Category: Reviews

[Review] Season of Memories – GFriend

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GFRIEND is nominated for Best ‘Return To Stage’ in the 2025 KPOPREVIEWED Awards. Support GFRIEND by voting today!

January is supposed to be a celebratory month for GFriend, as it serves as the anniversary of their debut. And while GFriend was strong enough to continue celebrating this for years to come, Source Music unexpectedly announced that the group would be disbanded in May 2021. Since then, Eunha, SinB, and Umji have redebuted as VIVIZ, YUJU and YERIN have debuted as solo artists, and SOWON has transitioned into acting. However, earlier this year, the former female group banded together to bring us Season of Memories to celebrate their 10th anniversary. It is also GFriend’s first release since MAGO in November 2020, which also (unknowingly at the time) served as their farewell song.

To me, Season of Memories doesn’t offer that GFriend sound, which I remember being disappointed about. There would have been a significant benefit in revitalising GFriend’s signature sound, particularly for a single meant to celebrate their 10th anniversary. This would have helped keep the song in listeners’ minds longer (such as mine), and is probably why I have not written a review for it sooner. That being said, re-listening to Season of Memories for this review, it is a pretty release from the group. I really enjoyed the combination of the guitar and piano in the background. It felt very clean and is reminiscent of a soft pop JPOP release. I appreciated the subtle upbeatness, grooviness and brightness it brought to the song. As for the members, they sounded very pleasant throughout the track. I particularly enjoyed the harmonies that form part of Season of Memories‘ leading hook, and the crispness of SinB’s vocal-only sequence in the bridge. The melodies also had a pleasant quality, and I really appreciated the warmth in the member’s tone.

The music video sees GFRIEND aboard a train as time slows down, with all the members running into one another, running alongside and supporting each other – just like old times. And just like old times, we see the members regroup on stage. It would have been nice to see them back on a real stage, rather than some that appears AI-generated or added in post-production, as this would have better conveyed the nostalgia and symbolism of such a moment. But overall, it was a nice, pleasant music video that brought GFRIEND back to us in one video.

Just like the song and music video, the performance offers us the chance to see GFRIEND back on stage, and I am completely content with just that idea. It was a good performance, but lacked the distinct GFRIEND factor that they had in previous performances (though this can probably be put down to the song). I am sure, however, that fans are appreciative of the final part of the dance, which is a homage back to their Rough days.

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

[Review] Promise – DOYOUNG (NCT)

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Similar to JUNGWOO with SUGAR the other week, DOYOUNG also made a comeback the day after beginning his military service on 8 December 2025. The new single, titled Promise, follows his second studio album, SOAR, led by the single Memory.

Unsurprisingly, DOYOUNG offers Promise as a ballad, a parting gift for his fans while he goes on hiatus to express his gratitude for the love and support he has received. Given his past work, I trust DOYOUNG to deliver an engaging ballad. And he does just that in Promise. The vocal performance in this one is spectacular. DOYOUNG is a formidable vocalist, and so such a performance is definitely within expectation. I particularly liked how his vocals build in Promise, helping create the engaging song as hoped. The melodies were charming, and I liked how they gave Promise some variety, avoiding becoming an overly consistent ballad that just repeats the same elements a couple of times and then calls it a day. As for the instrumentation, the backing is more typical of a ballad, with piano, strings, and percussion. But it complements DOYOUNG by building alongside his vocals. Overall, Promise is a beautiful ballad which I am sure fans and listeners will find comforting.

The music video centres on DOYOUNG returning home (presumably after an extended absence), rediscovering an old houseplant, setting it aside, and then going on with his life. One rainy day, he hears something fall to the ground outside and discovers the houseplant there. He takes it back inside, realising that he has taken it for granted, and begins to look after and care for it. That includes drawing some eyes on the pot (cute) and bringing it around with him as he goes on about his daily life. When it comes time for him to leave again, he realises the conditions will be harsh for the plant, so he builds a contraption to control the plant’s climate. The plant gifts him a flower, which he puts on a ring and takes on his adventures outside the house. At the end, he returns home with the plant, and another flower is in bloom. I think the parallels between the houseplant and his fans throughout the video are apparent, particularly at the end, when his fans will be waiting for him upon his return from military enlistment.

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

[Review] RED (Beggin’) – VERIVERY

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At the beginning of the month, VERIVERY made their first comeback in 2 years with their new single, RED (Beggin’). Their last comeback was in 2023 with Crazy Like That. Since then, one member (DONGHEON) completed his military service, 3 members (DONGHEON, GYEHYEON and KANGMIN) participated in Boys II Planet, and it was announced that most of the group re-signed with their current company (Jellyfish Entertainment) until the end of 2026.

VERIVERY’s comeback is fierce, aiming to make a strong impression after being absent from the industry. I wouldn’t be surprised if many fans and casual listeners had thought the group disappeared into the abyss, given that a 2-year hiatus period doesn’t bode well in the KPOP industry. Personally, I think VERIVERY has done well in this comeback. RED (Beggin’) is a fast-paced and robust drum-and-bass song, which features a familiar, yet memorable, interpolation of The Four Seasons’ Beggin’ in its chorus. I think this was a clever move from the producers, with something familiar in the mix that many people can latch onto. The vocal work was very clean and polished, while the rapping gives RED (Beggin’) a really nice kick. Altogether, these elements left quite an impression on me when I first checked out the song, and I have been digging it ever since. Perhaps more bass or possibly having the current bass feel a little fuller in RED (Beggin’) would have rounded out this song nicely.

According to the blurb in the YouTube description box, the music video opens with the group celebrating in the past, only for an alert to warn them of unidentified avian creatures approaching Earth. The music video then takes us to the present day, where VERIVERY find themselves stuck in the city, targeted by the avian creatures and unable to escape. Despite being on the run, VERIVERY do try to make the most of the situation by continuing filming ‘their youth’ as the final title card states. In the end, they board an elevator, which the blurb states ‘symboliz[es] a new future that awaits VERIVERY’. In addition to this storyline, I think we also see scenes where the avian creatures get to them, creating an alternative ‘what if’ scenario for the video to explore.

As for the performance, I thought it was good. I liked how they conveyed the fierceness of the song I mentioned earlier in their routine.

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

[Review] NOT CUTE ANYMORE – ILLIT

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Two weeks ago, ILLIT made their surprise comeback with NOT CUTE ANYMORE. Well, it was a surprise, for me at least, because I didn’t see any pre-comeback promotions for this release. NOT CUTE ANYMORE is ILLIT’s first Korean comeback since Do The Dance earlier this year.

NOT CUTE ANYMORE takes on reggae-pop, but in a very beige manner. For a group that has been dependent on a cute sound since their debut, the reggae-pop could have been a very unique direction for them and/or their discography. Considering the intent of the song, making NOT CUTE ANYMORE sound beige was intentional (more on this in the music video section). But this ‘beige-ness’ ends up being so thick in NOT CUTE ANYMORE that it makes it challenging to engage with the song, even for the purposes of this review. It extends from the minimalist instrumentation to the small vocals the members deliver in this song (which, in the end, make them sound cute). One thing that did come out of this, though I am not sure it is a positive, is that the beige is so prevalent that it does become a memorable part of the song. On a more light-hearted note, the combination does give NOT CUTE ANYMORE the catchy line “I’m not cute anymore” from the chorus, but that doesn’t do enough to make up for the rest of the song.

Despite trying to leave behind their cute image in the music video for a more edgy and mature look, the video for NOT CUTE ANYMORE portrays their attempt as a cute act and shows us that ILLIT cannot simply shake this cute image off. This was the whole point of the song, and so what we see in the music video is a strong portrayal of this concept. I just wish the song did this more engagingly. I liked how colour-wise, the music video is very toned down, complementing the beige sound, but also the notion that looking edgy and mature is not a colourful thing.

Watching the performance, I find myself smiling at their failed attempt at being edgy and mature. I liked how some of the members smile in one moment and, the next, are expressionless and serious. It brings the concept into the performance quite well.

Song – 6/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.3/10

[Review] Put It Back – ONF

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Another mid-November comeback that I have yet to review (until today) is ONF’s Put It Back, the lead single off their 9th mini-album, UNBROKEN. Put It Back follows the release of the first part of their 2nd studio album, ONF: My Identity, and its title track, The Stranger.

Put It Back is good, but not great compared to ONF’s past hits. There are some elements that I really like that have me coming back to Put It Back. The super funky instrumental was the first thing that really jumped out at me. The concentration of prolific guitar twang and plucks makes Put It Back super cool and groovy. The hip-hop elements were also nicely handled throughout the song. Clear vocals and rapping are also present. The biggest problem I have with Put It Back is the lack of that really memorable hook and/or melody that becomes a defining feature of the song, as per their past hits. The “Put It Back” line that opens the chorus and its repetition as the post-chorus hook just doesn’t have that same ONF feel and boldness to stick with you, even after the song ends. This is most likely the result of decoupling ONF from Hwang Hyun, a long-term collaborator with ONF who has been behind many of ONF’s past songs.

The music video for this comeback was fairly straightforward, which I suspect is because budgets were cut back. For the most part, it featured close-up shots of the members, with the camera very close to them, as well as choreography shots around the stadium. The former offers what felt like a direct, unfiltered view of the members, which is a cool aesthetic. At the same time, with the latter, I appreciated how the production team used lighting, post-production and the outfits to give off different vibes and make it seem like entirely different locations.

ONF’s synchronisation and the smoothness of the ‘Put It Back‘ moves at the start of the chorus were the standout elements of their performance. Both were very cool to watch and appreciate.

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

[Review] LOOK AT ME – ALLDAY PROJECT

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Making their comeback yesterday was ALLDAY PROJECT, with their self-titled debut mini-album. The mini-album does feature their recent single release ONE MORE TIME, but it is led by the single LOOK AT ME, which also dropped yesterday.

After a successful debut with FAMOUS and a comeback with ONE MORE TIME, I am disappointed with LOOK AT ME. From the nursery rhyme-based chant in the chorus (which makes the song sound childish) to the plain instrumental elsewhere in the song, everything pretty much felt a downgrade in comparison to their previous singles. LOOK AT ME is also relatively short in length, and that hindered its ability to actually develop into something decent. On the flip side, I did find some aspects of LOOK AT ME to be decent, so it isn’t all bad news for the song. The bass was appreciated, as was the rapping by ANNIE, BAILEY and TARZZAN in the second verse. TARZZAN also does well in the bridge. But overall, I very much prefer their more recent single ONE MORE TIME over LOOK AT ME any day.

From what I can gather from the music video, ALLDAY PROJECT is the centre of attention, breaking free from the rest of the world and garnering attention in the process. Some trampoline bounces, cool-looking close-ups, and nice editing/post-production make for a decent video. I felt the song limited the video’s potential. For example, the brown tones of the video complemented the music, but felt so boring and dull.

While the performance has been a strong point for ALLDAY PROJECT, I don’t necessarily think it was much of a highlight in this comeback. While we have not seen a performance for LOOK AT ME yet, the music video usually steps in to highlight the key points of the choreography. But aside from the ADP signage, I don’t remember much of the choreography from the video. I might return once we see a performance, in case there is more to it.

Song – 5.5/10
Music Video – 7/10
Performance – 7/10
Overall Rating – 6.3/10

[Review] Lemonade Fever – CRAVITY

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Despite CRAVITY’s Lemonade Fever being out for a month now, I am actually excited to finally get a chance to review the new single. Lemonade Fever is the title track of CRAVITY’s Dare to Crave: Epilogue, the repackaged version of their 3rd studio album, Dare to Crave, that was released in June this year. Alongside that album, CRAVITY released Set Net G0?! as the title track.

Lemonade Fever stands out of the pack with its energetic groove and funky underlay, pushing forward a dynamic and upbeat dance profile. Great rapping and vocals feature throughout Lemonade Fever, with easy-on-the-ear pop melodies that help make the song approachable. Lemonade Fever is very much an underrated track and should have received more attention. Needless to say, CRAVITY did well with the song, but it wasn’t any of the already mentioned aspects of Lemonade Fever that grabbed my attention. That came down to the second half of the chorus, with the distorted guitar. The deepness, the harshness and abrupt nature of this second half was such an unexpected change up and contrasting element to the rest of Lemonade Fever. Yet, it works extremely well as a centrepiece to the song. Overall, I enjoy repeating Lemonade Fever, but there is something about that second half of the chorus that just manages to tickle my brain, particularly when it comes out of the blue.

The music video and lyrics to Lemonade Fever sees the members liken the attraction and pull towards a lover to the sweet taste of lemonade. The music video features the members enjoying the sweet taste of the beverage and shares this enjoyment with the people around them. Though, I think it gets out of hand at a certain point, with lemonade leaking all around the station, and it turning people exposed to a zombie. Slightly confusing, but still a fun and lighthearted video to enjoy.

The performance for Lemonade Fever encapsulates the funky and groovy elements of the song for majority of the choreography. But when it comes to the contrasting sequence of the song, the members turn serious (to complement the deepness and harshness) and give off more mature vibes. I did enjoy the entire performance, but particularly that same part in the routine.

Song – 10/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 9.2/10

[Review] Panorama – TAEYEON (SNSD)

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Earlier this week, TAEYEON made her comeback with her first Korean compilation album, Panorama: The Best of TAEYEON, to celebrate 10 years as a solo singer. That was 2015 with the I (ft. Verbal Jint), though this album only features a solo version of her solo debut track. Leading the 23-track album of TAEYEON’s past hits and title tracks is the new single, Panorama. This comeback comes 1 year after her Letter To Myself comeback in November 2024.

Panorama starts off with soft piano and guitar in a ballad-like intro. It slowly builds towards the first chorus, which adds in the presence of drums before slowly building up again and bursting into the proper form of Panorama – a pop-rock single. From there, Panorama maintains the same momentum and energy before easing out at the end. The second chorus, however, launches right into the pop-rock sound and doesn’t feature a build-up in its first half. As with any of her solo songs, each section features her stunning vocals, keeping you engaged and entranced. While I quite enjoyed the choruses’ melodies, I wished the verses had something similar. The chorus really takes away a lot of the focus, and while the verses were good, they just didn’t have the same impact as the chorus. Overall, it is rare for any of TAEYEON’s songs to go wrong, and Panorama is another song that proves it.

The music video opens with a young female entering TAEYEON’s bookstore. The latter hands the younger a book and proceeds to stare at the younger customer whilst she reads it. Not creepy, but this sparks a smile from the younger customer and a friendship blooms from there. As they go on a road trip, it becomes clear that the pair share common interests and care for one another (particularly TAEYEON). As the video goes on, it is revealed that the younger girl is, in fact, the younger version of TAEYEON, taking possession of TAEYEON’s red umbrella that we see TAEYEON use at the start and throughout the video. While this felt very apparent from the onset of the video, I did quite like the reveal. I also like the scene where TAEYEON holds a battered version of the umbrella as she watches the younger girl, symbolising the hardships she endured on her journey to where she is today.

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

[Review] TUNNEL VISION – ITZY

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It has been almost a month since ITZY made their comeback, but I am finally getting around to reviewing their comeback single. The five-member group from JYP Entertainment returned in November with their 11th mini-album, TUNNEL VISION, led by the title track of the same name. It is the group’s first release since their Korean comeback with Girls Will Be Girls in June and their Japanese comeback with ROCK & ROLL in October. The group will also be embarking on their third tour next year.

Even after a couple of weeks after the release (enough time for the song to grow on me), TUNNEL VISION (as a song) doesn’t do it for me. The opening vibrant synth is intriguing enough to get me started on the song, and the edgy vibes and hefty beats of the instrumental were promising. But once the song ends, I find myself moving on from TUNNEL VISION as if it didn’t just play, or it never really existed. One of the most significant issues with TUNNEL VISION is its overly consistent nature, in which the song feels the same from start to finish. There is no buildup of momentum and/or energy, which holds back and exacerbates the lack of appeal of TUNNEL VISION for me. Similarly, the members fail to stand out in the song. The chorus and hip-hop influences were probably the most pronounced aspects of TUNNEL VISION, but the choruses’ chant felt dull and unexciting, and the hip-hop influences didn’t stick with me. I know I sound negative about TUNNEL VISION. But given that the song hasn’t grown on me or left any impression, I don’t see how I can be anything but that about it.

The song’s lyrics are about staying focused and not letting others cloud your line of sight to the ‘light at the end of the tunnel’. Conceptually, this was another interesting aspect of the song. With this in mind, the music video shows paparazzi, darkness, GPS systems blowing up, and other obstacles that prevent the members from moving forward. But this doesn’t stop them; the members push through everything. Even after the car accident and almost getting run over by a train (representing the hurdles to achieving their goals), they demonstrate their unrelenting focus, no matter what happens. I have to say, the car accident scenes, where the members are flying out of the car, and the train scenes were pretty epic moments in the music video and looked really cool. Likewise, the ending shot (see featured image) of the members at the tunnel’s end was super cool. The eyeball scenes though, had a creepy vibe, which is right up my alley.

As for the performance, ITZY does it again with their strong choreography skills. I really liked the ‘tunnel vision’ moves they did in the chorus. Two of them are memorable: one hand kept straight and the other in a wavy motion, raised to their face along their line of sight, while the other involves the members looking through a triangle formed by their hands. I also like how they incorporate the ‘crown’ at the end of the routine – it keeps me sticking around to the end.

Song – 6/10
Music Video – 8.5/10
Performance – 9/10
Overall Rating – 7.4/10

[Review] DIVINE – Stray Kids

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ICYMI – Stray Kids’ latest mixtape, Do It, features double title tracks. The first shares the same name as the mixtape and I have already reviewed it. The second is titled DIVINE, which will be the focus of this post. A music video for DIVINE was finally unveiled at the end of last week and was later performed for the first time at the 2025 MAMA Awards, where the group clinched onto the Album of the Year award for KARMA (led by CEREMONY).

DIVINE was an instant favourite of mine when Do It first dropped. Opening the track up was impressive vocals from SEUNGMIN, which I cannot help replaying constantly. My bias could be peeking through, but objectively, I found it to be a memorable and powerful opening. Similarly, the ending sees BANGCHAN come into the song for the first time with a really sleek and nice ‘Ooh-Woah‘ ad-lib. It would have been nicer with less autotune, but definitely ends DIVINE in a pleasant manner. In between the opening and ending is a hip-hop motif that I really enjoyed. There was a really strong yet simple rhythm and beat to the chorus that was appealing, and I liked the addition of the traditional Korean instrument to the mix. The combination of folksy and modern always comes off as unique to me. All of the hooks to DIVINE were super catchy, especially the traditional Korean chant that Stray Kids infuses effortlessly in this hip-hop influenced song. The rapping in the verses follows a similar straight forward, yet lowkey, beat and rhythm. I did make a side comment about autotune earlier, but I really liked its presence, and the descending melody, in the pre-choruses. It is such an interesting effect that helps boosts the song in the memorability department. Overall, DIVINE is quite charming and continues Stray Kids’ consistent high-quality title track output.

In the DIVINE‘s lyrics, the members rap and sing about creating a new world with their music. For the music video, we see Stray Kids co-exist in ancient Korean times, seeking to trap an evil spirit in a bottle to reinstall order in the world. While Stray Kids have used the traditional concept before through their Thunderous comeback, DIVINE‘s music video leans quite heavily into the concept. And I quite liked how all of the traditional elements were presented in the music video. My biggest problem with the music video is the screen time of some of the members. It appears each member only appeared during their parts of the song, which does make sense to a degree. But I think each member deserved a more substantial presence – maybe they could have featured another member in the background of some solo shots to boost each members’ presence in the video. This would also fit some of Stray Kids’ music video aesthetics.

The only performance of the DIVINE so far is at the MAMA awards. You can really see the hip-hop influence, as well as their stage, presence in action. Though part of me thinks the performance only has this grandness to it because of the many dancers that were on stage. However I must give mad props to both LEE KNOW and SEUNGMIN who performed despite being injured. If you really pay attention to LEE KNOW during the DIVINE segment, you can see how much pain he was in and how he pushed through the entire performance.

Song – 10/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 9.3/10

[Album Review] 導火線 (TRIGGER) (9th Mini Album) – THE BOYZ

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Released at the end of October 2024 is THE BOYZ’s 9th mini-album, 導火線(TRIGGER). Over a year later, I am finally getting around to reviewing the mini-album (sorry about that). Led by the single that shares the same name as mini-album, the release features a total of 6 songs and is a fairly consistently good mini-album from the group.

A lot has happened with THE BOYZ since the release of 導火線(TRIGGER), including the release of a studio album (Unexpected, led by VVV) and another mini-album (A:effect, led by Stylish), a change in label to ONE HUNDRED, and line-up changes due to military enlistment, health issues and other matters.

導火線 (TRIGGER) Album Cover

1. Bite Back – Bite Back sets the intense scene that is the TRIGGER mini-album with atmospheric choir, before switching into a hip-hop track featuring afrobeats. I really liked the chorus for this track, with the afrobeats, the members’ husky vocals and simple repetition of the song’s title creating quite a catchy hook. The rapping was also quite cool in this track, with SUNWOO and ERIC taking the spotlight with their parts. I wish the rest of the vocals in Bite Back were more prolific, as they gave off a one-dimensional feel. (8/10)

2. TRIGGER (導火線) (Title Track) – Click here for TRIGGER’s full review. (9/10)

3. bAd – THE BOYZ continues with the hip-hop influence through bAd. I liked how bAd contrasts with the preceding songs by having a more minimalistic instrumental. I really liked the beat to the chorus – it brings forth an old-school vibe and the rhythm was catchy. I also appreciated that the vocals had a larger part to play in the song, and that they were a lot stronger on this single. (8/10)

4. Slip Away (숨바꼭질) – Slip Away is a R&B track, with sensual vibes oozing out of the song. I love the different paces of vocal delivery, the higher tones and harmonies throughout the track. This gives Slip Away a little more intriguing factor and colour, which is beneficial for a genre that can easily come off as flat. Whilst toned back, the rapping does go hand-in-hand with the R&B colour and vibes. But there was a risk that did eventuate as a result of toning back – the raps were lost to the rest of the song. (8/10)

5. Re-Wind – Re-Wind combines the R&B and hip-hop influences we have heard thus far on the mini-album, creating a groovy and sleek intersection. I enjoyed the smoothness, and the brighter feel-good vibes, that the song gives off. The opening line “Can you re-wind it again?” is also another catchy one-liner on the mini-album. Definitely an enjoyable song, and my second favourite off the mini-album. (9/10)

6. They See Me Dream – They See Me Dream stands in place of the mandatory ballad that usually appears at the end of an album. But THE BOYZ takes the vocal focus forward into this track, combining it and their emotions, with an atmospheric instrumental that changes momentum slightly on a number of occasions to keep the track dynamic. I like how the vocals and harmonies pull the song together, while the instrumental was refreshing and dreamy at the same time. (8/10)

Overall Album Rating – 8.3/10

THE BOYZ teaser image for 導火線 (TRIGGER)

[Review] SUGAR – JUNGWOO (NCT)

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Ahead of his upcoming military enlistment in December 2025, JUNGWOO has made his solo debut with the single SUGAR. This is his first music release in over a year – his last was through his participation in NCT 127’s Walk studio album. Since then, NCT 127 embarked on a world tour, Neo City – The Momentum, which ended back in May this year.

For me, I found SUGAR to be a decent listen despite the unfavourable lead-up to the release. The less-than-a-week notice of the release and lack of marketing didn’t build much hype for the song, and SUGAR lacks standout features. But SUGAR still had enough to feel and sound sweet and pleasant. JUNGWOO’s vocals bring the sweetness to the table, while SUGAR‘s melodies and the subtle grooviness in the instrumental were the pleasant aspects of the song. The rapping in the second verse was a neat addition to the mid-tempo track. There is also a refreshing tone and foot-tapping upbeat nature that makes SUGAR feel more suited during the summery periods, and would have been a likable hit had it been released during that period. But irrespective of its release date, SUGAR is still a nice listen overall.

The music video sees JUNGWOO visit the dentist, after which he indulges in sugary treats – so much so that he turns into a working piece of art. Talk about trajectory! But upon reflection on the lyrics, there is probably more to the video than what meets the eye. The sugar most likely represents his fans. He enjoys being in their presence (i.e., he is the centrepiece of the artwork) and they bring him comfort (i.e., the scenes where he is enjoying the lollies and soft drinks). The dentist appointment can be seen as his military enlistment – a period of time where he can’t be with his fans (i.e., the sugar), with the subsequent scenes about him eating the sugary treats and the artwork also doubling up to represent his hopes that, following his military enlistment, he would be able to continue making sweet memories with his fans.

For the performance, I really liked the bubbly and bright energy he brings, personality wise, to the routine. It makes the whole routine feel comforting, familiar and enjoyable, which I am sure JUNGWOO’s fans like. There is a bit of a mature/sensual vibe behind some of the moves – these appear primarily in the second half of the chorus, and I enjoyed kicks that follow.

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

[Review] Do It – Stray Kids

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As mentioned in yesterday’s review, Stray Kids is officially back with their second mixtape, Do It, led by the single of the same name and Divine. The group has yet to release the music video for Divine, so the focus of this post will be on Do It. This is the group’s third release of the year, following the Mixtape: dominATE single album and their fourth studio album KARMA (led by CEREMONY).

It appears to be a good week for KPOP releases, with each appealing to me within the first listen. It is the same story for Do It, though there are moments where I wish there were a bit more to what we got. Do It features a reggaeton-influenced pop instrumental, with the Latin-influenced chorus serving as a strong centrepiece, revisiting the repetitive hook motif they have employed in many of their recent title tracks. Personally, I would have liked the chorus to be a bit more explosive by amping up both synths and bass. But I like the spoken nature of their “Do It” hook, which is catchy thanks to its repetition, but also because it helps bring forth a mature, sensual vibe to the song. This hook, paired with the instrumental that we did get, was a memorable combination in my book. As for their vocals, I liked the fresh bite the vocalists brought to Do It. And I enjoyed the dynamic the rappers brought to the song (though I do miss the more in-your-face execution they’ve been aiming for in their more recent releases). Overall, Do It is another strong Stray Kids release – though after checking out the mixtape, I have my eyes and ears out for Divine.

While I am sure there is a better interpretation storyline for the music video that might connect with the Divine music video, here is my stab at making sense of what we see in isolation. At the start, we see the members touch down (on a motorised broomstick, which is a bit of a trendy element) in a run-down place in their universe (or maybe it is the future, and their universe is run-down for whatever reason). The aesthetic, with the people standing around, reminds me of their past music videos, which is why I think it is in their same universe. Do It (the song) encourages listeners to take control and do whatever they want, and so we see the members sing and dance to help the inhabitants of this run-down place to ‘do it’. Eventually, we see the inhabitants join in with Stray Kids. I like how, in the initial and second choruses, they got the dancers to join in and then stand still in the next moment, showing us their desire to join Stray Kids. Unsure if it is editing, or just a clever use of lighting and having the dancers joining in and then pausing, but that aspect of the music video looked really cool to me.

As mentioned earlier, the song’s centrepiece brought forward mature, sensual vibes. And you see that come through the accompanying routine, with the members doing subtle yet noticeable body waves during that segment. I also liked how commanding the rest of the routine was for the chorus.

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

[Review] Railway – BANG CHAN (Stray Kids)

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With Stray Kids due to make their comeback on Friday with their new mixtape, Do It, led by the title tracks Do It and Divine, I thought it might be nice to quickly wrap up the review of the solo tracks from their Hop mixtape released last year. The final song to review is BANG CHAN’s Railway. For the other reviews of Stray Kids’ solo songs from the Hop mixtape, see the links below the music video. I will be back soon to review the unit tracks from their Mixtape: Dominate album.

I don’t have much to say about Railway. From the first second, you can feel the intensity and tension of Railway through its instrumentation. It is definitely the song’s best asset. While it is more on the typical end of the spectrum, I actually liked the presence of the trap elements and hefty beats alongside the darker, atmospheric synths in the song. As Railway develops, electric guitars are introduced, teasing out more of that intensity and tension as the song goes along. BANG CHAN himself adds a sultry vibe to Railway through his vocals, giving it a more mature, alluring feel. This aligns with the song’s potential mature themes, which BANGCHAN tends to explore in his solo work, and complements the intensity/tension I keep mentioning. Personally, I would have liked an extended version of Railway, as it feels relatively short despite its inherent slower pace to maintain a consistent intensity/tension.

Like the song, the music video visually explores dark and mature themes. Vampirism, blood and gore (including bone-crushing sound effects) make a presence in the video to represent the struggles BANG CHAN experiences with the different sides of himself. In the video, the one we think is in charge at the start loses his authority and is locked up by a different version of himself by the end. Which version is which, we won’t know. But it is a very artistic and haunting way of representing these struggles. Props to BANG CHAN for his superb acting throughout the video.

Song – 8.5/10
Music Video – 9/10
Overall Rating – 8.7/10

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

[Review] ONE MORE TIME – ALLDAY PROJECT

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

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

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

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

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

[Review] Beat It Up – NCT DREAM

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

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

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

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

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