EVNNE made their comeback earlier this week with their 5th mini-album, Love Anecdote(s), and the lead single How Can I Do. This comeback follows their 4th mini-album release from earlier in the year, HOT MESS (yet to be reviewed), which was led by the single of the same name.
How Can I Do mixes groovy elements with hip-hop to create EVNNE’s new title track. It makes for a fascinating and sleek instrumental. I enjoyed the direction this track was going in, especially with that jazzy piano in the background of the pre-chorus and the funky bass in the chorus and bridge. As for EVNNE’s vocals and raps, I enjoyed their gritty and deep vocals in parts of the verses and dynamic rapping throughout How Can I Do. The pre-choruses and choruses feature really smooth vocals that add to the song’s sleekness mentioned earlier. Although there is some good in How Can I Do, I notice that the song doesn’t really go anywhere. There is a pronounced stagnant feeling that leaves me somewhat unsatisfied. It also doesn’t help that How Can I Do is fairly weak in the hook department. There is some melodic material that sounds nice in the chorus, but it isn’t enough to reel me in.
While it wasn’t the most profound or amazing music video out there, I did like the balance the producers struck when it came to the jazzy and the hip-hop heavy moments. You get a smoother aesthetic during the scenes that coincide with the pre-chorus, where the jazzy piano is in play. The music video moves into edgy territory during the second verse, where the hip-hop influences are strongest in the song. The rest of the video doesn’t overdo either style, which speaks to the balance mentioned earlier. The colour palette of the video and outfits also contributes to this.
There were two standouts choreographically for How Can I Do. I was rather impressed by the footwork and synchronisation. In particular, the bridge was the coolest aspect of the entire routine.
Song – 7/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.5/10
With news that Stray Kids will be making a comeback soon with their fourth studio album, KARMA, I thought I would start on the many reviews I have not posted for Stray Kids – the solo tracks from their Hop mixtape and the unit tracks from their Mixtape: Dominate album. Next up is SEUNGMIN’s solo single from Hop, As We Are. For the other reviews of Stray Kids’ solo songs from the Hop mixtape, see the links below the music video.
If I were ranking the solo tracks by how much they stood out to me, the uplifting As We Are would follow I.N’s HALLUCINATION very closely. The chorus melodies and SEUNGMIN’s vocals are what really spoke to me the most in As We Are. There is just something so familiar and inviting about these melodies. I also loved the way SEUNGMIN builds up his vocals alongside the acoustic band instrumentation. His first run at the chorus was so soft and beautiful. By the time we get to the final chorus, you can feel the oomph and emotions behind his vocals. That brief pause just before the bridge helped give the SEUNGMIN and the final chorus a relatively intense rush, closing out As We Are strongly. The only reason why As We Are follows I.N’s HALLUCINATIONis that SEUNGMIN’s solo felt expected for SEUNGMIN, and so it didn’t have that unexpected edge.
The music video shows SEUNGMIN playing baseball and music, which were two of his passions whilst growing up. Both come naturally to him. But in the end, we see him make the decision to go with music, running away in the opposite direction from his teammates. I think part of the video depicts that the road to music was going to be lonely for him, as none of his friends share the same passion. But his friends from baseball respected his decision and continued to support him, as shown through the scene where they lie down next to him. The decision to go with music and not baseball, as well as the support from his friends regardless, goes hand-in-hand with the lyrics, which speak to sharing the personal struggle with a companion and the unwavering support they provided during this time.
Song – 9/10 Music Video – 9/10 Overall Rating – 9/10
It’s amusing that the plan was to start reviewing 2025 albums in July, and all I ended up reviewing was just a single album in July. Well, hopefully that all changes, as this particular album review is for an album released this year (and I can keep the momentum going from here on out). The album in question is GOT7’s long-awaited release of WINTER HEPATGON, their 13th mini-album, which features the lead single PYTHON and 8 side tracks.
Overall, WINTER HEPTAGON showcases a lot of the group through a variety of styles and sounds, which comes from the fact that each member penned and produced a side-track for the group to perform. SMOOTH was written by JACKSON, Our Youth by YOUNGJAE, REMEMBER by YUGYEOM, Darling by JAY B, TIDAL WAVE by BAMBAM, OUT THE DOOR by MARK, and her by JINYOUNG. BAMBAM also contributed towards the title track, while GOT7 together wrote the final track. It is a strong mini-album (though I think it could have passed off as a studio album) from a group that hasn’t come together as a group since the release of 2022’s GOT7, led by the single NANANA.
2. SMOOTH – SMOOTH brings a livelier and upbeat presence to the mini-album through its funky instrumentation. I appreciate its straightforwardness and pure sound, as well. The title sums up the vocals quite well, particularly thanks to the falsettos throughout the song. I just wished the song was a little longer, as SMOOTH wrapped up fairly quickly as soon as it started. (8/10)
3. Our Youth (춘드라마) – We remain in upbeat territory with Our Youth, this time delving into the pop genre. I liked how this track sounded quintessential GOT7. Despite being upbeat, I liked how the instrumental felt paced. To me, this made me feel like the group could have done something cool with a developmental aspect for its performance, especially in a period where KPOP songs are short and also fast-paced. I also liked the chants in the background during the chorus, which just felt like such a pleasant backing for the song. (8/10)
4. REMEMBER (기억할거야 말은) – Only going for 2:18 minutes is REMEMBER. You can bet that by pointing out its short length, I imply that I want this track to be longer. There is a lot of potential that isn’t capitalised by its short length. That being said, I enjoyed the EDM and UK-garage mix in the instrumental. This mix concurrently gave REMEMBER dynamism and depth, driving it forward. The vocals brought an R&B element, which to me made the track appealing. The chorus was neatly catchy. (9/10)
5. Darling – The EDM and R&B carry over from the previous song into Darling. And these elements come together to create a lovely and romantic number. Paired with GOT7’s amazing vocals, this is a track that should not be missed. I loved the use of the deeper tones, alongside the falsettos, by some of the members, and Darling’s overall smoothness. (9/10)
6. TIDAL WAVE – TIDAL WAVE is one of the best tracks on this mini-album. We have BAMBAM to thank for this song. I love how stunning the softer piano-driven moments during the pre-choruses are, with YOUNGJAE and YUGYEOM at the helm during these segments. But it is the club vibe that the EDM has me coming back for more. It is so good. The vocals throughout TIDAL WAVE are beautiful (amazing harmonies in this one), and this contrasts so well with the harsher aspects commonly associated with EDM. Any easy 10/10 for me. (10/10)
7. OUT THE DOOR – OUT THE DOOR is probably the mini-album’s boldest sound. It features one thing that most other songs on this mini-album just don’t have – some oomph. In addition to that, there are other elements I liked in OUT THE DOOR, including the early ‘00s vibe the upbeat instrumentation gives off, the bright vocal tones throughout the song, the elongated notes during the pre-choruses, and the touch of EDM during the second verse to give the song some added texture and an additional side. Overall, the track is refreshingly summery, perfect for a drive with the windows down. (9/10)
8. her – her features an acoustic indie folk influence that takes us into pop-rock balladry territory. I really liked how the song starts off soft and slowly develops as it progresses. It just makes the pop-rock aspects more impactful and effective. The vocals from all members are stunningly breathtaking. It is really hard to pick a highlight in her, so I am going to say the entire length of the track is the highlight. (10/10)
9. Yours, Truly (우리가 할수있는 말은) – Finally, the end of the mini-album is upon us, and it closes out with Yours, Truly. It is a touching ballad dedicated to their fans, AGAHSE, who have been patiently awaiting new music from the group for what felt like forever. Like the rest of the mini-album, Yours, Truly features some gorgeous vocals, and the melodies evoke a swaying motion from me that I like to find in ballads. The organ in the background was a nice touch, just to give Yours, Truly a little something different from other ballads. (9/10)
With news that Stray Kids will be making a comeback soon with their fourth studio album, KARMA, I thought I would start on the many reviews I have not posted for Stray Kids – the solo tracks from their Hop mixtape and the unit tracks from their Mixtape: Dominate album. First up is I.N’s solo single from Hop, HALLUNCINATION. For the other reviews of Stray Kids’ solo songs from the Hop mixtape, see the links below the music video.
HALLUCINATION ended up being the solo track that stood out the most to me. It was just an unexpected track from the youngest member of Stray Kids, or any member of Stray Kids for that matter. But the unexpected can be intriguing at times, and that is what I felt about HALLUCINATION. The more I listened to it, the more I enjoyed it. There is an abundance of percussive textures throughout the track that just give HALLUCINATION so much character and style. This, alongside the hooks, made HALLUCINATION catchy, as well. The song makes good use of I.N’s vocals, which brought maturity and sensual energy to the song. I was particularly impressed with the way he launched back into the song following the instrumental break. There was so much oomph behind that note. However, the song’s main weakness was the vocal processing. It brought texture to the song, complementing the instrumentation well. But it was so thick, and this became a constant distracting thought each time I listened to the song. I wish that HALLUCINATION let up at certain moments to give us reprieve. I’m sure it wouldn’t have compromised the quality and final result of HALLUCINATION.
For this review, I will be combining the music video and performance aspects of my review together. HALLUCINATION, as a mature and sensual sounding song, gave I.N a unique opportunity to do something different. He took full advantage of the opportunity, making it a key asset (and drawing point) of the release and adding to the intrigue of this particular solo release that I mentioned earlier. What came about is a sensual and bold image of I.N. From the wet look, to the stylish skirts and cropped outfit, and to the body waves in the performance, I.N definitely showed a whole new side to himself in this release.
Song – 9/10 Music Video/Performance – 9/10 Overall Rating – 9/10
Look, if I am being honest, I missed the news that VIVIZ would be making a comeback. It wasn’t until I saw La La Love Me on Spotify two weeks ago that I realised that VIVIZ had made a comeback with the album, A Montage of (). It is their first studio-length album since their re-debut in 2022. This new release follows their fifth mini-album, Voyage (yet to be reviewed), and the lead single Shhh!.
La La Love Me is a dance-pop song with a killer chorus. It starts off with and features some decent verses with nice vocals across the board from VIVIZ. It would have been nice to hear stronger melodies from the get-go, as the verses do pale in comparison to La La Love Me‘s killer chorus. The buildup through the verses, with added beats, creates momentum, but is interrupted by a soft pre-chorus that feels out of place there (though it works better as a bridge). La La Love Me rebounds thanks to that killer chorus I mentioned earlier. After all, it is where La La Love Me shines the most. The funky, heavy club beats inject energy and make a powerful impact, especially on first listen. VIVIZ’s vocals sound impressively commanding here, contrasting with their usual softer tone. Catchy hooks and dynamic melodies layered over the production elevate the chorus into the song’s clear highlight. Even though the “You got to la la… La La Love Me” line appears earlier in the pre-chorus, its return in the chorus feels much more impactful. Overall, the track thrives on its explosive, energetic chorus.
La La Love Me is about the excitement and intensity of falling in love. The music video depicts this through the soft images of the members in dresses accompanied by butterflies (representation of innocence before falling in love), and then the stronger and bolder image of the group with fire and spiders (a representation of the intensity of falling in love). The butterfly imagery we see in the bridge is a reminder that the members are precisely the same person, just at different stages of their relationship.
Like the song, the choreography is definitely strongest during the choruses. I particularly liked the boldness and intensity of the final chorus. It really encapsulated the exact point of the song (i.e., La La Love Me‘s peak) really well. It also helped that the crowd was also feeling it during that moment. The routine in the other choruses also shared a similar style, but it just didn’t have the ‘last hurrah’ type of feel that the routine during the final chorus had.
Song – 8/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 8/10
DAY6 made a comeback in September last year with their 9th mini-album, Band Aid, and the title track Melt Down. I am finally getting around to reviewing the 8-track mini-album, which is definitely on the lengthier side of the average mini-album. Band Aid is definitely a strong album release, with a few songs earning a 10/10 rating from me. The mini-album does fizzle out towards the end, but it is still a recommended release nonetheless. Check out which songs got that rating, as well as my thoughts on all 8 tracks.
Before Band Aid, DAY6 released FOUREVER in March last year, which was led by the single Welcome To The Show. More recently, DAY6 released the digital single Maybe Tomorrow in May this year.
Band Aid Album Cover
1. Monster (괴물) – Band Aid starts off with a song that gives me what I am always craving for – a powerful rock number from DAY6. Monster speaks to how loneliness and isolation can make someone feel like a monster. I love the grungy chorus and the textural processing within the centrepiece. I liked how the drumming and guitar work is prolific throughout the track, while the members bring emotion to Monster to give it a life of its own. A clear standout from the get-go. (10/10)
3. She Smiled (그녀가 웃었다) – Next up is a bright pop-rock track. She Smiled sees DAY6 capture the excitement of a confession to their lover and the feeling when they see the subsequent smile on their lover’s face. I like the upbeatness of the track, which I attribute to the constant guitar work in the background. Even from afar, you can tell the members have big, gleaming smiles as they deliver the song. (8/10)
4. Shxtty Game (망겜) – Another favourite of mine on the album. I love DOWOON’s drumming in this one, driving Shxtty Game’s fast-paced energy. Every time I listen to the song, I can feel the adrenaline coursing through my veins, which pairs extremely well with the song’s lyrics that liken life to the tribulations of a video game. All of DAY6’s vocals have this uplifting tone, which makes the track extremely likeable. In particular, I really liked the raspiness and texture that SUNGJIN’s vocals bring to the song. (10/10)
5. Help Me Rock&Roll (도와줘요 Rock&Roll) – Continuing on with the fun vibes is Help Me Rock&Roll, which again, is full of energy. Help Me Rock&Roll draws on influences from the ’60s that are just so lively. I really liked how prolific and intense the rock sound gets during the chorus, keeping the track super enticing and exciting. On the flip side, I also liked the soft ‘shoobidoobaa’ in the bridge as well as the heavily processed ‘I really really wanna’ that was embedded in the instrumental. The latter is also another fun little element in this amazing song. (10/10)
6. COUNTER – Personally, I feel like there is a mismatch when it comes to COUNTER. It is a fine song, but I’m not sure if the execution is right. The song’s lyrics liken life’s ups and downs to a boxing match. But interestingly, I don’t get an impression of something intense like a boxing match from most of the song. COUNTER felt quite soft to me. The most intense COUNTER gets is during a brief part of the chorus, where most of the instrumental is stripped away, leaving behind the successive and pronounced drumming. But again, it is short, and so COUNTER returns quickly to its softer vibes. (6.5/10)
7. I’m Fine – DAY6 reassures us that they are fine in I’m Fine. While the song sounds nice and solid in all aspects, no matter how many times I have listened to I’m Fine, I just cannot get as excited for it as some of the earlier tracks. It is unfortunate, as the guitar work and keyboard are quite decent. (7/10)
8. Still There (아직 거기 살아) – Emotions are poured into and out of Still There. The final track on the album is a ballad, and it vividly tells us of the heartbreak of a failing relationship. You can definitely feel the heartbreak and pain through the members’ vocals. I have to give a shout-out to how YOUNG K ends Still There – he remembers the past but realises what is happening in the present. Musically, I liked how this ballad builds up as it progresses, developing into a stunning number. Altogether, it is an unforgettable number. (10/10)
Following VVV from earlier this year, THE BOYZ is back with their new single Stylish and their 10th mini-album [a;effect]. It is also their first official comeback without JU HAKYEON, who was removed from the group following controversy last month.
Unfortunately, even after a few listens, I still find Stylish to give off the same first impression I got when I checked out the song yesterday – ‘overwhelmingly disappointed’. The new single attempts to create a trendy, sultry atmosphere through a moody hip-hop trap-based dance track. ‘Attempt’ being the keyword here. The majority of Stylish is delivered in a rap-speak manner that dulls the song and strips THE BOYZ of the personality they have built through their other releases; the instrumental is also unexciting by today’s standards. It also doesn’t help that the lyrics are very abstract, with the chorus building on the line “Even gibberish is Stylish” by following up with the song’s hook “Guap Guap … Shot, Shot … Bubble Gum Bubble Gum Pop“. Also, Stylish remained very neutral and consistent for over 1:30 minutes, sounding all very similar for this length of time, even during the approach to and the actual chorus during this time. Given that the song was dull and unexciting from the get-go, this isn’t great for Stylish. There was a minimal shift in energy at the start of the song’s last minute, but it is short-lived and definitely not enough to recapture my attention or develop Stylish in any way. I’m not sure why we have gone down this path for THE BOYZ, but I am not a fan of it.
The music video does a much better job of showcasing the song’s stylish side, which it doesn’t capture that well in the actual song. We are shown three sides of the group: a hip-hop industrial side, a more casual and urban side, and a charismatic model-like side. I prefer the last of the three styles, as that is what I think of when it comes to the word ‘stylish’. Other than that, the music video keeps to a minimalist concept, which helps emphasise each of these looks during close-ups and choreography scenes.
Based on what I can see in the music video, the choreography captures more of that hip-hop style than anything else from the song. I liked the confidence and attitude that is exuded from the routine. I also get a sleek vibe from the routine. Not sure if any move sticks out yet, as we haven’t seen a performance for Stylish just yet. If anything jumps out at me, I will come back and update my review.
Song – 5/10 Music Video – 7/10 Performance – 8/10 Overall Rating – 6.2/10
It was confirmed recently that ZEROBASEONE would be making their comeback in September with their first studio-length album, titled NEVER SAY NEVER. However, while we have a bit more waiting to do until the album’s release, ZEROBASEONE has released the single SLAM DUNK as a teaser for their upcoming album. Their last release was the mini-album BLUE PARADISE, led by the singles BLUE and Doctor! Doctor!.
While the term ‘slam dunk’ can be used to describe something with guaranteed success, SLAM DUNK (the song) doesn’t hit that mark. It feels rather ordinary and plain by today’s standards. The track itself is a blend of EDM and hip-hop, featuring a shouty and chanty chorus. Unfortunately, this isn’t anything new in the world of KPOP, especially for male groups. Although I will admit that SLAM DUNK does showcase GUNWOOK’s rapping and reveals a new side of ZEROBASEONE that we have not heard before (thanks to the hip-hop influence). I appreciate how fitting the basketball sounds are for a song titled SLAM DUNK, but I thought their usage could have been less clumsy. I like how the bouncing basketball featured at the end of the chorus brought sharpness to the chorus, while the game sirens set the scene. However, the other use of the bouncing basketball and constant squeaky shoes embedded in the song felt overused, taking the novelty away from SLAM DUNK.
The music video for SLAM DUNK sees ZEROBASEONE struggle at first in a major basketball game, missing their shots and failing to score points on the court. One of the members also sustained an injury. But this doesn’t stop them from cheering themselves on and rising later in the game to emerge as victors of the championships. The rest of the music video is choreography shots. While I liked their choreography shots on the basketball court (after all, it makes the most sense), I am troubled by the massive basketball on the screen that just disappears as it gets closer to the members. I know it is just an image on the screen, but I think the producers could have done better.
SLAM DUNK‘s choreography naturally includes some basketball moves, including dribbling between the legs and shooting gestures during the chorus. It made sense, as leaving out basketball in the choreography would have felt off. I also liked how they incorporated some hip-hop influence into the routine. That said, I think they missed a chance to include cooler footwork, which could’ve replicated the sound of sneakers on a court.
Song – 6.5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 7.3/10
It has almost been a year since JAEHYUN made his solo debut with his 1st studio album, J. Leading the 8-track album is the title track Smoke, an English version of the title track, as well as the pre-release singles Roses and Dandelion. As usual, links to the full reviews and music videos for the highlighted tracks, as well as my thoughts on four side-tracks and their audios, can be found below. J is very much an R&B-centric album, with all songs practically finding roots in the genre in some shape or form. While consistent, it does feel a little repetitive as it progresses. But that doesn’t mean the album is not of high quality and shows JAEHYUN’s passion for the genre.
Since the release of J, JAEHYUN also released a single titled Unconditionally (yet to be reviewed) in October 2024, before enlisting in the military the following month.
3. Flamin’ Hot Lemon – Continuing on with the R&B vibes is Flamin’ Hot Lemon. This all-English track is quite straightforward and smooth, despite having a pronounced beat. As for JAEHYUH, his deep vocals bring forth a sensual and evocative tone to the song that is quite alluring. I wished there was a bit more to the song, but it is fine as is. (7/10)
The official audio for Dandelion can be heard here.
5. Completely – This track is a ballad, and it is a stunner. Two elements stand out to me. The first is the piano instrumental, which is just beautiful. The way it dominates the background is so striking to me. The second is JAEHYUN’s vocals, which I can only describe as heavenly throughout Completely. His falsettos just feel so light. The melodies didn’t necessarily jump at me at first, but I love how captivating they get as I really settled into the song. (9/10)
6. Easy – Easy stays within the R&B genre, but gives off more of an alternative vibe. I liked the ripple-like synth that consistently played in the background, while the soft trap beat served as a good accompaniment. JAEHYUN’s vocals are nice throughout. But the chorus caught my attention. The “Easy come, easy go” and “Playin’ hot, playin’ cold” line is actually quite an earworm for me. (8/10)
7. Can’t Get You – After many straightforward R&B numbers, Can’t Get You is appreciably refreshing and is my personal pick for J’s hidden gem. JAEHYUN maintains the vibey and mature nature commonly associated with R&B, but mixes it up with jazzy and tropical elements that elevate this track above many of the others on the album. I love the backup vocals and am a sucker for the brass solo. JAEHYUN is also very alluring. I liked how he tapers some of his lines, and how much he gives to the ad-libs at the end. (10/10)
8. Smoke (English Version) – See my review for Smoke above under track 1.
Look, when I said ‘in a couple of days’ regarding CHANYEOL’s Back Again in the review for Black Out, I clearly meant ‘in a couple of weeks’. Time is clearly not my friend. However, as promised, here is my review of Back Again, the single selected from CHANYEOL’s debut mini-album, to follow the promotions of Black Out.
Back Again sees CHANYEOL return to a more powerful sound (relative to Black Out). The verses feature CHANYEOL rapping candidly, accompanied by a folksy, percussive instrumental in the background, which lends a unique and distinct quality. For the choruses, CHANYEOL ventures into ’90s punk rock territory. This brings flair, personality and intensity that takes full advantage of CHANYEOL’s husky tone in an impactful manner. I quite liked the resultant head-banging energy that the choruses provide, which helps it stand out. Bridging the second and final choruses was some cool guitar shredding that just heightens the energy and allows CHANYEOL to close Back Again on a bolstered note. But it is how CHANYEOL brings together the rapping verses and punk-rock chorus that I am fascinated by. Simple soft vocals, then an escalation into slight shouty territory and a choir backing – an interesting yet effective combo.
We see CHANYEOL getting chased and beaten up in the music video. After his initial fight, CHANYEOL starts to box, so that he can confront those who beat him up. This storyline aligns with the lyrics, which convey the message of getting back up again and returning stronger, regardless of the setback or failure. And we see that, as he gets quite serious about boxing, going to the point of staying at the gym for long periods of time. In the end, his second encounter with those who chased/beat him up at the start of the video became electrifying (literally sparks flying around them). It showed him knocking down one of the assailants. Perhaps the sparks reveal his newfound strength and energy, which would enable CHANYEOL to convey the message of persistence and self-empowerment successfully.
Song – 8.5/10 Music Video – 9/10 Overall Rating – 8.7/10 (Rating updated in post on 23 September 2025 due to calculation error.)
Coming from ENHYPEN’s Desire: Unleash mini-album last month is the follow-up promotional single Outside. It follows the promotions of their latest title track, Bad Desire (With or Without You).
If I had my way, Outside would not have been my choice for follow-up promotions. It is my personal pick for the least liked track on ENHYPEN’s latest mini-album. Outside is a hip-hop-inspired track featuring a trap-based instrumental. I do like one of the synths in the background that reminds me of a Billie Eilish song, so Outside had that going for them. And I suppose the song had some potential due to its intensity. It just never really got anywhere with it. Unfortunately, the rest of Outside just doesn’t do it for me. The shouty rapping and deep, husky delivery of the chorus flash by without much thought, while the vocals are plain and lacking anything memorable. There also wasn’t much of a hook to the song, thanks to the vocal processing.
The music video for Outside sees the members battling against shadow versions of themselves. The lyrics talk about the changing desire (a constant theme of the mini-album) that they are experiencing within themselves. As the desire takes hold of them (switching to their shadow versions), they ensure it happens to all of them (which is why we have the sniper SUNOO taking out JUNGWON). Conceptually, this is quite a cool video. I just wish the song accompanying it was just as cool.
Outside‘s performance shows an intense version of themselves that I don’t think we have seen before. It is an interesting dynamic, and I quite like what they do on stage with it. A compelling performance, overall.
Song – 5/10 Music Video – 8/10 Performance – 8/10 Overall Rating – 6.5/10
TXT returned yesterday with their 4th studio album, The Star Chapter: TOGETHER, and the lead single Beautiful Strangers. It follows their Love Languagesingle from earlier this year, which is not included on this new album. TXT is also due to start their 4th world tour, Act: Tomorrow, from next month.
Beautiful Strangers see the group return with an emotionally charged single. I really liked the contrast between TXT’s sometimes soft, sometimes powerful vocals in Beautiful Strangers and the bold synth drops, which make for a fantastic centrepiece in the song’s background. In between all of this, we get a blend of trap and rock, which the group has attempted previously in Deja Vu. While not novel in TXT’s discography, I honestly didn’t mind this and thought it made the instrumental ‘leap’ at the correct times to gear the song towards those bold synth drops. However, despite all attempts to make Beautiful Strangers a powerful and impactful track, there was an overwhelming lack of development in the song that holds back its full potential. The contrast mentioned earlier gives Beautiful Strangers ebbs and flows, but it doesn’t really go anywhere, and this gets frustrating the more I listen to the song. I blame the lack of a climax in Beautiful Strangers, which is primarily due to its incredibly short runtime of 2:18 minutes. There simply isn’t enough time for the song to really develop.
The music video for Beautiful Strangers showcases the members’ bond as a group, conveying the message that they are more powerful together. How fitting, given that it has been confirmed the group is currently up for contract negotiations. The music video depicts the members struggling without one another, particularly during the aftermath of an accident that leaves one of the members no longer by their side. I think the member in question is SOOBIN, given that he wasn’t part of the montage of solo scenes at the start of the pause in music in the video. TXT’s acting was really good throughout the video, and I liked the moodier atmosphere that matched the music.
Those synth drops mentioned earlier lend well to the performance, which is dramatic and powerful to watch. As such, this performance is definitely one to watch, especially with TXT giving their all to reflect that same emotionally charged energy from the song in this routine. The routine itself was apparently choreographed by YEONJUN. Well done to YEONJUN for such a fantastic routine.
Song – 8/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 8.5/10
I haven’t reviewed many rookies this year, but I hope to cover some of the rookies of the year as I post more reviews. One of the biggest rookies thus far this year is ALLDAY PROJECT, a five-member co-ed group (consisting of Annie, Tarzzan, Bailey, Woochan, and Youngseo) under The Black Label (the home for MEOVV, JEON SOMI, TAEYANG and ROSÉ). They made their debut last month with the single album FAMOUS, which features two songs – one that shares the same name as the album and another titled WICKED.
FAMOUS
I must admit I didn’t care for the track when it was first released. This is a track that I don’t tend to gravitate towards because of its heavy hip-hop influence. However, after sneaking onto my queue and recommendations, I can see why FAMOUS had such a strong appeal. The Latin-influenced guitar work that started off the song felt very classy. The rhythmic percussion that follows gave FAMOUS drive. It was also minimalistic in nature, which allowed the focus to be on the engaging vocals and rapping that ALLDAY PROJECT gives. The shouty ‘We ain’t even famous‘ and the melodies during YOUNGSEO’s vocal moments were super memorable, while Annie and Bailey’s choruses have grown immensely on me. At the end, we are presented with a trap-based instrumental piece that, although brief, embodies a cool persona.
FAMOUS‘s music video stands out for its superb editing. I really liked how the different scenes connected with one another. The heel turning into city streets was a definite example of this.
The performance is just what you expected, with ALLDAY PROJECT embodying the hip-hop that the song features prominently. It was a super engaging performance and a very cool one at that. The highlight has to be the intense routine by Bailey and Tarzzan’s jump at the end of the performance.
Song – 9/10 Music Video – 9/10 Performance – 9/10 Overall Rating – 9/10
WICKED
Similar to FAMOUS, I didn’t really engage with WICKED as much when it was first released. But like FAMOUS, it made it onto my queues and recommendations. But it didn’t really fare the same. The catchiest element of WICKED is the ‘Wicked‘ repetition at the end of some of the choruses. The rest of the chorus was spoken words. However, while repetitive, it didn’t have the same catchiness. The Brazilian funk production was unique, but it ultimately fell short in terms of memorability. I did get a very ‘cool’ vibe from the intense rapping, which holds some potential. However, in terms of the single album, FAMOUS was by far the superior track.
We don’t have a formal music video for WICKED. However, we did manage to get two ‘performance videos’. The first is the ‘MOVIE SET’ version (embedded below) that felt like a music video. While the editing was not as creative as FAMOUS‘s music video, I really liked they did YOUNGSEO’s bridge segment of the video turned out, with different things happening in the same background each time the beat hits. The movie set elements also give off a very cool vibe. The second version is the ‘BASEMENT’ version, which felt like the actual performance video, with the members performing WICKED in the basement. Nothing else happens, and there isn’t any change between shots. This version does bring out their synchronisation and sharpness, which makes the performance feel more chic and impressive.
Song – 6.5/10 Music Video/Performance (based on Version A – MOVIE SET) – 8/10 Overall Rating – 7.1/10
With the second half of 2025 upon us, it is about time that I make a start on the albums released this year. First up is SEVENTEEN’s BSS and their 2nd single album, TELEPARTY. It was released in January 2025, alongside the title track CBZ (Prime Time). This album release follows their massive hit, Fighting, which was featured on the single album SECOND WIND. More on the songs featured on TELEPARTY below.
And don’t worry about the 2024 albums that have yet to be reviewed. I will still be reviewing them as I work my way through the 2025 albums, so don’t worry about it.
2. Happy Alone – Happy Alone was an instant favourite of mine. I really like how those opening synths really popped out from the instrumentation. The New Jack Swing instrumentation was super cool, while the groovy undertones kept the vibe alive in the verses. BSS’ vocals were superb, and I enjoyed how straightforward the melodies were. (10/10)
3. Love Song (사랑 노래) – This single album ends with the R&B number Love Song. I really liked the nostalgia that this number invokes, as it takes me back to the late 90s and early 00s. It also portrays BSS in a more serious and contemplative light. The vocals are exceptionally nice, while the piano has a striking quality that contributes to the nostalgic R&B sound. (8/10)
Doh Kyung Soo made his comeback last week with his first-ever studio album, Bliss, and the title track SING ALONG!. It is his first release since last year’s BLOSSOM mini-album and singles Popcorn and Mars.
SING ALONG! gives us a different side to Doh Kyung Soo through a fun, summery pop song. I like it because of that. The upbeat instrumental is relatively simple, with tropical elements throughout the backing and featuring Afrobeat percussion during the bridge. It isn’t the most groundbreaking instrumental piece out there, but I think it does the job appealingly. Doh Kyung Soo’s vocals bring a familiar warmth and tone to the SING ALONG!, which helps enhance its appeal. The biggest problem I found with SING ALONG! is that it feels too consistent throughout, which holds the song back from reaching its full potential. Whilst already on the shorter side of song lengths (though 2:40 could very well be the average these days), I’ve found it to be one of those songs where, after just a couple of listens, it feels like you’ve heard it so many times already. However, in its first instance, I did appreciate the novelty of SING ALONG! in Doh Kyung Soo’s discography.
The music video for SING ALONG! brings a smile to my face. The main reason was Doh Kyung Soo’s bubbly and charming nature. Then, there were also the awkward moments that make the music video memorable, such as seeing him sprint down the soccer field while a game was being played, or when he was introverted at the club. Now, the entire song was about seizing the moment and making the most of the present. Doh Kyung Soo running down the soccer field was his response to a disappointing game, while the introverted club scene was the lead-in to Doh Kyung Soo enjoying the club a little while later. We also see a little homage to The Truman Show with the set of stairs along the skywall, which serves as a flashback to when Truman ‘seizes the moment’ and leaves the dome that he had called home for his entire life.
Song – 8/10 Music Video – 9/10 Overall Rating – 8.4/10
The last time we heard from BLACPINK was in 2022, when they released their second studio album, BORN PINK, along with the title tracks Pink Venomand Shut Down. Since then, BLACKPINK have focused more on their successful solo careers. However, as of the start of this month, they have regrouped for their Deadline world tour, which featured the debut of their new track JUMP. An album is also on the cards, as confirmed by LISA earlier this year.
BLACKPINK’s past songs have shared a distinct structure, resulting in a similar discography. This consistency had made their releases somewhat dry and unexciting, to the point where I don’t think I was ever really drawn back to their music while they were on hiatus (except for Lovesick Girls – this one will always be my favourite BLACKPINK track). While JUMP does draw on that structure somewhat, there is a refreshingness to JUMP that makes it stand out. The beat and distinctive European techno EDM give JUMP a neat, constrained bounce that keeps it buoyant and fun. The slight country influence in the verses gives off a wild-west Western feel that adds a layer of fun. All of these influences add colour and vibrancy that we have not heard from the group in a very long time. The vocals and rapping were fine, and I did like the material the members delivered during the verses. As for the choruses, the breathy singular ‘Jump‘ in Korean was nice and gives impact. But the chanty parts could have been stronger. I also liked the final part of JUMP, with the addition of sharper yet rounded beats to accompany JUMP‘s chorus to bring the new single to an effective close in a no-fuss and straightforward way.
While I can support the music, the accompanying music video is a letdown. I understand that the producers were trying to do something different, and I did like parts of the concept of a crowd head-banging wildly during the chorus. However, the use of green screens and similar effects in the video really cheapened the music video. It really unravels the reputation that YG Entertainment has built for their music videos, particularly BLACKPINK’s videos. The montages of the members running during the second verse, and when they float into the sky in their puffy jackets, are so terrible that they have become memorable at the same time.
The choreography for the comeback is actually quite good. Unsurprisingly, small bounces and jumps make their way into the routine for the chorus, and it genuinely looks like a lot of fun. I also liked how the formations and routine take time to spotlight each member individually.
Song – 8.5/10 Music Video – 6.5/10 Performance – 8/10 Overall Rating – 7.8/10
KPOPREVIEWED 