Category: Reviews

[Review] VIRAL – BOYNEXTDOOR

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After pre-releasing ddok ddok ddok a couple of weeks ago, BOYNEXTDOOR has finally returned with their first studio album, HOME, and its title track, VIRAL. This comeback marks BOYNEXTDOOR’s first release since last October’s mini-album, The Action, and single, Hollywood Action.

At first, VIRAL didn’t register as a BOYNEXTDOOR song to me. The new song sees the members adopt a more serious, emotional tone, which is very different from their usual vibrant, energetic hip-hop sound. But as the song progresses and the members start showing more of themselves, BOYNEXTDOOR maintains their usual sound in their delivery of VIRAL, so it registers as a BOYNEXTDOOR song. Anyhow, VIRAL features ‘intense guitar work’, which brought on a cool and classy vibe. But alongside the guitar work, the beat and percussive elements of the instrumentation give VIRAL some rhythmic flair. I really liked the chorus’s smoothness (thanks to the melodies and the members’ delivery), while the synths in the chorus just prick it at the right timing. WOOHAK and JAEHYUN’s rapping in the second verse also had the right level of punch. The same can be said as VIRAL goes through its tonal shifts, allowing for more intensity and delicate moments within the song, making it more interesting and dynamic. I also appreciate that VIRAL lasts more than 3 minutes, which allows the song to shift its tone and explore itself a bit more.

The hope in VIRAL‘s lyrics is that the song they created reaches their former lover, with whom they hope to rekindle their love with. But while the song does that, we see the members go through intense moments at home, at a factory, alone in a field, and during a weather event throughout the music video. These most likely represent the tribulations they are going through without their lover, as they desire to return to their former lover for a better future. I really liked the moody tone and colour of the music video. This is just my take on the music video, however, so I am open to hearing other theories if you have them.

This performance really showcases BOYNEXTDOOR’s capabilities on stage. I liked how the routine captured the smoothness of the chorus’s opening line, the delicacy of the stripped-back moments, and the song’s more intense moments. It all created a dynamic and cool performance to watch and enjoy.

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

[Review] 4 Flowers – MAMAMOO

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Welcome back to MAMAMOO! It has been four years since MAMAMOO’s last group comeback with ILLELLA. Since then, the members have been focused on unit and extensive solo careers. But as confirmed late last year, the group will return with new music and embark on a world tour. The first of the two events occurred last week with the release of the special single album 4WARD and its title track, 4 Flowers. The second of the two events (i.e., the world tour) will start later this month.

Given we have been deprived of MAMAMOO material for the last four years, it wasn’t going to take much for me to like the new song. I did have some concerns that the release could have been similar to some of the later songs in their career, which I agree aren’t among MAMAMOO’s best tracks. But upon hearing 4 Flowers, I am reassured that the track focuses on MAMAMOO’s greatest asset – their vocals. Their vocals just elevate the track, giving it some really stunning, enjoyable melodies to sink into. I enjoyed how graceful everything sounded, and then, when it came to the bridge, the members added some punch to the song through their delivery. I also liked how they sneaked some of their powerful vocals through ad-libs, and the shared harmonies between the four members at the end brought the track to a wonderful and touching close. On the instrumental side, 4 Flowers is more of a pleasant mid-tempo pop song, with beautiful piano and classical elements, lovely guitar work and nice drumming. Altogether, MAMAMOO’s grand return after four years, through the track 4 Flowers, is a nice reflection of what MAMAMOO does best.

It is very clear from its lyrics that 4 Flowers expresses their strong bond as a group over time. With lyrics such as “Even scattered, we share the same root“, “Flowers bloom, and flowers wilt away again,” and “After parting, we love even more“, you can definitely hear and see the everlasting bond that connects them together. In the music video, we see solo shots of the members in the sterile set, feeling empty and isolated. When they come together in the group shot, as in the featured image above, and as they hand outside in nature, the set becomes less empty and the colour in their world returns. Also, with the lyrics centred on flowers, the nature scenes felt logical and natural.

I used the word graceful earlier to describe their vocals, but I feel I must extend this out to their performance as well. I liked how they included choreography to embrace the more upbeat moments of the routine while maintaining their vocal focus, which is a nice throwback to their earlier stages that always did the same.

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

[Review] Atmos – SHINee

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It has been over a year since SHINee’s last release as a group, Poet | Artist, which featured the late JONGHYUN and celebrated their 17th anniversary. Since then, the members have been busy focusing on solo careers and activities. Earlier this week, the quartet regrouped to release Atmos, the name of both their 6th mini-album and latest title track.

No matter how many times I have listened to Atmos, I have found myself getting lost in the track. It doesn’t mess around, doesn’t let up and gets right to sounding like a SHINee track. Atmos sees SHINee revisit the house sound they have explored before. However, it is refreshing thanks to its tighter, fuller arrangement and glitchier, more percussive synth work. The bass also gives it so much depth and tone. From the instrumental alone, Atmos has so much energy and momentum that it shows great promise. SHINee’s vocals bring the familiarity and nostalgia to the song. I really liked how the instrumental moulds around the vocals to create such a captivating track. The twists and turns in the pre-choruses keep Atmos interesting, while the stripped-back approach at the start of the first and second choruses was a memorable moment in the song.

The music video depicts the members, despite being in different locations, as all connected in some way. It relates well to the lyrics, which describe experiencing a “perfect love” through each of the five senses, comparing the sensation to floating in the air. Essentially, the video relates the members to the five senses, which are all interconnected. I really liked how the various images and shots were crafted together to match the fast-paced tempo of the song and glitchiness of the synths. The animation sequence and the fireworks at the end were also super cool, with the latter ending the music video in spectacular fashion.

While the group has yet to promote the track on music shows, they have already performed at their latest concert. Even after 18 years, SHINee still manages to dazzle on stage. I enjoyed the fast-paced nature of the routine and the fact that they don’t hold back. I really liked the slight movements and lean that kick off the first and second choruses, as well. Along with that moment in the song, it has become a very memorable moment of the choreography for me.

Song – 9.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 9.3/10

[Review] LEMONADE – aespa

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After briefly teasing us with their WDA (Whole Different Animal) (featuring G-DRAGON) pre-release a month ago, aespa officially dropped their second studio album and title track at the end of May. Both the album and the title track are titled Lemonade, marking their first comeback since Rich Man.

Even though LEMONADE has had the benefit of multiple listens since its release to grow on me, I just can’t get over how much it sounds like a rehash of their hit Whiplash. There are some differences between the songs, such as LEMONADE having a fuller club-beat instrumentation and a different hook to remember it by. The instrumentation feels attitude-heavy and sassy, just like the former song. I also enjoyed the drive and momentum behind the song. There is a lot of potential in LEMONADE‘s production – it just wasn’t used well. On the other hand, the song’s primary hook has become especially grating as I relistened to LEMONADE in search of something good on the track. The “I’ll make it lemonade, no way, no way, I’ve got no ETA-TA-TA” makes very little sense, and using it as the main feature of LEMONADE was a bit silly, in my opinion. But don’t fret, my search for something decent within LEMONADE did yield the bridge. I enjoyed both the vocals and the rapping in this part of LEMONADE, which was a nice relief from the intensity of the instrumental’s club beats without losing the song’s drive. It would have been better if the bridge had not been sandwiched between the choruses.

My guess, based on the lyrics and what is shown in the video, is that both are exploring the saying “If life gives you lemons, make lemonade”. Throughout the video, the members are nonchalant and don’t worry about much, even as lemons are being hurled at them from the ground or as the giant hole forms in front of them. The members appear to also be taunting someone or something by pouring lemonade onto the ground. The production in the music video was very cool, and the members look amazing throughout, in both retro and modern outfits.

It looks like there were parts of the choreography where the members seemed to be having a blast. We often see aespa in a more serious, stoic light, but this routine manages to embrace both the serious and the lighthearted sides of the group. However, I don’t see anything defining in this routine to be the comeback’s killer move, which is slightly disappointing.

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

[Review] Motto – ITZY

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Following YUNA’s solo debut earlier this year (with Ice Cream), ITZY regroups with their latest single, Motto, from their 12th mini-album of the same name. It is also ITZY’s first release since their November 2025 TUNNEL VISION comeback and the unexpected resurgence through the track THAT’S A NO NO.

Motto has had the benefit of further listens since its release a couple of weeks back. But to be fair, I don’t think Motto needed them. Since its release, Motto has been a satisfying listen that I have really enjoyed. If anything, Motto has grown on me even more and become one of the top releases of the year in my opinion. The track delves into a dreamy synthpop style, with a hint of funkiness and grooviness. In comparison to the rest of their lead singles, Motto‘s instrumental is a little more muted than usual. But that doesn’t mean the ITZY quality isn’t there. I quite enjoyed the choruses, which are a definite highlight of the song. I really liked how clean and straightforward it is. ITZY’s delivery and its melodies are extremely pleasant (in a good way), and I liked how simple yet catchy the hooks were. For the most part, the rest of Motto was also really good. I really liked the relatively intense ramp-up in the second half of the pre-chorus and YEJI’s piercing note just before the final chorus. The only part of Motto that I am not a fan of is when the song gears towards a hip-hop motif in the first half of the pre-chorus. It felt cliché and didn’t fit the rest of the pop track.

ITZY is at the 7-year mark of their music careers. While they are able to survive the 7-year curse that ends other groups’ careers (they renewed their contracts last year with JYP Entertainment), Motto‘s music video serves as a reflection of some sort. This complements Motto‘s lyrics, which are about choosing oneself even in uncertain situations. In this case, their ITZY identity. The music video starts with small replicas of their past music videos, briefly reflecting on their career. They are pulled away to reveal a castle that appears like a blank canvas. Throughout the video, the members go through events and circumstances that help define them, building the castle around them, which they perform in front of at the end.

Many people have noticed that their signature crown move is missing from their performance. But I don’t think it is missing. Reflecting on the song’s lyrics and meaning, the formation the members stand in, and the outward arm movement they make at the very end, these elements symbolise the shape of a crown. In the context of the song, they have become the crown, choosing themselves over anything else, which is probably the biggest honour you can bestow on yourself.

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

[Review] Curious – AND2BLE

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Earlier this year, YH Entertainment withdrew their “trainees” from ZEROBASEONE (Zhanghao, Ricky, Kim Gyuvin and Han Yujin) and EVNNE* (Yoo Seungeon) to create the new male group, AND2BLE. Today, the group officially debuted with the single Curious and their debut mini-album, Sequence 01: Curiosity.

*YH Entertainment also withdrew Ji Yunseo from EVNNE, who ended up leaving the company soon after.

Curious is most enticing through its verses. The bold, thumping beat and powerful vocals from Zhanghao and Yoo Seungeon made for a very memorable start to their new chapter. Similarly, the thumping beat and Zhanghao created a really nice flow, while we got a little more from the other members through strong vocal work that followed. To me, the verses were a good showcase of their talents and skills, with their vocals definitely feeling refreshing. Curious ends up being more typical when it comes to the choruses. I did like how they maintained the bold energy in the central piece, but the chanting delivery was very ‘done before’, and the instrumental didn’t feel as exciting as the thumping beats at the start of Curious. After the second run of the chorus, the producers focused on a future house EDM instrumental piece that I have a feeling a few people might describe as loud and noisy. It closes out Curious, and I liked how they blended it with the “Da dda dum” hook from the very start of the song and choruses. This just makes the ending feel cohesive without having to rehash the standard chorus, and it doesn’t detract from the idea of offering something a little “different and new” to keep Curious engaging.

Curious‘s lyrics depict “the group’s confidence and ambition to face the changes brought by dangerous curiosity at the moment of a new beginning without fear” (from Soompi). Some digging around yields the following description from Chosun for the video: “The released video depicts the members waking up with a curious gaze in an experimental composition like a fantasy movie. The mysterious atmosphere, including the strange eyes of the five members staring at the front and the wing-shaped objects, added to the sense of immersion.” With all of this in mind, I am still not sure what the music video is about. But despite that, I do like this mysterious atmosphere, the industrial vibes and the members’ visuals throughout the video.

Performance-wise, it looks good. There is some cool footwork from the members, and I liked the hip-hop motif they brought to the choreography. It isn’t until the EDM instrumental break that the members show off more of their performance skills via an impressive dance break.

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

[Review] BOOMPALA – LE SSERAFIM

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After teasing their comeback a couple of weeks back with the EDM track CELEBRATION, LE SSERAFIM officially dropped their 2nd studio album, Pureflow Pt. 1, yesterday, led by the title track BOOMPALA.

No matter how many times I have heard BOOMPALA since its release yesterday, I am a bit lost and confused with the new song. On one hand, you have the track sampling the Macarena. The original is super fun, and BOOMPALA maintains that aspect to do it justice, even though it’s been high-pitched in this song. But at the same time, the track tries to create its own catchy, fun moment by building on the sampled Macarena with the spoken “BOOMPALA”, which has some earworminess to it, but its delivery does not have an ounce of brightness or excitement like the Macarena. LE SSERAFIM and BOOMPALA’s producers then try to add some melodic vocal lines, but they don’t add much to the song’s memorability. Elsewhere in the song, the verses don’t have much staying power, and the instrumental was a mixed bag (though best at its fullest). Overall, BOOMPALA tries to do a couple of things that I am not sure land with me.

The track expresses the message “that fear may be just an illusion depending on the perspective or attitude” (based on SOOMPI’s article). The music video shows the members and other people moving from different emotional states to a state of zen and at peace. I really liked the video’s colourful moments and overall vibrancy, which match the energy from the song’s instrumental and the summery period that South Korea is approaching.

The performance was very fun and energetic, so props to the members for pulling this off. With the song building on the Macarena, it would make sense for it to be a part of the performance. The ‘BOOMPALA‘ parts added variety and additional fun to the performance.

Song – 6.5/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.4/10

[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