Category: Reviews

[Review] Suddenly – I.O.I

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I.O.I, the first group formed from a survival reality show (Produce 101), celebrates its 10th anniversary this year. Quite amazing how 10 years have passed. Whilst active, I.O.I gave us Dream Girls, Whatta Man (Good Man) and the massive hit Very Very Very. Per their temporary contract, the group disbanded after less than a year. However, to celebrate their 10th anniversary, the group (sans Mina and Jieqiong) regrouped to release their 3rd mini-album, I.O.I : Loop, and its title track, Suddenly (갑자기).

While I appreciate Suddenly as a reunion song that brings back one of the biggest girl groups of their day, it just doesn’t hit as hard as their past tracks. I.O.I switches up their iconic Very Very Very cutesy sound for a much more mature profile, which makes sense after 10 years. To be fair, I didn’t expect them to replicate the exact same sound from when they were last active. However, I did hope for some energy and vibrancy. In making Suddenly more mature, the producers also made it extremely beige and dull. The synthpop instrumental does bring back a straightforward disco-retro sound, which was something that I liked about Suddenly. But the chorus and its melodies are surprisingly flat, lacking the excitement to draw me into the song. And there isn’t much to remember Suddenly by in the verses. The vocals were pleasant, but again, no one stood out to me in the track. Overall, Suddenly was good, but a missed opportunity for I.O.I to deliver something that truly celebrates their milestone.

The music video carries forward the retro vibes that Suddenly gives off, looking like it was shot with an old-style camera, with the occasional flickering dot in the footage that reminds me of a similar effect seen in older movies. A beige filter also appears to have been applied to reflect the song’s beige feel. Aside from that, not much else is going on in the video. I did appreciate seeing the 9 members again and wished that they had included some sort of reference to the other two members who couldn’t be part of this reunion.

There was a gracefulness to the performance which made the routine look really pretty and feel mature. All of this complemented the song quite well.

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

[Review] TOP 5 – ZEROBASEONE

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ZEROBASEONE has undoubtedly had a busy early 2026 with the release of their Re-Flow single album (led by LOVEPOCALYPSE), their final concerts as a 9-member lineup and contract negotiations (which led to four members, Zhanghao, Ricky, Kim Gyuvin, and Han Yujin, departing to re-debut as a separate group named AND2BLE later this year). Moving forward, ZEROBASEONE continues as a 5-member group, with Kim Jiwoong, Sung Hanbin, Seok Matthew, Kim Taerae, and Park Gunwook. Their 6th mini-album, Ascend-, dropped just yesterday and features the title track TOP 5.

ZEROBASEONE delivers a sexy, mature early-00s hip-hop and R&B sound in TOP 5 that feels very nostalgic to me. I quite like this track, especially with a clever title that might also be a play on themselves as a 5-member group moving forward. The groovy instrumental earns big ticks from me. The speak-rap delivery that serves as a primary hook for TOP 5 also works really well with this early-2000s hip-hop/R&B sound, and I genuinely enjoyed its flow. I liked how each member had a chance to deliver the hook in this motif, allowing each member to really embrace TOP 5’s sound. Some of the hooks are back up with really nice melodic vocal lines that add a smooth texture to TOP 5 that again works perfectly with the nostalgic profile. I do feel like TOP 5 could have been longer. The 2.5-minute length made TOP 5 feel swift and straightforward, but I think ZEROBASEONE could have done a bit more with the track (e.g., the instrumental break was too brief). But besides that, I really enjoyed their new single.

That sexy, mature vibe from the song was well captured in the music video for the comeback. The use of the shade black was very stylish and chic. The lighting and grey set design helped to bolden the black outfits the members wore, emphasising their good looks and fit bodies. I also enjoyed the use of the foreground and background throughout the video, which adds cool depth. Definitely a cool music video that works extremely well with the song.

There was a lot of opportunity in the performance that ZEROBASEONE really took and seized. The song allows for a flirty component in the performance that matches the mature, sexy vibe I keep mentioning, and the group infused it at the right moment in the routine. There was also groove and smoothness to the song that the performance also took on board, allowing ZEROBASEONE to really showcase their dance capabilities.

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

[Review] ddok ddok ddok – BOYNEXTDOOR

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BOYNEXTDOOR will be making their official comeback early next month with their 1st studio album, HOME. But kicking off the promotions for the comeback is the pre-release single ddok ddok ddok (똑똑똑; ‘ddok’ being the Korean word that describes the knocking sound, which is very fitting song title for BOYNEXTDOOR – see their debut concept). It’s their first release since Hollywood Action last year.

While BOYNEXTDOOR isn’t unfamiliar with hip-hop, their take on the genre has been more vibrant, bright and fun. And this is what I quite like about them. Their music ends up different to other acts who also explore the same genre and their playful take makes it easier for their songs to become earwormy and memorable. ddok ddok ddok hears BOYNEXTDOOR attempt a completely different take on hip-hop than usual, with the instrumental swapping out playfulness for seriousness. While exploration of different sounds and styles definitely should be encouraged, it shouldn’t come at the expense of individuality and personality. Here, ddok ddok strips out BOYNEXTDOOR’s personality and opts for pretty much a plain hip-hop approach which doesn’t differentiate it from the other hip-hop acts. I will admit that the “ddok ddok ddok, BND/1,2,3” lines in the choruses are catchy. But beyond that, there isn’t much else to remember the song by. I don’t feel much from the rest of ddok ddok ddok. Nor their delivery, especially since I felt like the members blurred together into one person in this song. I do hope that ddok ddok ddok is just an isolated case – I have grown to like BOYNEXTDOOR’s music, and wish for their vibrant and fun take on hip-hop returns.

While the music itself doesn’t sit right with me, the music video does for a number of reasons. Firstly, the members themselves look really good throughout the video. Secondly, the members’ interactions (or lack thereof) with the people around them actually gives off a cool aesthetic in the video. Thirdly, when it came to the group scenes like in the choreography shots, it is interesting to see how one member is always the one in focus, while everyone else is doing their thing (either posing or dancing) alongside that one member, but their actions doesn’t distract or take the focus away from the member in the spotlight. Clever use of camera angles, lighting and use of space.

From the music video, the routine for ddok ddok ddok looks intense and sharp, particularly when it came to the choruses. Unfortunately, with the members trying to balance delivery of the song with microphones, the live stages so far haven’t reach the full potential that the music video promises. You can definitely feel and see a difference when it comes to their dance break towards the end of the song.

Song – 6.5/10
Music Video – 9/10
Performance – 8/10
Overall Rating – 7.6/10

[Review] WDA (Whole Different Animal) – aespa ft. G-DRAGON (BIGBANG)

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2026 has delivered a surprise collaboration between aespa (a top girl group from SM Entertainment) and G-DRAGON (the leader and main rapper of BIGBANG). Their new single, WDA (which stands for Whole Different Animal), dropped on Monday this week and is the first of two title tracks from their upcoming Lemonade studio album. WDA is aespa’s first release since Rich Man and G-DRAGON’s first since Übermensch/Too Bad.

WDA is a hip-hop dance track with a really cool electronic-based instrumental. This aspect of the track was very textured and full of intense yet subtle energy. Paired with the member’s charisma, WDA sets itself up to be quite alluring. But beyond the ‘Whole Different Animal‘ repetition as its primary hook (courtesy of G-DRAGON himself), the track was largely forgettable and disappointing. The members, while having charisma as I already mentioned, simply talk their way through WDA. As a result, there aren’t any melodies or other hooks to remember the song by. I did like how G-DRAGON’s rapping in the bridge really concentrates the hip-hop sound mentioned earlier. But it was so brief, and I wished there was more to it. Overall, WDA brings together two strong and epic forces, but the final product just wasn’t as satisfying as you would have hoped it would be.

The music video for WDA was very intriguing and mysterious. Creepy at times, like that ‘street view’ shot to focus on KARINA at the start of the video. But it definitely shows the members off in a very industrial, stylish, and ‘don’t mess with me’ aesthetic. I also liked the unpolished, modern-day camera quality and the transitions between members during close-ups. All aspects of the music video looked super cool, making it a worthwhile watch despite the song.

The above can be said of the choreography accompanying this comeback. With their charisma and stage presence, as well as a strong command of the hip-hop motif, aespa delivers another memorable performance that you definitely need to check out.

Song – 6.5/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 8/10

[Review] Heavy Serenade – NMIXX

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A couple of weeks back, NMIXX teased their comeback with the release of the music video for Crescendo. This week, they finally dropped the single alongside their 5th mini-album, Heavy Serenade. However, the official lead single from the mini-album shares its name with the mini-album. The new mini-album also serves as NMIXX’s first release since their strong Blue Valentine comeback.

I really enjoy the pretty and aesthetic sound NMIXX has been going for in Blue Valentine, Crescendo, and now Heavy Serenade. This style just reinvigorates the pop sound and gives it an impact that instantly leaves a good impression. However, Heavy Serenade is without its flaws. A recurring thought I had consistently had was that Heavy Serenade‘s overall sound could have been sharper. From the loudness of the instrumental in the chorus and some of the muffled delivery, I just think Heavy Serenade could have benefited from a cleaner sound. A really good example is the “We’re blooming” refrain at the end of the choruses – I thought it was really catchy, but it was undecipherable without lyrics. I also thought the rapping was awkward. However, there are some super-strong aspects of the song that should not be overlooked. There was great vocal delivery overall (SULYOON and LILY’s literal launch into the final chorus was epic) – you can feel the dreaminess side of the song through the vocals. I also really enjoyed how much oomph and power were behind the chorus and other parts of Heavy Serenade, which, again, adds impact and bolsters the song’s memorability. The contrast between hefty and pretty in the instrumental was another wonderfully interesting aspect of Heavy Serenade to reflect upon.

Based on the lyrics, which are about deep, definite love (lyrics meaning taken from SOOMPI), I assume the music video captures the members seeking various signs of love. From the power of music to signals, the members combine their efforts to find love in a grey and plain world. This is just my interpretation of the video, however, so I could be wrong. As for the ending, I do wonder if the snow outside hints at a future music video release for another side track or a comeback later in the year.

While I think the rapping is slightly awkward in Heavy Serenade, the choreography that accompanies JIWOO’s rapping was one of the boldest sequences in the routine. And I really enjoyed that part. I also enjoyed the prettiness of the routine that accompanies the “We’re blooming”, which definitely brings out that vibe from the song, as well. A great performance, overall.

Song – 9/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 8.6/10

[Review] AWAKE – CRAVITY

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CRAVITY made their comeback 2 weeks ago with the single AWAKE from their ReDeFine mini-album, their 8th to date. It is their first Korean release since their Lemonade Fever and Dare to Crave: Epilogue repackaged album in November last year.

As it has been 2 weeks since its release, AWAKE has had the chance to build and grow on me. And this has allowed certain parts of AWAKE to proliferate and elements to stick out. Truthfully, I think the members’ delivery could have been stronger and more prominent. While I do appreciate their softer, calmer approach throughout the song, especially during the choruses when the synths really kick into gear, their delivery also feels held back from reaching its full potential in AWAKE. The same could be said about the rapping, particularly in the second verse. An edgy factor is definitely incorporated, but I think there was a missed opportunity to really amp it up and hit AWAKE out of the park. Anyhow, the melodies accompanying the English lines in both the pre-choruses and the choruses ended up being quite memorable aspects of AWAKE. The purity of the melodies in the case of the pre-choruses, and the plainer melodies in the case of the choruses, of this alternative pop song manages to stick out for me. As for the synths, I enjoyed their dark tones and cool textures. Quite a lot to like in AWAKE, but it could have been better if the members had a stronger presence.

Is this the first time a priest concept has been carried out in KPOP? I can’t remember if it has been done before, so points for uniqueness. Anyhow, AWAKE is about “the process of defining oneself again the moment an end becomes a new beginning” (taken from SOOMPI). The music video shows the members training to become priests in a world about to be attacked by dark forces. The members use their divine powers to protect themselves, but this sets off a series of events that bring about their end and derail their path. However, at the moment it all ends, we see the members again at the start of the video. The video uses a serpent creature on rail tracks to depict the constant path the members are on, which becomes ‘derailed’ and is ‘eaten’ by another snake in the midst of the video. But at the end of the video, it is revealed that the serpent continuously circles and enters the head of the other snake, suggesting that redefining oneself at the end will always create a new beginning.

I liked the intensity and the drive behind the performance. AWAKE showcases their dance skills, and the members made the stage a really worthwhile watch as a whole.

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

[Review] TNT – CORTIS

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Just the other week, CORTIS started teasing their comeback with the single REDRED. Earlier this week, the group officially dropped their 2nd mini-album, GREENGREEN, which is led by the title track TNT. This is CORTIS’s first comeback since their widely successful debut with What You Want and a bunch of other singles from their Color Outside the Lines debut mini-album (which I have yet to, but will, review).

TNT was a blur. No matter how many times I have listened to the song, I just haven’t been able to remember anything from TNT. I know it’s played, but it is so monotonous that it sounds all the same to me. While the grungy rock elements in the background held promise, TNT never developed instrumentally beyond its opening moments. The members’ contribution to the song was a mixed bag. Some of it had character. But, like the instrumentation, most of the members’ delivery lacked individuality and tone, leaving TNT without any appeal. The hooks were lacklustre, and TNT‘s short run time did not work in its favour. Overall, I am disappointed with TNT. CORTIS should have picked REDRED as its title track for the new mini-album and left it at that.

CORTIS is on the run from the masses in TNT‘s music video. It depicts societal pressure, as members dodge and avoid the idea of conforming with everyone else. The members are portrayed as your typical teenagers. And from their expressions, there is an element of thrill and excitement as they try to evade capture. Sometimes they are caught, but that just edges them the next day. At the very end of the video, I think we see the members turn around and go head-on with the crowd, showing their willingness to stand up for themselves.

The performance seems to build and play with the intensity of those grungy rock elements in TNT‘s background. Even without much else in the song, the members did a good job of commanding the stage, and this shows off their stage presence.

Song – 6/10
Music Video – 9/10
Performance – 7/10
Overall Rating – 7.1/10

[Review] CHOOM – BABYMONSTER

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BABYMONSTER was one of the groups to make their comeback this week, with CHOOM, the title of both the lead single and their 3rd mini album. Following CHOOM, music videos for the other singles on the mini album have been confirmed, with one being released each month up until August. However, noting YG Entertainment’s track record, let’s wait and actually see the video drop before we get all excited. CHOOM follows on from their WE GO UP comeback from October last year.

CHOOM, or ‘dance’ in Korean, goes for the bombastic flair and high energy through its synth instrumentation and hefty beats. But while it does hit that brief (it is a YG song, after all), the instrumentation feels pretty unmemorable. The only part of the background that sticks out for me is the guitar piece after the first chorus, as it is the only part of the CHOOM that feels unique. CHOOM also features underbaked hooks that don’t really make much of an impact, relying more on the already unmemorable instrumentation. Even the chant at the end (which has worked in some YG songs in the past) feels one-dimensional. As for the members, their delivery was strong as always. I am impressed with the rapping during the verses, and the vocals in the bridge were amazing. It is a pity that the material isn’t of the same high quality.

According to some media articles, CHOOM is about “uniting fans through dance”. But aside from the members, there isn’t much dancing throughout the video. We do see dancers in the song’s final moments, hyping the members and joining in on the choreography. But in the rest of the video, the background people were either frozen in time (in the case of the entire bank heist concept) or off to the side and barely in focus (in the case of the ballerinas – I haven’t included them with the dancers at the end because their presence felt more space-filler than intentional). I felt that, with such a message behind the song, the music video could have showcased more dancers and featured a wider range of dance styles to bring everyone together.

The choreography leans into that bombastic flair and high energy I mentioned earlier. I did like the vibrant, dynamic tone the members brought to the routine, especially in the chorus.

Song – 6/10
Music Video – 7/10
Performance – 9/10
Overall Rating – 6.9/10

[Review] CINEMA – Lee Know & Seungmin (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 Lee Know and Seungmin’s CINEMA. Links to the reviews of the other unit tracks (as they are released) are below the music video.

CINEMA is a rock ballad that opens with dramatic drumming and follows through with atmospheric vibes from the electric guitars. From there, the song slowly builds, introducing other band instrumentation to the backing, allowing the rock ballad profile to proliferate and intensify. Both Lee Know and Seungmin sound breathtaking and amazing throughout CINEMA. We all know Seungmin as the main vocalist of Stray Kids and as someone who can captivate audiences with his vocals. But Lee Know completely surprised me. The song showcases his improved vocals since his debut, and his ability to hold his own alongside a main vocalist is pretty remarkable. Both convey a hopeful, uplifting tone throughout CINEMA, delivering beautiful melodies and their vocal ad-libs and harmonies at the end give the track so much impact.

Set in a post-apocalyptic world, CINEMA‘s music video depicts the pair’s journey to ‘the stadium’, where they perform CINEMA. We see snippets of them penning the song together and making the physical journey to ‘the stadium’. Despite their car breaking down, which also tests their relationship, the pair supports each other in their efforts to realise their goals and dreams to perform. The storyline can definitely be seen as a representation of Stray Kids’ journey thus far with the rest of their group and their fans (more on this soon). The idea of the final destination being called ‘the stadium’ might also be a reference to their world tour, where they have performed in stadiums across the globe, highlighting their success and where they are at in the present. The most abstract aspect of the music video is the post-apocalyptic setting, which, in my mind, represents starting from nothing. Both Lee Know and Seungmin acted well in the video, as well.

I am not factoring their stage performances of CINEMA into the final rating (as there isn’t a choreography for this release), but I really enjoyed the idea of their fan names at each leg of their world tour scrolling across the screen in an ‘ending credits’ type of fashion. Again, this highlights the importance of STAYs in their journey of being Stray Kids.

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

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

[Review] It’s Me – ILLIT

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Last week also saw the return of ILLIT, who made their comeback with the single It’s Me, and the mini-album Mamihlapinatapai. This is their first comeback since last November’s NOT SO CUTE anymore.

In terms of sound profiles, It’s Me really stood out among last week’s releases. I think there is potential for It’s Me to be one of the more memorable wackier tracks (think Orange Caramel). However, the track’s short-term effect might derail that potential long-term outlook. The techno nature of the backing was definitely attention-grabbing, while the clangy texture, fast-paced tempo and hefty bass of the instrumental (particularly during the chorus) made It’s Me very dynamic. It is unique, fun, and memorable. I personally enjoyed this aspect of the song, even if it does limit what ILLIT could have done with the delivery of It’s Me. On that front, I am not exactly thrilled with where it landed. I am impressed by the pre-choruses, which have a pretty melody and vocal line. Definitely one of the better parts of It’s Me. As for the rest of the song, their vocals and delivery were definitely energetic and leaned into that cutesy side that ILLIT is known for. But the spoken motif for the rapping comes off as monotonous, and the “Who is your bias?” repetitive hook, whilst catchy upfront, has nowhere to go but to end up annoying. I already feel that endpoint becoming reality whilst having It’s Me on repeat for the purposes of this review.

I do bring up the reference to Orange Caramel deliberately, as part of ILLIT’s music video is set in a Chinese-style restaurant that gives me flashbacks to the Shanghai Romance music video. I liked that little throwback. Elsewhere in the video, I enjoyed the start where the members randomly come together from different places ahead of It’s Me chorus. I found the stop-motion funny, and how the other people in the neighbourhood were trying to avoid the members at one point. This leads into a taekwondo-style scene, which is a nice way to represent their Korean culture and identity in the music video.

That idea of It’s Me being potentially wackier releases in KPOP definitely comes through strongly in this comeback’s performance. I am loving that twist just before the chorus, as well as the foot-tapping, bouncy nature and sharp arm positions of the chorus. If it hasn’t already, I can totally see the routine becoming viral and dominating social media. I would be disappointed if it didn’t.

Song – 6.5/10
Music Video – 8.5/10
Performance – 10/10
Overall Rating – 7.8/10

[Review] Crescendo – NMIXX

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NMIXX is gearing up for their next comeback in May with their 5th mini-album, Heavy Serenade. Ahead of the mini-album is the pre-release track Crescendo, which dropped earlier this week. Crescendo is NMIXX’s first overall release since their TIC TIC collaboration with Pabllo Vittar and their first Korean release since Blue Valentine (title of both the lead single and their successful first album, which earned them Best Album of 2025 in the 2025 KPOPREVIEWED Awards).

With several pre-releases ahead of NMIXX’s album drop, as well as some of the side tracks from their Blue Valentine studio album, NMIXX is setting themself up to be a group that consistently releases artistic, aesthetic pop releases. Crescendo continues this trend for NMIXX, which showcases their vocal abilities in spectacular fashion. I am loving the verses, where their vocals captivate in various ways. The pre-choruses are my absolute favourite parts of Crescendo – both SULYOON and BAE sound very pretty in their respective pre-choruses, and I love the stilling effect that comes off from their parts. The contrast between verses/pre-choruses and chorus helps make Crescendo bold and attractive. Instrumentally, I enjoyed the way it built itself up, and the additional synth details add a freshness to the song. At times, the background also adds a playful effect to the song, giving it a different dimension and vibe that makes the track even better. Overall, Crescendo continues NMIXX’s strong release game and leaves me more excited for their upcoming comeback.

I have no clue what is going on in the video. According to Chosun, the music video is set in a silent post-apocalyptic world, where NMIXX infuses vitality into the silence. That is the best theory I can find, when also considering the meaning behind Crescendo‘s lyrics and title. Regardless of what the video is about, there is a definite, mysterious atmosphere in the video that makes it quite an intriguing watch. There are some aesthetic moments throughout the music video, such as the abstract angel wings and mouth-covering worn by the members, which I have no clue what they are meant to represent, but they look really pretty.

Song – 10/10
Music Video – 9/10
Overall Rating – 9.6/10

[Review] No Tears On The Dancefloor – LEE CHAEYEON

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Aside from a bunch of OST releases in 2025, LEE CHAEYEON had a low-key last year. The only major update from LEE CHAEYEON was her departure from WM Entertainment and her signing with DOD Entertainment. Her last comeback was back in 2024 with Don’t (which I actually never got around to reviewing). Earlier this week, she released her first single under her new company, No Tears On The Dancefloor, the title track from her 4th mini-album, Till I Die.

What attracts my attention towards No Tears On The Dancefloor is its melodic flow. It is definitely nice to hear such a vocally forward song with a strong melody, amongst the sea of other songs where the melodies just have not been enough. LEE CHAEYON does a great job of handling and delivering this track. There is something comforting and warming, as well as an emotional appeal, about her vocals that makes No Tears On The Dancefloor feel just right. The instrumental falls into the dance-pop realm, with nice disco roots and a really pretty string sample that appears throughout the song. The latter adds to the warmth, comfort, and emotional tinge of the song, while the instrumentation as a whole feels straightforward and relatively pure. The only thing I think is missing from No Tears On The Dancefloor is a more pronounced hook. The song already has pull as is, but I think something bolder would have really solidified the song.

The music video shows LEE CHAEYEON disconnected and absent-minded when she is not dancing. In the midst of these moments, she notices ‘flower people’, which may represent someone from her past. But when she gets to dancing (which she does so naturally), she is much happier and livelier. Even in the presence of these ‘flower people’, you can feel a very big difference in her demeanour and exterior presence. I am loving the whole dance montage with the flower dancer and the petals falling down around them. It was a stunning scene and shows LEE CHAEYEON in her element.

That last statement about the music video definitely applies to her performance as well. The performance was so well executed and captivating to watch. I particularly enjoyed how she and the dancer break away from the other dancers during the second chorus, as well as how she is reintroduced to the centre in time for the instrumental and dance break/outro of the performance (which I also enjoyed).

Song – 9/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.9/10

[Review] You, You – TWS

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Starting off the week is TWS, who is back with their 5th mini-album, NO TRAGEDY. Leading the new mini-album is the title track, You, You. This is the group’s first release since dropping the Korean version of Nice to See You Again, which is also featured on this mini-album.

You, You sees TWS venture into the house genre, with the track starting off super groovy and maintaining this same energy all throughout. You, You feels slightly more mature compared to their past title tracks, but does so without detracting from their well-known youthful energy. I also enjoy the bass that comes off the instrumentation – this aspect felt just right. The only difference between You, You and their past tracks that I noticed right off the bat was a ‘pleasantness’ factor. You, You does not feel as in-your-face in terms of energy and vibrancy as last year’s Countdown and OVERDRIVE did. But it keeps true to their roots, as already mentioned. The groovy track had me nodding along; the members delivered You, You solidly, and I liked the smooth melodies and catchy hooks. Overall, I enjoyed You, You. However, the track is shorter, ending after the second chorus. The house genre often lends well to an instrumental bridge (to bring in a cool dance break performance-wise), and some emphasis via a final chorus could have sealed the song and ended You, You on a bolder note. What we got was a great listen. But had You, You been given an opportunity to develop a bit more, it could have been better.

The music video shows TWS escaping fate (the bright star the members were trying to run from and dodge throughout the video) to stay in love with the person they are meant to be with. This complements the song’s lyrics and the concept of the NO TRAGEDY mini-album. Throughout the video, you see the bright, persistent energy the members give off as they run, dodge, and fight against the star. It was a fun video, overall.

The synchronisation of the performance was something I instantly noticed while watching their comeback showcase, and it definitely brings a cool element to the routine. I also liked the lightness and peppy nature of the moves, as well as the bright smiles, alongside the ‘Darum Darum’ post-chorus hook. It definitely was the defining part of the routine.

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

[Review] Backtalk – EVNNE

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The next review is for EVNNE’s Backtalk, their first release after Yoo Seungeon and Ji Yunseo left the group and the group reformed as a quintet. After releasing How Do I Do and the Love Anecdote(s) mini-album last year, EVNNE entered negotiations to continue as a group (as they are a project group of Boy Planet trainees who just missed the final ZEROBASEONE lineup). The five remaining members signed with Jellyfish Entertainment to continue EVNNE as a permanent group, while Yoo Seungeon and Ji Yunseo returned to YH Entertainment, the home of TEMPEST, YENA, and the upcoming group AND2BLE (which Yoo Seungeon will be a part of with other former ZEROBASEONE members Zhang Hao, Ricky, Kim Gyuvin, and Han Yujin).

Even after almost a week since its release, Backtalk hasn’t really made its mark on me. I did like the loaded synth background, and EVNNE’s delivery throughout was solid. In particular, there was some well-done vocal work right at the beginning and in the bridge that is probably the song’s best offering. But apart from that, Backtalk doesn’t have anything memorable to remember it by. There wasn’t a catchy melody or refrain to pull me in. What we did get instead was a pretty plain, unimaginative, slow chant of the song’s title, which wasn’t enough for me. Thus, Backtalk, with thanks to its shorter length, whisks by without drawing much attention to itself, leaving EVNNE’s new chapter as a permanent group lacklustre.

Backtalk, co-written by the members, acknowledges their limitations that others tend to point out and expresses their determination to prove everyone wrong on their new journey as a permanent group. Throughout the video, you can see and feel their angst at the ill-natured comments directed at them, but also their willingness to provoke in order to elicit them (a neat way to represent the process of EVNNE acknowledging their limitations). The exterior shots show the members climbing a hill, likely marking the start of their new journey. Drawing on the final lyrics of the song, there may be a struggle with the climb, but it is worth it when they reach the top.

I really like the slightly intense energy and subtle provocative vibe of the performance. It complements the lyrics and concept that the comeback was going for. Apart from that, it is another routine where nothing stands out on its own, but the whole performance as a piece was still worth watching.

Song – 7/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.5/10

[Review] REDRED – CORTIS

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Also making their official comeback early next month with their 2nd mini-album, GreenGreen, CORTIS has already been busy this week, unveiling their new lead single REDRED. However, as mentioned in my previous review, I think CORTIS might have another single up their sleeve come 4 May when the mini-album drops. This is CORTIS’s first comeback since their widely successful debut with What You Want and a bunch of other singles from their Color Outside the Lines debut mini-album.

In an unexpected turn of events, I actually enjoyed REDRED. While it does contain aspects similar to GO! and What You Want (i.e., the autotune and repetitiveness) that I didn’t necessarily enjoy in those songs, REDRED manages to find a decent beat, thanks to the abrasive nature of the experimental electroclash and indie hip-hop instrumentation, which, combined with the rest of the song, drives it forward. I easily found myself nodding along as the song went along, vibing with the energy that comes from REDRED. What was also nice about REDRED was CORTIS’s straightforward take-home message, which used the concept of ‘red’ and ‘green’ colours to describe what they stand for (i.e., freedom to do what they want, having fun, risk-taking) and what they oppose (i.e., narrow-mindedness, being constrained and conforming to societal norms). It would have been nice to have a more memorable melody to remember REDRED by, rather than the shouty delivery that the group seems gung-ho about maintaining as a distinguishing element in some of their songs. But honestly, I see REDRED as an improvement, given that I enjoyed it quite quickly.

The music video shows CORTIS hanging out and having fun, whilst breaking the smallest of rules of mundane everyday life to seek the thrill of being themselves – using the coins underneath the token dispenser, taking a second scoop of ice cream, and making a mess of the toilets. The way the music video was shot was dynamic and felt extremely fun, complementing the group’s mischief and the fun they were having. After all, it appears CORTIS and the production team, appropriately named IDIOTS, directed the 3:30-minute music video.

The choreography for the comeback struck an interesting balance of intensity and lightness. I also liked how it was continuous and never let up. It made for a good watch, overall.

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

[Review] CELEBRATION – LE SSERAFIM

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Jumping from the start of the week to the end, I am now reviewing LE SSERAFIM’s lead single, CELEBRATION, from their upcoming 2nd studio album, PUREFLOW Pt. 1. However, I suspect LE SSERAFIM has more title tracks up their sleeve from their upcoming album, which is due to be released in less than a month’s time. CELEBRATION serves as LE SSERAFIM’s first release since last October’s Spaghetti featuring j-hope (from BTS).

CELEBRATION sees LE SSERAFIM venture back into EDM with a hardstyle approach and melodic techno. I like the bold, powerful energy CELEBRATION brings, as you don’t often get much of this hard-hitting energy in KPOP these days. But while I want to say CELEBRATION delivers on this, the track’s ending says otherwise. It just abruptly ends and stops, leaving you wanting more, but in a very unsatisfying way. I have a feeling the producers kept the song short because of its relatively neutral, repetitive nature, which forced them to limit CELEBRATION. But it was a poor decision to keep us hanging and ultimately put me off the track. What keeps me on CELEBRATION is the members themselves. I kind of wish the dial on their vocals were turned up so they weren’t as soft. But that being said, their vocals were pretty and enjoyable, particularly in the verses and even over the EDM during the choruses. Overall, I did like the direction it was heading in, but CELEBRATION‘s execution fell short.

The music video starts off Halloween-esque, with a Frankenstein-like being peeling off his human mask to reveal his true face after returning home. But LE SSERAFIM comes into his home, kicking down the door, frightening the Frankenstein-like being (whipping something that resembles blood and cutting a cake with a chainsaw would probably scare most people) and running away with LE SSERAFIM and a bunch of others in hot pursuit. He runs as far as he can to get away from the group (through snow or the desert), escaping even to the moon. But LE SSERAFIM finds him in the end, only to hand him a ticket to the Creature Party and reveal themselves (and everyone else) are creatures. And as a happily ever after, they all start partying, celebrating and accepting the Frankenstein-like being as one of their own. Yay! But someone should give LE SSERAFIM a lesson on how to approach people without scaring them off.

Without a doubt, CELEBRATION was intended to be a performance piece. And it served well as one. The head-banging choreography (especially with their hair tied up) looked really cool, and I liked the sassy attitude that some of the members donned during the performance. I also enjoyed the celebratory aspect of the performance, which kept it true to the song’s message.

Song – 7/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 8.2/10