Category: Reviews

[Review] Made My Night – LE SSERAFIM

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It’s been 3 years since LE SSERAFIM released their single Perfect Night – their first English single, a promotional single for Overwatch 2 that became a massive hit in Korea. Last week, LE SSERAFIM and Overwatch joined forces once again for another English single to promote the game: Made My Night. This is the group’s third release of the year following their Pureflow Pt. 1 studio album (led by the singles CELEBRATION and BOOMPALA) and their ICONIC BY MISTAKE collaboration single with KATSEYE and ILLIT.

Made My Night features a solid dance beat, made groovy with the choppy brass. This combination has so much potential to be potent and addictive. It’s energetic and dynamic. LE SSERAFIM also brings fresh vocals (albeit autotuned) to the track. Made My Night should have been a winner. But unfortunately, the biggest issue is its short length. Made My Night‘s base doesn’t have enough time to stew and develop. Once again, the producers prioritised the song being short over pretty much everything else, which dulls the song’s potential and overall sound. I wish Made My Night had more length and development, so it could realise its banger potential.

I just want to clarify that I don’t game whatsoever, so my knowledge of Overwatch is practically zero. This means my interpretation of the music video will be extremely elementary at best. Essentially, in the music video, LE SSERAFIM goes missing ahead of a concert after being kidnapped by some evil robots. Two Overwatch characters (I presume), eager to attend the upcoming concert (they have their tickets ready to go), save them by defeating the evil robots. LE SSERAFIM are released in time for their comeback, and the selfie the 2 Overwatch characters take at the start of the video becomes a promotional element for LE SSERAFIM’s concert.

I enjoyed the choreography. The moves fit that energetic dance beat quite nicely. I liked the high kicks during the chorus, and the ending montage has a club-beat atmosphere that captures the song’s banger potential well.

Song – 7.5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8/10

[Review] Without Wings – SF9

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SF9 celebrates their 10th year as a group this year. To mark the occasion, the group has released 2 albums this year. The first is a special album titled About Love, which was released in March 2026, led by the single Love Comes Slowly (which I missed and did not review). More recently, the group (sans Yoo Taeyang and Zuho due to military enlistment) released their 2nd studio album, Tenacity, led by the title track Without Wings. My last review of an SF9 release was for their LOVE RACE era (title track and mini-album review).

Without Wings has a nice rhythm (when you really pay attention to the instrumentation) and showcases some really good R&B vocals from the group. I do appreciate the sensual vibes the song gives off, which suits SF9’s style. The Afrobeats also give it a somewhat refreshing, breezy tone that works well with the current summer heat. But when I listen to the song casually (i.e., it appears on my queue), I don’t register it at all. Despite all that has been mentioned, Without Wings feels incredibly dull and largely forgettable. The hooks and melodies are pretty light and don’t really amp up or give the song any oomph. I still can’t remember much of the chorus, even after a couple of listens when I wrote this review. Similarly, the same goes for the rapping. Without Wings also feels incredibly tight, wisping away into a blur rather than a song. There’s no time between the verse and chorus, or vice versa, to appreciate or process the song.

I feel like my comments about the music being dull also apply to the music video. The music video’s atmosphere feels mature and sensual, which works well with Without Wings‘ R&B style. But beyond that, I don’t find anything that draws me back to this music video in particular.

SF9 did a good job bringing those sensual, mature vibes to the forefront of the choreography without making it too obvious. The routine, alongside the “W, W” hook, had some intensity, which helped beef up the chorus on stage. I also enjoyed how delicate Jaeyoon’s part in the bridge looked.

Song – 7/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.2/10

[Review] MAGIC – MONSTA X

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It has been half a year since we last heard from MONSTA X. They released their third English-language album, Unfold, earlier this year, and it was a nice listen. Their last comeback that I covered on the blog was their The X and N the Front era, which was released around the same time last year. Today, the group returns (sans I.M, who is currently enlisted in the military) with their 14th mini-album, The Phase, and the title track MAGIC.

What will probably have me coming back to MAGIC more and more is its chorus. I really like its soaring, rock nature and how it contrasts sharply with the plain, dull opening verse. The opening verses and pretty much the other vocal parts of MAGIC, sans the chorus, felt unnecessarily brief and just didn’t have enough substance. I am left unsure what to focus on with what we do get, and end up wanting so much more from these parts. The lack of build and development to get the most out of MAGIC‘s engaging chorus is also quite confusing. But in addition to MAGIC‘s centrepiece, JOOHONEY’s rap in the second verse had a good rhythm and was another standout part of the song. The harmonies at the end were also a neat way to wrap up the song. The rest of MAGIC is just lacking and is miles away from the better parts of the song.

MAGIC compares the intense moment of being drawn to each other to magic, portraying uncontrollable emotions and a fateful encounter (from Sportal Korea). The music video portrays this through the people around MONSTA X. While it looks like they become uncontrollable and enter a trance because of the group, I have a theory that someone else is the cause of the change in behaviour. At one point, you see the people around the group pass MONSTA X and continue towards someone else. If the group was the centre of attention, the people would have stopped/stayed behind the members or surrounded them. This theory would explain why MONSTA X is looking in that direction. This whole concept looked really cool and became even more epic towards the end, when the music video is set on the overpass.

The performance looked good. The mix of smoothness and matching up with the beats created a nice mix during the verses, while I really like the ‘coming at you’ motif against the soaring chorus. It just felt right and expected for the chorus. Those thrusts for the final chorus were unexpected, though I am sure fans are enjoying it.

Song – 7/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.8/10

[Review] Pop Off Pop Off – KiiiKiii

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After their successful 404 (New Era) comeback earlier this year, KiiiKiii returned earlier this month with their 3rd mini-album, WhyKiiiKiii, and the lead single Pop Off Pop Off.

Pop Off Pop Off‘s opening takes me right back to some of the guilty pleasures of my youth, with the autotune approach reminding me of some 2010 dance-pop tracks. Kesha’s Tik Tok comes to mind. Like those songs, Pop Off Pop Off is a lot of fun, whimsical, and a blast to have on. The verses give us an opportunity to hear the members without the autotune, and I liked this contrast with the centrepiece. When you least expect it, the chorus doubles down on the EDM and breaks it down even further with a hard-hitting club take on the EDM. I liked how it turned out, and the unexpected nature does make Pop Off Pop Off more exhilarating. The English does trouble me a bit, especially the official translation. It looks like a jumble of words – some of it is okay and passable, but others just don’t make sense to me. What does “Flash, flip that V” and “Hot sticky phone” even mean?

One thing I didn’t mention above is that Pop Off Pop Off is full of energy. And this is translated well into the music video. The music video sees KiiiKiii plan and take a vacation to a very sunny, stunning coastline. Being both unwell and in Winter in Australia, I am very envious. KiiiKiii see the sights and also have house parties whilst on holiday, but more important enjoying time with one another. Very fun! Full of energy also means colour, and the music video really makes this element super vibrant. It is truly a summer video.

The choreography looked great! Like the song, it was quite packed, with the performance striking a balance between lightheartedness and intensity. KiiiKiii also looked like they were having fun performing Pop Off Pop Off.

Song – 9/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.8/10

[Review] Achilles – NOWZ

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KPOP is a very populous and busy industry, which unfortunately means I cannot always keep up with new releases and groups. One of the groups I know I am missing from the blog’s coverage is NOWZ. But that changes today! NOWZ debuted back in 2024 under the name NOWADAYS with a 5-member lineup (HYEONBIN, YOON, YEONWOO, JINHYUK and SIYUN) under CUBE Entertainment. They rebranded as NOWZ a year later and most recently returned with the single Achilles. I do plan to return to more of NOWZ’s discography in the future.

What I liked about Achilles (enough to actually set aside and review it this time) is its simplicity and straightforwardness. Achilles is a groovy disco dance track, which, if you know me, is actually a favourite sound of mine in KPOP. The synths in this track felt quite classy, which I found charming. But what I like most is that the groove is relatively soft and not “in your face”. This refined approach gives the track a more sophisticated feel, adding a fresh appeal and dimension to the funky sound. I also find this approach allows NOWZ’s vocals to really shine, which is another appealing aspect for Achilles. Their vocals previously caught my attention with Fly To The Youth (featuring i-dle’s YUQI). In Achilles, the vocals make the song smoother. I am particularly drawn to YOON’s line just before the choruses and YEONBIN’s line in the bridge – both parts are what I return to each time I play Achilles. Overall, Achilles is definitely a really nice track that I highly recommend. I am happy that it is my first NOWZ review.

My take on the music video is that NOWZ, with their captivating looks and charisma, is seen as an influence on society, given how they are plastered everywhere in the media (on late-night shows and in commercials) in the video. Some (i.e., parents) don’t approve of NOWZ (based on the way they covered the little girl’s eyes and took her away from the TV screen at the end). But even as a strong influence, the group sings about their weakness – their lover. No matter how confident and charismatic they look on TV, they are only human and can be vulnerable at times. Whilst limited, the video does show the members in very different environments – classy and sophisticated for the perfume advertisement, sexy and modern for the jeans advertisement, and fittingly retro to match up with the song’s primary disco influence.

The performance was definitely nice to watch. I particularly liked the smooth moves during the second chorus. The arm movements and body twists just glided so nicely. I also liked the ending, with the delayed keyboard synth and associated move giving the song and performance just a little extra something to finish it off.

Song – 9/10
Music Video – 8.5/10
Performance – 8/10
Overall Rating – 8.7/10

[Review] Blingy – NCT 127

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It has been over 2 years since NCT 127’s last release, WALK (the title of NCT 127’s lead single from their 6th studio album). A lot has happened since then, including military enlistments and members’ departures for various reasons. Currently active in the group are TAEYONG, JOHNNY, JAEHYUN, YUTA, and HAECHAN. This current lineup returned earlier this week with their 7th studio album and its title track, Blingy.

Blingy is loud and intense, thanks to the electronic hip-hop and its shouty chorus. It definitely sounds like something we would expect from NCT 127. But I find it interesting that Blingy somehow also feels monotonous and plain. No matter how many times I have listened to the song since its release, it just doesn’t stick. This leaves me disappointed, especially considering the energy the 5 members put into Blingy‘s chorus and how much it comes across. Blingy‘s shouty delivery in the chorus does nothing to grab your attention or make the song memorable. This leaves the verses as the more interesting parts of the song, but there just isn’t enough in them to save the song. The most promising aspects of the song are HAECHAN and YUTA’s vocals during the verses and the amped-up background towards the end. But they are not enough to keep Blingy from falling into lacklustre territory.

The music video sees NCT 127 searching for blingy items and going after old men with gold statues, amid some cool, serious choreography shots you would definitely associate with NCT 127. The plotline of tracking down these blingy items adds a bit of humour to the video, giving it a lighthearted tinge and contrasting with the intense sound. HAECHAN stood out in particular for shining during these humorous moments, like when the gold ball hits him in the chest (ouch) and he questions a young girl about the blingy items.

The choreography is intense and features the members confidently showing off a cool side in the routine. It was nice to see TAEYONG back with the group, with the focus on him at the end during the dance break being a very prime example of this. But all their chemistry with the camera is on point. I also really liked the very start of the routine, with each member becoming the centre as they wave from side to side.

Song – 6/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.1/10

[Review] Bloody Paradise – ENHYPEN

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ENHYPEN returned last week with their first comeback as a 6-member group, following their Knife promotions earlier this year and the unexpected departure of HEESEUNG in March (who has since re-debuted as EVAN). The new song, Bloody Paradise, is the lead single from their 8th mini-album, THE SIN: BLISS.

No matter how many times I listen to Bloody Paradise, each time has been a blur. I will hand it to ENHYPEN for being consistent with their title tracks, most of which are under 3 minutes. Bloody Paradise feels even shorter, however, as it opts for Brazilian Funk, which is quite energetic and robust. Bloody Paradise‘s background pretty much accelerated the song, resulting in that blur. The brass synths were quite attention-grabbing, while the bass beats brought a nice rhythm to the song. However, the genre does have its advantage – it is very trendy and suitable for the summery period that is about to end. Despite being a shorter song, the chorus stands out, and I found the hooks quite catchy. The deeper vocal tones and the “Ya Ya Ya” contrasted well, heightening the song’s dynamic flair. The whispery ending was also a nice development. The verses are where I wish the members had shone a bit more individually, especially since this comeback would have been great to showcase the reformation. But with Bloody Paradise being a blur, it would have been a feat to also pull that off.

Through the lyrics of Bloody Paradise, ENHYPEN explore the idea of a paradoxical romance, depicting two lovers running away together amid danger and tension. To show this idea in the music video, ENHYPEN are convicts who escape and go on the run together. Once the life of the party inside the prison, the members find their bearings in the world beyond the prison cell and become the life of the party underground as well, which helps depict the idea of paradise. It is a short video, but they manage to tell quite a story within this time constraint.

As for the choreography, it looks great. The chorus, without a doubt, the strongest and most memorable part of the routine. You can feel the members’ intensity during this part, and the body rolls, footwork, shirt grabs, and shoulder and hip moves are bound to get the audience riled up.

Song – 8/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 8.2/10

[Review] BiiiG – BIGBANG

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In 2026, BIGBANG celebrates a remarkable feat of 20 years together as a group. Over the years, the group has released some of the biggest hits in KPOP, including Lies, Haru Haru, Fantastic Baby, Bang Bang Bang and more. This week, the group (now made up of just G-DRAGON, TAEYANG and DAESUNG) released the single BiiiG, their first official single under the name BIGBANG since 2021’s Still Life. However, the trio did come together to release Home Sweet Home in 2024, which formed part of G-DRAGON’s 2024/25 comeback.

Unsuprisingly, BIGBANG’s BiiiG gears towards the hip-hop genre. It is of a high-energy variety and features a grandiose beat that gives the track bite. It may not be much, but that beat became quite a memorable element of BiiiG for me. Unfortuately, the rest of the track fails to spark much out of me. I felt the delivery of BiiiG was flat, even though hearing G-DRAGON, TAEYANG and DAESUNG together once again was a good dose of nostalgia. For the most part, every part felt brief with the exception of G-DRAGON’s raps and the choruses. But because the delivery felt flat, these parts didn’ necessary stand out. The chorus does head in the direction of having an addictive hook, with the opening line “B.B G, Tae, Daesung-ie” being catchy. But I don’t think it was enough to then broadly say the entire chorus was catchy. BiiiG‘s production was strong, but the rest of the song just didn’t follow through.

The music video for this comeback sees BIGBANG make a grand return (I think the three trucks at the start were carrying their coffins) to hype up the crowds for their 20th anniversary. And it is done in the usual wild style that BIGBANG always pull off when it comes to their big hit anthems. There is also an edgy flair to the music video, which works well with the hip-hop side of the song. It is interesting to see a YG Entertainment music video not shot in high definition as past YG Entertainment music videos have commonly been.

Song – 7/10
Music Video – 8/10
Overall Rating – 7.4/10

[Review] THUNDER – CIX

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Upon hearing that CIX was disbanding, I committed to writing reviews of their final title tracks that I had yet to review. Why? Well, CIX has some really good songs in their discography, and they were very much underrated on the KPOP scene. Some of my favourites that instantly come to my mind from over the years include Cinema and WAVE. Today, I am finally reviewing THUNDER, which was released as part of their THUNDER FEVER mini-album in January last year. THUNDER also served as their first release with former member BAE JINYOUNG, who departed the group in 2024.

While I don’t remember my first impression of THUNDER, my current impression is that it is a super cool track. THUNDER features a really funky, groovy electro-pop instrumentation that is right up my alley for what I seek in a dynamic release. As the song progresses, you can feel the electrifying energy build, and the producers harness it to make the song sound even more robust, catchy, and powerful. THUNDER has a really cool, sparse instrumental break at the end that adds a slight sense of anticipation to the song. What also makes THUNDER so robust are the vocals. They were pronounced and well-balanced alongside the dynamic electro-pop instrumentation, and I enjoyed the acapella moment at the very end. The chorus was very catchy, and recent replays of the song had me humming along. If anything, I wish BX’s rapping was longer and more prolific. This song could have been stronger with a more powerful, fast-paced rap sequence. If that hit hard, then THUNDER would have been elevated to perfect territory for me. But CIX was already quite close.

The song is about the intensity and passion that love can bring, likening a lover to a storm and its thunder. Throughout the video, shot in Hong Kong, we saw sparks flying, lightning strikes, and storms brewing as the members walked about. Towards the end, we see one of the members clutching their heart, revealing the edgy vibes from earlier were about love, as the song expresses. I quite liked the post-production applied to the music video. It was definitely a cool aspect of the video and element of the comeback.

The performance for this comeback was super powerful and intense. I really enjoyed watching it, with particular mention of the dance break, which was my favourite part of the whole routine. Like the song, I can’t remember my first impression of the routine. But given that I am astounded each and every time I watch the performances for THUNDER now, I reckon I have always felt this way about the performance.

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

[Review] Bad Influence – SEVENTEEN

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Album review incoming! But before I post my thoughts on HAPPY BURSTDAY next week, there is another song from the album that got the music video treatment alongside the title track, THUNDER, which means it is eligible for its own song review. I have always meant to review Bad Influence, but my poor time management has gotten in the way. Better late than never, I guess.

Produced by Pharrell Williams, Bad Influence showcased SEVENTEEN in a mature, moody and edgy light. It is quite the departure from their usual sounds and tones we get from SEVENTEEN. Not just that, but there is also whole heap of expletives in the lyrics that aren’t usually what SEVENTEEN sings in other songs! Anyhow, Bad Influence brings forth an early-2000s R&B influence mixed in with the instrumental’s sparse, funky trap elements. It is a nice blend of styles, and I enjoyed that SEVENTEEN is still stepping out of their comfort zone with this different sound. However, over time, I came to realise that the song was restrained, holding itself back and lacking oomph. This unfortunately meant Bad Influence dried up its appeal. Occasionally, when it comes up through random shuffle, I would listen to it. But I am not one to seek out Bad Influence on my own.

Interestingly, the song only features 9 of the 13 members (S.COUPS, HOSHI, WONWOO, WOOZI, THE8, DK, SEUNGKWAN, VERNON, and DINO). The music video does feature the remaining 3 members (JOSHUA, JUN and MINGYU), while WONWOO and JEONGHAN aren’t seen (most likely filmed after the pair enlisted in the military). The entire music video is a very moody yet alluring display of visuals from the members. I don’t remember seeing any member singing along to the song in the video, with their stoic and charisma being employed to bring forth the mature and edginess from the song to the music video.

Song – 7.5/10
Music Video – 9/10
Overall Rating – 8.1/10

[Review] SWEAT – KISS OF LIFE

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It has only been a couple of months since their Who Is She comeback, but KISS OF LIFE is back for the summer comeback rush. Their new song, SWEAT, is the title track off their 3rd single album of the same name.

I enjoyed SWEAT, which blends Afro-house and electronic pop with KISS OF LIFE’s hallmark, creating an edgy number for the summery season. My favourite part of SWEAT is the post-chorus hook (“I like this, I like that, I like, Let them see you sweat“), particularly the panning between the two members that share those parts of the song. It is a soft chant that is well-embedded and such an earwormy moment in the song. Elsewhere, I also dig KISS OF LIFE’s captivating and alluring delivery of SWEAT. The rest of the chorus was also quite good. I really liked how the background synth in the centrepiece grew on me. At first, I felt it muddled the chorus’s potential to be catchy by being a bit too much and overpowering. But over a couple of repeats, I realised it served as a great accent piece and made the chorus more impactful. However, I still think SWEAT could have been better by having a more consistent sound. This desire for a more consistent sound comes from the slowed-down bridge. Great delivery in this part, but it disrupted the momentum SWEAT had built earlier.

KISS OF LIFE goes for a provocative music video, with the visuals surely eliciting some heat from the audience. I liked that they didn’t hold back – the producers really made sure they hit the brief by ensuring the music video is sexy. From their outfits to performing in the rain, this music video pretty much had it all. I also liked how parts of the video were colourful, other parts were monotonous in colour (i.e., the brown, sandy set) or bichromatic (i.e., the red outfits on the white background), but it was all vivid nonetheless.

Like the music video, the choreography also brings a sensual element to the comeback. The twerking and their chemistry with the camera made for a strong performance. You could also feel their confidence, which radiated throughout the performance.

Song – 8.5/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.7/10

[Review] Don’t Wake Me Up! – WONHO

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It’s been a while since I reviewed a track from WONHO; the last was his pre-enlistment comeback circa 2022, Don’t Regret. Since his military enlistment, WONHO released his 1st studio album, SYNDROME, last year, which was led by the single If You Wanna (which I have not yet reviewed). Last month, WONHO released his 4th mini-album, CORE, and the title track Don’t Wake Me Up!.

What attracts me to Don’t Wake Me Up! is the instrumentation. The high-energy, club-infused EDM track was very cool from the get-go. And after many repeats, Don’t Wake Me Up! remains pretty exhilarating and adrenaline-pumping as the first time around. The pounding percussion and shimmering synth line were very intense all throughout. The buildup and development of the instrumentation also help prevent the track from feeling overly repetitive, which was an initial concern I had about the song. The track follows through with a chanty and catchy “Don’t Wake Me Up” repetition that becomes quite a memorable and noticeable element of the song. But apart from that, nothing else really sticks out. You can tell of WONHO’s presence in the song. The brief melodies we do get were nice, but with the short verses and the song overall, there isn’t much airtime for him in Don’t Wake Me Up! and the material we do hear from him isn’t memorable.

The video opens with protestors protesting against the oppression of sound and movement that is probably applied to the world (the ‘reality’ in this universe). They surround the van transporting WONHO at the start, who appears to be their leader or poster-person for their cause. From then on, the music video sees WONHO and the protestors/dancers rally with one another to escape reality and show their desire to stay trapped in an irresistible dream through music and dance. This is further backed by the fact that the dance/music shown in the music video is done ‘underground’ and in secret from outside forces.

I quite liked the notion of losing control to the music, which appears to be the concept the performance was going for. But with that in mind, I also liked how controlled the choreography felt at the same time. WONHO and the dancers’ chemistry on-stage was also commendable. From the music, the intensity and exhilarating nature of the song was also transferred and channelled into the routine.

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

[Review] This & That – Stray Kids

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Nine months on from the release of their second mixtape, DO IT (which features the singles Do It and DIVINE), and just days since the release of their fourth compilation album, SKZ-Replay 2026 Part. 1, Stray Kids make their grand return with This & That, the title of both their latest single and their 10th mini-album. This new mini-album also features the pre-release track RUN IT, which dropped a couple of weeks ago in preparation for the new mini-album.

At the time of writing this review, I had only a couple of listens to the new song. Thus, the following are my initial impressions. I already hear the potential for This & That to grow on me (so my impression of This & That is likely to change), which is thanks to the chorus. But it is the same sequence that also emphasises one characteristic of This & That that leaves me ‘umming and erring’ – This & That feels very neutral and flat. Despite the synth work coming together to create a neat, groovy hip-hop background, there isn’t anything substantial to remember the song by. Further, the members’ delivery throughout This & That felt very monotonous, with a strong reliance on rap-speak. Not really the most striking or prolific way to make a song stand out. The chorus manages to come through, thanks to the repetition, but it doesn’t take much for one to notice the same problem elsewhere in the song persists in the song’s centrepiece. Even the usual suspects of SEUNGMIN’s powerful vocals (in the bridge), FELIX’s deep voice, or CHANGBIN’s powerful rapping (in the second verse) don’t help make this title track memorable this time around.

On the flip side, the music video is a definite worthwhile watch. Once again, the post-production really elevates the music video and gives it an edgy vibe. And the members look really cool, as well. For once, the teasers that I remember for this comeback click upon watching the video. The horror-themed teaser video Stray Kids dropped most likely refers to the headless dancers featured throughout the video (they were slightly scary), while the truck-themed teaser images are relevant to the truck references and car sounds in the song’s lyrics. I also liked how CHANGBIN in a kitchen instantly meant the revival for the school band brass players, which is a neat callback to their God’s Menu music video.

When you hear the phrase “This & That”, you instantly think of ‘making a choice’. I liked how it was represented in the choreography via pointing and flicks. I also liked the attitude-heavy, edgy side of the members during this moment in the choreography – works extremely well with the members’ stage presence. I also enjoyed how the outro also gives the impression of varying speeds, which was a cool touch to the routine’s rather nonchalant, easy-going vibe.

Song – 7/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8/10

[Review] Surfin’ Boy – Red Velvet

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It has been a while since we last heard from Red Velvet. The five-member SM group have been focusing on solo and unit work for the past 2 years since Cosmic, the title of both their last title track and mini-album. That changed earlier this week with Red Velvet returning with their 3rd special summer mini-album, Velvet Summer, and the title track, Surfin’ Boy.

In their earlier days, Red Velvet’s releases were categorised into two categories: “Red” (which refers to the bright, dynamic and poppy tracks they are known for) and “Velvet” (which, as the name suggests, are the group’s darker and sultrier releases). To me, Surfin’ Boy meets the criteria of their “Velvet” category. Whilst it is a dance track, the bossa nova guitars, reggae touch, and house groove come together to create quite a sophisticated and elegant sound. Throw in the members’ vocals and the catchy melodies, and Surfin’ Boy is quite a rich and decadent track. The bridge was indeed such a ‘chef kiss’ moment in terms of showcasing vocals; it was a definite highlight. However, Surfin’ Boy wasn’t great throughout. One issue I had with Surfin’ Boy is that it felt unnecessarily rushed. I am honestly not sure why there was little room within the song to take it in and process it. The second was the rap-speak that was going on. It just didn’t meld well with the rest of the melodies and flow of the song, which were strong aspects of Surfin’ Boy.

I have seen the social media posts of people theorising the video is about mermaids (played by Red Velvet) eliminating the men in the video. But now that has been mentioned, going from all men around them to just females at the end probably confirms that. Backing up this theory as well is the fact that one of the men’s webbed hands was seen later in a specimen jar, and YERI both pushed a guy to his death and aimed for another guy’s head with her crossbow. Quite an interesting concept, and I loved the dreamy execution of it all.

Those sophisticated and elegant vibes from the song come through the performance quite well. But it was the outro bit of the choreography that I really liked. It felt like the performance was building towards this peak, and the members looked like they had a lot of fun with it.

Song – 8/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 8.3/10

[Review] Shut The Door – Young K (DAY6)

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DAY6 appears to be focusing on solo work this year, with WONPIL making this solo comeback earlier this year (which I have yet to review) and, as of this week, Young K. The bassist of DAY6 has returned with Shut The Door, the lead single from his second studio album YOUNGEST. It is Young K’s first solo release since nothing but from his Letter with Notes studio album from 2023.

Shut The Door is a rather pleasant rock track that comes at the best time. Where I am, the weather is cold, and I have been tired from work (thus the lack of reviews). But Shut The Door joins the list of summer tracks that feel fresh and invigorating, breathing new energy into me. I enjoyed the emphasis on the song’s title in the chorus, which just gives the centrepiece some real oomph. Young K’s vocals are vibrant throughout the track, and I liked the synth/band instrumental’s drive. If anything, the instrumental could have been sharper. This could have made Shut The Door more impactful and ‘hit harder’. What also appeals to me is the song’s message, which also comes at the best time. Shut The Door expresses the message that everything will be okay, even if you need to take some time for yourself. And after the week I had, with my current state of mind, it is reassuring to hear Shut The Door. Don’t worry, I am totally okay; it’s just been one of those weeks where everything has felt uneasy.

The music video sees Young K play an actor on a sitcom, who just isn’t having the best day. He knocks everything over and causes delays in filming. It also doesn’t help that people are scolding him, asking him questions, and someone else is doing his job better. Frustrated, he runs off-set and isolates himself from the film crew. By doing so, he opens himself to a different world and gives himself a break from the constantly moving and packed world around him. Instead, he is able to enjoy some peace and quiet, as depicted by the ‘room on the road’ and field scenes. By taking this time for himself, he is able to return better and stronger, blasting (literally) back into the studio. The music video literally is a visual message reminding us to take some leave to avoid burnout and return invigorated, which is something I should be doing. (Again, don’t worry, I got some leave planned for myself!).

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

[Review] Back To Life – KARD

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Not many groups get a chance to say goodbye to their fans before disbanding. Usually, the news is dropped quite suddenly and unexpectedly, with no opportunity for a final single or release. However, for some, they are given the rare opportunity for one final hurrah. This is where KARD find themselves. It has been announced that the quartet would be disbanding following the release of their studio album, Where to Now? (Part 2): Nowhere (which dropped today alongside the single Back To Life) and the completion of their ongoing world tour. Their last comeback was Touch, released last year.

If only Back To Life had been released a couple of weeks back during the World Cup. It would have been an ideal fit, with the new single sounding like an official anthem for the global event, especially the chorus. However, as we are past that, the dancehall and Moombahton track still fits in with the summery season in South Korea through its energy and upbeatness, whilst also developing a fun, celebratory flair given the circumstances of the comeback. What I liked is how all of this takes us right back to KARD’s roots in the tropical house that they debuted with. Back To Life feels like we have gone full circle. The chorus is catchy, with a nice melody and anthemic vibe (as already touched upon). A part of me wishes things were a tad sharper, particularly during that post-chorus, to just give the centrepiece more impact. The same also applies to the members’ delivery in both the vocals and rapping departments. The other drawback to Back To Life is that is, and felt awfully short. I wish there was more to the track, though this could be me wanting more from KARD before their final goodbye.

The music video carries both a celebratory and a reflective feel. It makes sense given what this comeback represents for the group. I did notice some elements from past music videos are incorporated into this comeback. Some are quite obvious, such as the ICKY footage that appears during J.Seph’s part in the second verse. Others took a little more time to come to mind (and a quick scroll of past music videos), including the old phones that all members spoke into appeared in their Oh Na Na music video, the yellow sports car from their Hola Hola music video, the spades that JIWOO stands on at the start is a callback to their card concept, and the key that SOMIN chucks onto the ground might be a subtle hint to the motel rooms from their You In Me video. Not sure if the other music videos are referenced in Back To Life‘s, but there could be elements that I have missed.

The choreography looks good. Nothing really stands out to me. But I enjoyed the fun energy that came from it, how the routine maintains the energy throughout the song (from what I could see from the music video). I am also sure the members had a blast performing it.

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