Category: Reviews

[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

[Review] Ode to Love – NCT WISH

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Apologies again for the lack of reviews this week. They will be posted over the weekend and into next week.

NCT WISH made their comeback earlier this week with their 1st studio album, Ode to Love, since their debut in 2023. The lead single also shares the same name as the album. It is their first release since last year’s COLOR (the lead single from their 3rd Korean mini-album of the same name) and Hello Mellow (the lead single from their 1st Japanese mini-album, WISHLIST). NCT WISH also pre-released the single Sticky, which I have yet to review (but will do so in the future).

To me, Ode to Love is another pleasant track. Nothing more, nothing less. The UK garage instrumental was nice and gave off a bubbly vibe, whilst also leaning towards a softer, more muted tone. However, there were parts of Ode to Love, particularly the verses, where the softer, more muted tone made it feel empty. In addition, the Ode to the Family sample felt familiar but also basic. This was a problem, as Ode to Love didn’t have another hook to depend on or remember the song by. That being said, the vocals/rapping were all very enjoyable and geared towards their youthful charms. I did enjoy the slight burst of energy that came as part of the choruses. The stripped-down instrumental and breathy whispers during the bridge were interesting and added a nice texture to the otherwise relatively soft sound that Ode to Love was going for. Despite all the above, the likes and dislikes balance themselves out, leaving just a pleasant track to enjoy. But given what NCT WISH released last year, I think my preference is for them to release more youthful, energetic tracks.

The song itself is about spreading some warmth, and the music video does this through a dreamy motif. After all, what screams warmth more than a nice dream in your cosy bed? The members themselves have described the music video as beautiful, and I totally see why. But it is also not my personal style. The video has a very beige, pale colour palette throughout. Even the forest scenes on the outside adopted this tone, which was interesting. The dreamy motif continues into the starry night backdrop, and we also see sheep (that you would count to help fall asleep) chase the members. The members also don pyjama-esque outfits throughout the video to match the comeback’s overall concept.

The choreography for the comeback was light and fitting for the pleasant-sounding song. I quite enjoyed the stage, despite nothing necessarily standing out. But it was a good stage performance to watch, overall.

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

[Review] Who Is She – KISS OF LIFE

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Since their live stream controversy last year, KISS OF LIFE has been busy rebuilding its reputation. They released Live, Love, Laugh, Lips, Hips and Kiss, and made their Japanese debut all in the last year. I never got around to reviewing these releases due to time constraints. I am unsure if I will go back to them, but I thought to restart coverage of KISS OF LIFE on my blog through a review of their latest comeback single, Who Is She.

One potential way to rebuild momentum for the group is to revisit a past sound that helped the group rise to fame. Who Is She revisits the 2000s influences the group previously drew on during their Midas Touch era. Personally, I quite liked the song. The instrumental has depth, thanks to the bass, which keeps the track punchy. The beats bring a sassy, strutting vibe that instantly reminds me of Britney Spears or the Pussycat Dolls’ music from the ’00s. Even the vocals do something similar. I also enjoyed the oomph KISS OF LIFE put into their vocals and melodies, which helps Who Is She stand out vocally. That being said, the melodies could have been a little more fleshed out (to the same extent as Midas Touch), and I am not 100% sure we needed all of the breathy sound effects. They definitely have their place in Who Is She, giving the song that provocative edge. But I think it should have been used sparingly, and not necessarily in a post-chorus fashion. Also, not sure why there was a need to autotune them. But honestly, that is a minor detail in such a strong track already.

The music video shows off a sexy and confident side of KISS OF LIFE, as we transition between an underground club, an industrial setting, and a race track. No matter where they are, they look good throughout the music video. I enjoyed the mix of post-production and dynamic camera work to make it a strong and bold visual piece of KISS OF LIFE’s comeback.

The choreography for Who Is She has attracted some attention, with some saying the routine’s ‘choking’ sequence (following the choruses) is too provocative. I tend to err on the side of thinking that such moves are not a major issue (particularly if the members are fine with it), but that is because I was brought up on Western media, which tends to be less conservative than Korean media. Watching the comeback stages, it looks like KISS OF LIFE did alter the performances to not include the move (smart move, given the attention). I do think what they replaced it with is quite flirty and works well with the rest of the bold and sexy routine.

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

[Review] Stick With You – TXT

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TXT kicks off the week with their latest comeback, Stick With You from their 8th mini-album 7th Year: A Moment of Stillness in the Thorns. It is their first comeback since their The Star Chapter: Together studio album (yet to be reviewed) and Beautiful Stangers, their 4th world tour, Act: Tomorrow, and the announcement that all 5 members had renewed their contracts with Big Hit Music (meaning there will be more of TXT coming our way!).

Stick With You is an electropop song that sits on the more ‘pleasant’ side of the spectrum of songs. It might be too soon for me to say whether “pleasant” is meant positively or critically (I have been busy and tired from work the last couple of days, so I haven’t had time to listen to new songs), so my reaction has been fairly neutral thus far. There are some good aspects to Stick With You that jump out at me, like the solid beat, the slight autotune behind their vocals to give some texture, and that deep “Is this a dream?” that serves as the main hook. I must say, their vocals do a really neat job of conveying a ‘yearning’ feeling (this isn’t their first time showcasing this feeling in their songs), and the autotune enhances it well. However, outside what has been mentioned, Stick With You also feels rather ’empty’. It doesn’t elicit much motivation to revisit the song, if I am being honest. I wish there were more prominent melodies in Stick With You and I felt like the producers could have leaned more on the electropop backing.

I applaud Big Hit Music for managing to extend the 2:33-minute song into a 4:30-minute music video. It does give a false impression that the song is of a decent length. Anyhow, the music video shows the TXT members stuck in a dream loop, constantly chasing and yearning for the female character after she leaves the apartment. In these dreams, fate ends up blocking the members from reaching her, or someone else distracts her or takes her away from the members. When they do reach her, the happiness is short-lived, with the members falling back asleep. However, towards the end of the video, it is revealed that these dreams are the members’ insecurity. SOOBIN manages to confront the ‘fate’ that is putting the female character just outside their grasp – it’s themselves (HUENINGKAI also glimpses himself walking away with her whilst he was on the ground). The whole time, she has been committed to just them, but their insecurities made them feel like they were losing her. I am glad there was a ‘happy ending’ to the story, even though they wake up again after the TXT logo, suggesting their insecurity is constantly at play. Their acting is also quite impressive throughout the video.

I quite liked the choreography for this comeback. There is a sharpness to the routine, particularly during the first half of the chorus, that makes the arm movements look so cool. The second half of the chorus (i.e., the “Is this a dream?” sequences) infuses some really dynamic intensity that elevates the routine and showcases TXT’s performance abilities.

Song – 7.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.3/10

[Review] Hooligan – BTS

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Despite just making a comeback with SWIM and their 6th studio album, ARIRANG, last month, BTS is not finished just yet. Just a couple of days ago, they released a music video for their side track Hooligan, the second song from their new album. They also released a music video for the side track 2.0 – a review of that song was just posted before this review.

Hooligan is similar to 2.0 in some ways, but different in other regards. Both tracks are edgy hip-hop/trap tracks. But to me, it sounds like they turned the dial up on the instrumentation in Hooligan. Both the hip-hop influences and trap elements are much more pronounced. The sword sounds add some edge to Hooligan, but I felt they were a bit over the top. There is also a presence of classical strings, which adds to the song’s atmosphere (in a good way). But they also felt underutilised. In my mind, there is something to explore with this combo that may have steered the track differently. The rapping delivery is very impressive, as expected of the BTS rap line (the laughter was super cool and a memorable aspect of the track). I also like how soft the vocal lines go. Definitely some nice contrast throughout Hooligan. The only aspect of Hooligan that I am most unsure about is its lyrics, which felt elementary and uncool amid the rest of the track.

I have nothing but praise for the accompanying music video. The members’ presence in the video was commanding, with each member standing out in their own right through their acting, outfits or looks. There is an epicness to the video that makes it look and feel impressive. From the red lighting to the visual effects, everything felt like it was there for a particular reason, contributing to the overall edgy, cool vibe. For example, I do not know the reasons behind the choices, but SUGA’s solo shot around the midpoint of the video where he stood still, looked ethereal without even trying. The outside choreography scenes remind me of their ON music video, but elevated in a stylish, chic manner, with the red stage, the dancers’ red outfits, and the members’ leather jackets.

The choreography for this one was pretty good. Most of the dancing was performed by the dancers. But the members did contribute to some of the routine and their stage presence, still making this an edgy performance to watch and enjoy.

Song – 7.5/10
Music Video – 10/10
Performance – 7.5/10
Overall Rating – 8.3/10

[Review] 2.0 – BTS

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Despite just making a comeback with SWIM and their 6th studio album, ARIRANG, last month, BTS is not finished just yet. Last week, they released a music video for their side track 2.0, the fifth song from their new album. They also released a music video for the side track Hooligan – a review of that will follow shortly.

2.0 is more of what I was expecting from BTS for this comeback. It has a lot more edge and energy, and leans into a much cooler sound, compared to SWIM (which was more pleasant yet beige). I have said in many reviews that hip-hop isn’t my genre of choice, but I must acknowledge that BTS has been one of the acts that has made the genre more compelling to me over the years. In addition to hip-hop influences, 2.0 also features trap elements, giving the track its cooler edge (as already mentioned). In terms of the members, I really liked how the rappers used a raspier tone, while the vocalists brought a nice contrast to 2.0 via some smooth vocals. There is also a reliance on repetition in 2.0, but it was both punchy and catchy, making a strong and lasting impression. Overall, I really liked how clear the production and delivery were in 2.0, which gives me more of what I wanted from a BTS comeback.

Like the song, the music video definitely showcased a very cool vibe. This was channelled throughout most of the video, except for the more humorous parts that help lighten up the otherwise serious atmosphere. It begins with the members walking off an elevator, cosplaying as various types of Korean mafia. I liked this concept and how it was later used to kick off the actual performance aspect of the comeback. But RM’s wig threw me off, then JIN and V’s facial expressions. All made me laugh. The music video switches to a cool mode before pausing briefly to show the members frantically changing their outfits in an elevator, leading us into the second part of the video. This part is still cool but opts for a more casual vibe. I think the mafia intro and the elevator ride give us a look into their dual personalities – cool yet dorky.

The performance was top-notch and left me impressed. The routine and the way each member executes it give off cool and effortless vibes that reaffirm their performance abilities. Their charisma and style were amazing, and some moments in the routine (for example, when RM was rapping and the members were dancing beside or behind him) were hella smooth and sleek.

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

[Review] What’s A Girl To Do – DAYOUNG (WJSN)

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DAYOUNG made her solo comeback this week, just a couple of weeks after regrouping with the rest of WJSN for Bloom Hour. Her new single, What’s A Girl To Do, follows on from her successful solo debut single body from last year.

What’s A Girl to Do is a pleasant track, but there are some aspects that I wish were better. When I first checked out the release, I noticed it just wisped by without much to remember it by. The lightness of the dance track and DAYOUNG’s airy vocals make What’s A Girl To Do glide in one ear and out the other. There isn’t much of a hook to really remember the song by, and the melodies are low-key and don’t have much of an edge. Its short length of 2:10 minutes is not enough for the song to develop into something memorable. Thus, What’s A Girl To Do didn’t stick for me. There is a bit of a kick to the chorus thanks to the hip-hop beat, but it wasn’t enough to keep the song in my mind by the time it reached my other ear. That being said, when I do sit down and pay attention to it, What’s A Girl To Do is enjoyable (hence my opening statement describing it as “pleasant”). I just wish there was more to it, in many ways.

Similarly, the music video isn’t much, mainly close-ups and choreography. But DAYOUNG does show off a confident and sexy side through her outfits and dancing (more on this in a second). I find it also builds off her image and style from the body music video, which resonates well with me. I also enjoyed the casual and laid-back vibes she and the video exude. What probably made a bigger headline than the video itself was the fact that Shiloh Jolie, daughter of Angelia Jolie and Brad Pitt, was cast as a dancer in the music video.

As for the choreography, it definitely looked impressive. I really enjoyed the charisma and style DAYOUNG brings to the routine. The footwork at the start of the chorus and the outro were the highlights in my eyes. I also liked the use of the hoodie to give off cooler vibes.

Song – 7/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 7.7/10

[Review] Eye-Poppin’ – KickFlip

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

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

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

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

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

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

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It has been over a year since Stray Kids released their single album, Mixtape: dominATE. Despite being a big fan of Stray Kids (I acknowledge I give them a lot more attention than any other group), I have yet to review any tracks from their Mixtape: dominATE. As the one-year anniversary has just passed, now would be a timely moment to review the tracks on it. The lead single is the Korean version of their 2024 Japanese single, GIANT (which I have yet to review but will do later). Alongside GIANT are unit tracks – this post focuses on BANG CHAN and HYUNJIN’s ESCAPE. Links to the reviews of the other unit tracks (as they are released) are below the music video.

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

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

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

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

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

[Review] Biggest Fan – IRENE (Red Velvet)

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Red Velvet’s IRENE made her comeback at the start of the week with her 1st studio album, Biggest Fan, and the title track of the same name. It serves as her first music release since the return of the subunit she is part of alongside fellow member SEULGI, and her solo debut in late 2024 with Like A Flower (the title of both her debut mini-album and title track).

What I really like about Biggest Fan is its dance-pop instrumental, which provides a funky, groovy backing for the track. The upbeat nature and vibrancy of the background helped make Biggest Fan feel bold and commanding, even if it wasn’t the intention. I enjoyed IRENE’s nasal tone, which is on full display throughout Biggest Fan. And the primary hook, “Lookin’ at you, Lookin’ at me“, while repetitive and could have been spruced up with a different set of lines in its second half, was catchy and earwormy – it’s the most memorable aspect of Biggest Fan. The thing holding me back about Biggest Fan is that I like the individual elements on their own. But when they come together, I don’t find the same level of engagement in the song. Potentially more interesting verses and a stronger first half of the chorus (i.e., the half of the centrepiece before the mentioned hook above) could help make Biggest Fan more engaging.

The music video sees IRENE exude confidence in her beautiful visuals. Everyone around her becomes her ‘biggest fan’ throughout the music video – from walking in public, the modelling world, to even on stage. I was also struck by her visuals in this video. In the end, she embraces her fans as she makes global headlines. I did notice that the headlines said she was making her solo debut through Biggest Fan, which was an interesting detail. One thing that struck me as I was watching the music video whilst writing this review was that I don’t think I have any reason to go back to it. Aside from what I mentioned above, there wasn’t much else to the video, nor was there much else for me to seek it out.

The performance was good. I really like the tutting-esque poses that IRENE and the dancers did during the aforementioned hook, as well as the overall brightness of everyone during the performance.

Song – 8/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.7/10

[Review] Free Falling – KANGMIN (VERIVERY)

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Making his solo debut last week was KANGMIN, who hails from VERIVERY. He is the first member of the group to release a solo album, with Free Falling as the lead single from his 1st solo single album of the same name. We last saw KANGMIN through VERIVERY’s RED (Beggin’) comeback from December 2025.

While it might be a little soon to say this, KANGMIN’s solo debut came and went quite quickly. And that is rather disappointing, as there are some good elements in Free Falling that make it a neat song. I like the bossa nova influence that features in the verses, and this leads well into the smooth R&B chorus. Interestingly, Free Falling also serves a side of drumstep in its chorus, which felt odd. But further listening to the song has helped warm me up to it – I have realised that it gives Free Falling a bit of a kick and energy that I have grown to appreciate. There are some things I think Free Falling could have done better. A transition between the initial chorus and the second verse would have been worthwhile. What we get feels more like a copy+paste situation between the two segments. I also wish there were more of KANGMIN’s personality or individualistic style in the song. His vocals complement both the bossa nova and R&B influences in Free Falling and, altogether, sound quite nice. But somehow his presence is lacking. I am not sure how else to describe this feeling.

According to the official description of Free Falling, the lyrics “refer to the point right before one can fully orient themselves in the air, as opposed to a fully uncontrolled fall. One may not be sure exactly where they’re headed in free fall, but they must move on nonetheless”. The latter sentence of this description is depicted throughout most of the music video. We see KANGMIN waking up in random locations, only to be wary of his surroundings and being prompted to run away from something we don’t actually see, constantly seeking a way to “move on”. The pattern repeats each time he awakens in an unknown territory. At one point, we see KANGMIN free-falling into the water, and even then, he is moving, signifying that, no matter the circumstances or unknowns, he remains in a constant state of motion to move on.

Just like the song, the performance has this smoothness that I quite liked. In contrast, however, I also really enjoyed the routine when the drumstep kicks in. The brief influence sees KANGMIN and the dancers bring in some small kicks, which gives Free Falling a relatively dynamic feel that felt just right within the context of the broader performance.

Song – 8.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 8.3/10

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

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It has been over a year since Stray Kids released their single album, Mixtape: dominATE. Despite being a big fan of Stray Kids (I acknowledge I give them a lot more attention than any other group), I have yet to review any tracks from their Mixtape: dominATE. As the one-year anniversary has just passed, now would be a timely moment to review the tracks on it. The lead single is the Korean version of their 2024 Japanese single, GIANT (which I have yet to review but will do later). Alongside GIANT are unit tracks – this post focuses on HAN and FELIX’s Truman. Links to the other unit tracks (as they are released) are below the music video.

Of the unit tracks on Mixtape: dominATE drew the least amount of attention from me, despite being quite striking in its own way. This is mainly because Truman draws heavily on hip-hop, which is not my go-to genre. I am not anti-all hip-hop songs; it is just that the very serious tone and dark intensity make it hard for me to enjoy Truman. I do appreciate these elements to some extent, as they infuse the song with character and lend it a striking atmosphere within the EDM background (relative to the other unit tracks on the single album). The soft opening over a jazzy-esque background was nice, before the EDM kicks in and the pair change up Truman completely (similar to the plot twist that featured in the movie The Truman Show – the lyrics of Truman also draw upon the same material). FELIX’s presence at the start of the song was very distinctive, and JISUNG’s dynamic rapping (particularly in the second verse of Truman) shows me that this pairing is not to be messed around with.

While the song didn’t draw much attention from me, the music video did quite the opposite. Amid the dark hip-hop profile and the serious/intense atmosphere created by the song, the music video did creep me out a bit. The reason for this is the hooded dancers/figures that both HAN and FELIX rap around. And while their presence is similar to that of other background figures/dancers in other Stray Kids videos, it is the close-ups where you see nothing but a black void that gets me. Apart from that, both HAN and FELIX have quite a commanding presence throughout the video, which I am sure fans of the duo will like.

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

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

[Review] Catch Catch – YENA

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It has been over a year since I reviewed a YENA release. The last being 2024’s NEMONEMO, though she did make a comeback last year with Being a Good Girl Hurts, which I have yet to review. More recently, she made her comeback with her 5th mini-album, Love Catcher, featuring the lead single Catch Catch, which has been doing the rounds on my social media.

Catch Catch takes me back to the cutesy, fun side of KPOP that I didn’t really love all that much back in the day. But in the current KPOP climate, it stands out with its earwormy hook, light-hearted and energetic vibes, and bright, hyper/electropop instrumentation. And all of this comes together to create a memorably fun track. There are also second-generation vibes emanating from the song, which is another aspect of Catch Catch that ‘takes me back’ and must be acknowledged. Of course, it is YENA who is the vector for such a song. She has a reputation for the cutesy charm, so it makes complete sense that she is the one who brings us Catch Catch, and I honestly cannot think of any other artist who would successfully nail Catch Catch like YENA has. The rapping in the bridge was a complete surprise, which shouldn’t be the case given her role as a rapper in IZ*ONE, but it’s been a while since I heard this delivery from her. The only thing holding back the song for me is the verses. They don’t have the same hold on me, compared to Catch Catch‘s centrepiece, and I wish there was something to the verses that does just that.

The music video sees YENA teasing and running away from some serious-looking people. After responding to a distress call from a friend and blowing up the serious people’s hideout in the desert, YENA is branded a ‘public enemy’ and hunted down. Along the way, she uses her bright, cute charms to ‘persuade others to ‘escape’, though she can be spotted miles away. But when all else fails, she chooses violence to bring down the serious crew. I love the fact that they had a muscular man don the yellow retro dress to play YENA during the fight scene – quite hilarious. I also enjoyed the rest of the retro concept, styling and patterns in this video, which all felt very complementary to the song.

YENA turns up the cute charms to make the performance super engaging and fun. It definitely comes naturally for YENA, and this alone makes her pretty unique in the current KPOP landscape. The main point of the performance is super fun and catchy, hence why it has become the Catch Catch trend.

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