Category: Reviews

[Review] Eye-Poppin’ – KickFlip

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One of the comebacks kickstarting the week is KickFlip’s Eye-Poppin’, the lead single from their 4th mini album, My First Kick. It follows on from their pre-release single Twenty, released a couple of weeks back, as well as their digital single album, From KickFlip, To WeFlip, which celebrated their 1st anniversary earlier this year.

Eye-Poppin’ sits well with the rest of their lead singles, channelling pop-rock energy from the onset and maintaining the energy that is often associated with the blend of genres. If anything, Eye-Poppin’ leans more toward the rock side, with rock elements in the instrumentation driving the song forward and lending it a somewhat electrifying edge. Nonetheless, a dynamic backing. The same can be said of the members, who definitely sound prolific throughout Eye-Poppin’. KickFlip has a good range, from deep raspy rapping tones to bright vocals, and Eye-Poppin’ helped highlight it all. I really liked the use of pauses throughout the song, which just gives the subsequent parts more of an edge. I also liked the song’s outro. I just wish the melodies and hooks were a little more developed, as they felt lost amongst the instrumental. It would have been better if they were an ear-equivalent of something “eye-popping”, which would have been fitting for the title of the song. But overall, Eye-Poppin’ is another punchy track from the group!

The music video shows the members competing with one another to get their crush’s attention by trying to look their best and stand out, which reflects well with the idea of wanting to be eye-catching to their crush, as expressed in the lyrics. Like the song, the music video is full of colour and energy, also complementing this aspect of the song. They don’t really succeed, as they all try to do the same thing: look cool and compete for the camera (i.e., the stand-in for their crush). So in the end, it looked like everyone had the same screen time. I liked MINJE’s reaction to them all wearing the same white hoodies. Heck, they also eat their burgers the same.

The choreography looks energetic and dynamic, which suits the song. There is also a fun and light-hearted nature to it, which again complements the group’s youthful charms. Nothing really stood out on its own, but it was a strong performance nonetheless. But the best part of their first stage was their stable vocals and rapping, which were on full display and deserved acknowledgement.

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

[Review] ESCAPE – BANG CHAN & HYUNJIN (Stray Kids)

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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 BANG CHAN and HYUNJIN’s ESCAPE. Links to the reviews of the other unit tracks (as they are released) are below the music video.

Expectations are high for the return of the BANG CHAN and HYUNJIN unit – the pair behind Red Lights (iykyk). Unlike the sensual R&B route they took last time, ESCAPE takes a more bombastic approach, blending rock influences with trap elements to create this powerfully tense unit track. I particularly liked the build-up in the pre-choruses and the satisfying drop of rock elements in the chorus. The oomph that the latter ultimately gives ESCAPE instantly made it stand out to me upon release over a year ago. As for the pair themselves, I was impressed by their vocals, especially during their respective verses. HYUNJIN’s vocal tone in ESCAPE brought an interesting crisp colour to the song, while BANG CHAN’s higher pitch added a delicateness and an emotional tinge to the song. BANG CHAN’s high note and ad-libs at the end were equally impressive, with the pair closing out the song in an epic fashion. I really liked this unit track then and still like it now.

I have a theory about what is happening in the music video, but I am not entirely sure if it is right. Essentially, it looks like BANG CHAN and HYUNJIN are werewolves that were chained up at a certain point, but had broken free. And while they do enjoy hanging around each other, the pair ends up making a break together for the outside world. But some dark force is after them. They become cornered and are forced to go their separate ways to evade capture. Towards the end, they reunite and pair up once again to take on this dark force. I did like the dark tones of the music video, but I also wished we had found out what this dark force was.

The pair performed ESCAPE on their Dominate World Tour, and the performance was definitely worth watching. I really liked how they and the dancers heightened the bombastic feel of ESCAPE, revealing an intense, charged side of themselves. I also liked the artistry of the performance, such as pair singing towards the camera amongst the cloaked dancers standing still and the circle formations by the dancers lying down/rolling around BANG CHAN and HYUNJIN in the final chorus. The latter made for an epic overhead camera shot.

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

Burnin’ Tires – CHANGBIN & I.N | Truman – HAN & FELIX
ESCAPE – BANGCHAN & HYUNJIN | Cinema – LEE KNOW & SEUNGMIN

[Review] Biggest Fan – IRENE (Red Velvet)

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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

[Review] Free Falling – KANGMIN (VERIVERY)

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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

[Review] Truman – HAN & FELIX (Stray Kids)

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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

Burnin’ Tires – CHANGBIN & I.N | Truman – HAN & FELIX
ESCAPE – BANGCHAN & HYUNJIN | Cinema – LEE KNOW & SEUNGMIN

[Review] Catch Catch – YENA

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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

[Review] Ice Cream – YUNA (ITZY)

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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

[Review] BOTTOMS UP – AB6IX

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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

[Review] SWIM – BTS

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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

[Review] UNIQUE – P1Harmony

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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

[Review] Twenty – KickFlip

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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

[Review] Home Sweet Home – JIWOO (KARD)

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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

[Review] DUH! – P1Harmony

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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 their SAD 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

[Review] CODE – EVERGLOW

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EVERGLOW was last active in 2024, during promotions for the single ZOMBIE. Since then, all 6 members have left YUEHUA Entertainment (now known as YH Entertainment), and only 4 members (E:U, SIHYEON, ONDA, and AISHA) have signed with CHXXTA Company to continue promotions under the EVERGLOW brand. This week, they released their first quartet song, CODE.

Their new song opens by drawing more on current trends than on their retro dance hits. While EVERGLOW’s intention with this new release is to reinvent themselves. But at certain points of CODE (i.e., the chorus), I speculate that there was acknowledgement that the older releases of their hits did work, but in an attempt to better themselves, existing trends were explored instead (probably to speak to today’s listeners). And to that I say, “Why are we reinventing the wheel?”. For CODE‘s chorus, I felt the song got really punchy and impactful in this moment, reminding me of their PIRATE single. I honestly felt a lot of potential behind this centrepiece. The rush of energy was bold and definitely a selling point of CODE. The major problem with CODE is that you have to get through the persistent use of unexciting trap before you can get to its selling point. And its dated feel and CODE‘s lacklustre build-up made it difficult for me to stick around (alas, I did for the purposes of this review). Another strong asset of EVERGLOW that seems to be missing is their usual strong delivery, particularly their appealing character, which gave their past hits an added punch. But in CODE, EVERGLOW felt held back and weighed down from reaching that height.

The transition, where it looks like the coding is breaking down their environment to create a void, was very cool. And there were a few other transitions elsewhere in the video that were smooth and looked really good. Apart from that, the music video has little else. It features an industrial-esque background, and the members look nice.

CODE‘s dance routine was good, but it would have been better with sharper movements and overall delivery. This would have reflected well with the music and made the routine look and feel bolder and more intense. This would have done wonders for the outro and finished the performance on a strong note.

Song – 7/10
Music Video – 7.5/10
Performance – 7/10
Overall Rating – 7.2/10

[Review] CALL ME BACK – TNX

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Towards the end of January, TNX made their return with their second digital single, CALL ME BACK. It is their first release since last year’s For Real? comeback (which I never got around to reviewing). The last time I reviewed them was for their FUEGO release in 2024. Since that comeback, the group participated in 2024’s Road to Kingdom: Ace of Ace and officially reformed into a 5-member group following KYUNGJUN’s departure from TNX.

CALL ME BACK starts off strong with its energetic and dynamic pop punk sound and maintains all of it throughout the track. This translates well to the members’ delivery, with them showcasing some awesome textures that work extremely well with the pop-punk sound through their vocals, rapping, and spoken lines. I particularly like the “So trust me“, “Don’t try me“, “Just call me” lines in the chorus. There is something catchy about them, even though the team’s effort was pretty minimal at that moment. My biggest concern about CALL ME BACK is that it is relatively neutral and consistent. If you are a long-time reader, you would know that, by saying that, I mean a song that sounds the same throughout can quickly become boring after multiple replays. I don’t think CALL ME BACK is there yet, but the thought did cross my mind during my first couple of listens.

The music video sees TNX hanging out, waiting for a phone call back from the person they are interested in. I liked the urban and casual side of the video – simple and straightforward. Aside from that, the video also incorporates choreography shots, which help the music video feel dynamic to match the song.

I actually liked the intensity and energy that the members put behind the performance. It definitely looks cool and matches the song’s dynamic nature. The performances I watched saw the members put in their all, and this translated into a stage worth watching.

Song – 9/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.6/10

[Review] Big Girls Don’t Cry – ENHYPEN

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Promoted alongside their latest title track, KNIFE, ENHYPEN also performed the side track Big Girls Don’t Cry on stage from their 7th mini album, The Sin: Vanish. While I don’t usually review side tracks separately, ENHYPEN did reveal 3 additional music videos, including one for Big Girls Don’t Cry, making it eligible for a full review.

It is quite astonishing to see how short some songs can get. Big Girls Don’t Cry might be setting a record, dropping below the 2-minute mark! Had it been longer, the track could have been so much more. But we don’t get that opportunity, as a result. Big Girls Don’t Cry has ENHYPEN leaning into a blended R&B and pop sound, offering a message of support, comfort and protection from heartbreak. I enjoyed the song’s mid-tempo pace, which allows Big Girls Don’t Cry to develop and create that comforting atmosphere the lyrics seek to portray. This is also aided by the members’ warm vocal tones. There was also an interesting flair to their vocals that I just cannot seem to pinpoint exactly what it is, but it definitely gave Big Girls Don’t Cry its unique charm and profile. It also felt like each member got a chance to shine in Big Girls Don’t Cry despite its short length, but the reality is that some members had a bit more time than others. It would have been nice to have that intro and outro performed by one of the members who did not get as much airtime, like SUNGHOON and/or SUNOO. Big Girls Don’t Cry definitely has potential based on what is there, but it is hindered by its short length.

With regards to the flair I mentioned before, I wanted to describe it as ‘country western’. I am convinced there is a tinge of that in the song. But I think that was put into my head by the music video, which shows the members travelling through the desert to protect the female character after they go on the run with her from the events in the No Way Back music video. Everyone assimilates into society by donning cowboy/girl-inspired outfits, thus relating the previously random cowboy concept photos to the comeback. They make their way to a diner, after JAKE uses his power to find a safe place. Here, they hang out with the local bikers and truck drivers, subtly showing off the rest of their powers. However, after spotting their wanted photos, the group leaves and goes back onto the road, before using JAKE’s powers again to locate a mansion they can hide at.

Whoever is styling ENHYPEN on stage is doing an amazing job. Hats off to them. As for the performance, I like how the routine highlights such cool vibes and charisma. There is also a laidback side to the routine that matches well with the music.

Song – 7.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.8/10