where I sit, and the path I walk is the answer.”‘ Throughout the video, we see P1Harmony embody confidence and boldness, showcasing their cool, casual, and laid-back vibes and serving as a trend-setter in the middle of the video. Like the song, the music video was playful and did a much better job of complementing the song.
MVP for the performance is, without a doubt, SOUL. While all the members do a great job of showcasing a playful, flirty performance, SOUL’s full-body wave in the first verse and his swinging launch into the final chorus and freestyle section were bold moments in the routine. I also like how the other members contributed to the latter, which helps make SOUL’s part feel right at home and builds on that hip-hop concept nicely.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
STAYC made their comeback a year ago with S, their 5th single album. If you could not tell from the title of the post, this is its album review. The single album features 3 tracks, including the title track BEBE and follows the release of …L (a digital single), led by the single GPT. Overall, S is another strong showing from STAYC, even though it is a more bite-sized release.
2. Diamond– Diamond brings out a very pleasant upbeat tone with its afrobeat and tropical vibes. However, Diamond also feels stuck in neutral gear and stagnant, unable to go anywhere and sounding the same from the moment it began to the very end. Despite that, I really liked how the members made it feel STAYC-esque with their vocals. Because of this, Diamond will comfortably slot into their discography, and I appreciate this. (8/10)
3. Pipe Down – The parts of Pipe Down that I enjoyed the most are the track’s pre-choruses and choruses. I really liked the oomph ISA and YOON’s vocals give during the pre-choruses, and I love the hypnotic pitting synth in the background of the choruses. STAYC’s vocals continue to shine throughout the rest of the song, and I also enjoyed the brass elements at the start and during the instrumental. (9/10)
It is almost a year to the day since THE BOYZ dropped their amazing VVV title track and their 3rd studio album, UNEXPECTED, which was released alongside it. And it is finally time to review the album. The album features 9 songs (including the already mentioned title track), serves as the final album to feature JU HAKYEON (who was removed from the group a couple of months after the album’s release) and follows on from their late-2024 Trigger comeback.
As already mentioned, the title track was an instant hit for me and was nominated for Best Pop Song at the 2025 KPOPREVIEWED Awards. VVV was also nominated for Best Dance Performance (Male Group) of 2025. It also ended up serving as a strong indicator of what was to come from the rest of UNEXPECTED (I have rated one song 10/10, while 2 earned 9.5/10 ratings – the rest are ranked between 8 and 9). I won’t spoil which songs got which rating at this stage of the review, so continue reading to find out.
Since the release of UNEXPECTED, the group has gone on to release their 10th mini-album, a;effect, and the title track, Stylish, in July 2025. An album review for a;effect is on the cards for later this year.
UNEXPECTED Album Cover
1. Feel The Bass – Performed by JACOB, JUYEON, KEVIN, SUNWOO and ERIC, Feel The Bass kicks off the album with a hip-hop track that features a really cool beat during the chorus (and pretty much the rest of the song) and sleek lower register vocals from all 5 members of the unit. But it is the rapping that really grabs my attention. Both SUNWOO and ERIC do an amazing job on their rap parts in the second verse, with awesome flow and energy that make the track easy to remember. (9/10)
3. Starry Night – THE BOYZ turns to R&B for Starry Night. While it’s pretty much your standard track, I enjoyed the sway Starry Night’s melodies have. I also enjoyed the smooth vocals in the track. I wonder if the producers considered some brass alongside the guitar work in the background. This would have given Starry Night a more romantic feel. (8/10)
4. Ain’t Salty – The orchestral soundscape for Ain’t Salty is epic and dramatic. It felt like an instrumental piece fitting for a battle scene in a movie. It also made for an amazing backdrop to the members’ equally amazing vocals and rapping. It does feel a little funny when you consider the fact that it was paired with the English line “This love ain’t salty”, but the epic and dramatic nature does fit well with the Korean lyrics. (9.5/10)
5. Rose – The album returns to the R&B genre for this romantic track. It features a dreamy background that pairs well with the melodies from the members’ vocals and rapping. SANGYEON at the start of the bridge was quite impactful, while the vocal layering and harmonies that followed throughout the bridge and final chorus were beautiful. I quite liked this track. (8.5/10)
6. Rock and Roll – Unlike what the title suggests, Rock and Roll continue the venture into the R&B genre. In Rock and Roll, the group goes down a groovy, sensual path that they pull off quite well. I really liked the heavy, emphasised guitar riff in the chorus, which gives the track some nice punch and heftiness, as well as the soft ping-pong synth that sneaks through. (9/10)
7. Nothing – It’s the vocals that make Nothing appealing to me. THE BOYZ use a lot of their lower register and raspy textures, allowing them to sound more serious and bring forth an emotional tone as they sing about a breakup. These elements just allow Nothing to hit a little harder. I am not sure if we needed the writing sound effect at the end – it catches me off guard very now and then, particularly when I find myself immersed in the song. (9/10)
8. Miss Demeanor – We come back to the groovy and sensual atmosphere first heard through Rock and Roll. But in Miss Demeanor, the instrumental and their vocals play into more of a disco retro groove, which is honestly quite unique. This makes Miss Demeanor quite appealing, and with THE BOYZ sounding so good throughout the track, this just pulls me into the track even more. (10/10)
9. Cross Over (Love! 우린 이미 선을 넘었어) – Last up on the album is Cross Over, a song dedicated towards their fans. The synth work in the background keeps the track upbeat, whilst the members are reflectively singing about crossing the line from tough times to happier moments, with thanks to their fans’ never-ending love. It is a cute song, and I am sure fans are touched by it. (8/10)
