Category: Reviews

[Review] Insomnia – RIIZE

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RIIZE returns to their ’emotional pop’ roots with the new single Insomnia. The single follows their Do Your Dance comeback earlier this year.

RIIZE blends an acoustic pop-ballad sound with some mid-tempo trap backing to bring us Insomnia. While it is a decent mix of sounds and genres, it is pretty standard and doesn’t really have much to remember it by. In fact, Insomnia‘s strongest moments came when the song stripped back to an acoustic pop-ballad sound. The guitar work was vibrant and so stilling in these moments, which was a good effect to bring about. The same could be said about the outro, where the guitar was more prominent than the trap element. In these parts, RIIZE’s vocals were also at their rawest and most delicate. Insomnia was a strong vocal showcase for the members. I enjoyed the purity of their vocals and the emotional tinge, without needless vocal processing and autotuning getting in the way. As for the rap-singing in the second verse, it was okay. I am not against it, but I would have liked if it leaned into more of an emotional tone.

The music video shows each member of RIIZE portraying a different character grappling with a restless night due to emotions, loss, and deep longing for a loved one. Each member reacts differently to this: anger, angst, depression, dejection, hallucination, withdrawal. In some cases, the reactions are portrayed in an extreme way to show the emotional toll profoundly. I liked the video’s artistic flair, which made it feel like an indie movie.

Song – 8/10
Music Video – 9/10
Overall Rating – 8.4/10

[Review] French Kissing – AND2BLE

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AND2BLE is one of the few rookies of the year whose debut track, Curious, I’ve managed to review. This is mainly because the group consists of former members of established groups (ZEROBASEONE and EVNNE), so there was already precedent for reviewing them. Anyhow, AND2BLE had returned with their first comeback single, French Kissing, and their second mini-album, Attraction.

French Kissing features a bold EDM instrumental, heavy moodiness, piercing vocals, and an overdone yet workable chorus hook. The intense EDM instrumental was a selling point. It was rather imposing in the background, but just enough to feel striking, rather than overbearing. I liked the presence of the electric guitar, but I wish they had experimented more with it by featuring varied riffs throughout the song. The same goes for the short string piece before the choruses. These would have made the instrumental a little more interesting. The piercing R&B vocals were good, especially since they had to cut through the heavy instrumental. The bridge was a strong vocal moment, turning French Kissing briefly into a dreamy moment. Not sure how French people are taking the rapping, but it was an interesting aspect of the song. French Kissing could have used more excitement and energy, since the mood was so thick and hefty. That in itself was quite overbearing. The mood really dragged French Kissing down, leaving it with little excitement and a very plain appeal. It also extends into the chorus hook. The first time around, the “Oooh La La La, French kissing” hook was good. But between the heaviness of the song and its delivery, the overly repeated hook and the plainly spoken “French Kissing” part really wore the hook down. I wish there were more vocal melodies to follow it, since that was more interesting.

While heavy, the music also has a sensual, mature sound. So I wish the music video had explored a more sensual, mature concept. The brightness, blue/green colour, and denim focus were stylish, trendy and, in their own way, piercing. But the video’s sleekness, smooth camera work, and even some of the dance moves lend themselves well to a more sensual, mature concept. Beyond that, I don’t have much else to say about the music video.

I was wondering what moves they would use to represent French kissing, given that it’s the song’s title. I completely forgot that air kisses were a thing. Anyway, as I mentioned above, the dance moves do take on a more sensual direction, which I thought was cool. I also liked how the routine felt constrained and held back, which makes its more intense and alluring to watch.

Song – 7.5/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 7.6/10

[Review] You’re Under Arrest – ILLIT

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ILLIT kicked off the week with their comeback single, You’re Under Arrest, and their 5th mini-album, Break Even. It is their second comeback of the year, following their It’s Me/Mamihlapinatapai mini-album. Member MOKA is currently on hiatus, so the group is promoting this comeback with a four-member lineup.

Two elements held strong potential for You’re Under Arrest: the thumping club beat and their Orange Caramel-leaning chorus (something ILLIT touched on in It’s Me but didn’t fully explore). That club beat was very commanding, while KPOP really could use some of that Orange Caramel fun and flair. Unfortunately, You’re Under Arrest fell flat in a few places, making it a very disappointing single. First, the verse mixing was so piercing and uncomfortable to listen to. It was hard to get through. Second, the song should have used the whistles more sparingly throughout. It ain’t the first time we have heard whistles in a KPOP song, but it was so repetitive and overdone in You’re Under Arrest; it quickly lost its charm. We also did not need an extended whistle at the end of the first and final choruses. It is very harsh in real life, and it was equally harsh in the song. Third, the song lacked a strong hook or anything to remember it by. After two days, You’re Under Arrest still hasn’t reeled me in. With only two elements to rely on, You’re Under Arrest leaves much to be desired.

The music video shows the members playing your local neighbourhood watch or spies, trying to find a mysterious, handsome gentleman played by Korean actor Song Kang. But it turns out that the older person who tasks ILLIT with finding the handsome gentleman is no other than Song Kang. This concept fits neatly with the lyrics of You’re Under Arrest, which calls out a partner who led them on with false hope. In this case, the false hope is finding Song Kang, but he is the one who told them to do it and has been everywhere with them. The music video has a hilarious comedic touch as we watch the members struggle in their search (e.g., being scared by a young kid, being technologically challenged, going up against a cheating old man at billiards, and struggling to pass a driver’s test).

Choreography-wise, I really liked how they incorporated some of that wackiness from their Orange Caramel influence into the routine. It was fun, cutesy, and on-brand for ILLIT.

Song – 6/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7/10

[Review] DESERVE – BABYMONSTER

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BABYMONSTER is another group that has had a busy 2026. Since the release of CHOOM (their 3rd mini-album) in May, the group has been actively promoting the title track of the same name as the mini-album and the sides track I LIKE IT and MOON. They also released SUGAR HONEY ICE TEA during this period (which I have yet to review – don’t worry, it is on the to-do list alongside MOON). But ahead of those two reviews, I will be reviewing their latest digital single, DESERVE. I just have to!

DESERVE is a powerful pop ballad that doesn’t hold back. You know I am a sucker for a ballad, and this one reels me in. DESERVE‘s instrumental goes through 3 distinct styles. The first verse and pre-choruses feature some soft piano and atmospheric synths. Honestly, this should have been a string arrangement to make it sound even more beautiful. DESERVE reaches that level of beauty in the bridge, with the piano arrangement and vocal work absolutely stunning. To fit some rapping into DESERVE, the second verse opts for a marching band to back the rap-speak. As for the choruses, DESERVE goes for an epic, grand vibe, letting the synths take control and match the members’ vocal push. And wow, that had impact. As for the last chorus, I think the arrangement could have been better. From AHYEON’s high note through to the final chorus and to the end of DESERVE, it all felt incredibly tight and needlessly rushed. The ending should have been more relaxed and fluid, rather than what we got. Aside from that, I really liked that DESERVE gives BABYMONSTER a chance to showcase their vocals. AHYEON and PHARITA will most likely get the most recognition for DESERVE, but I also want to shout out RORA’s pretty second verse.

I liked how DESERVE‘s music video starts, with RORA coming offstage after a concert, smiling as the staff applauds and cheers for her. But after she turns the corner, her smile disappears, and the atmosphere turns heavy and grey, setting the right tone for the ballad. One unique thing about this video is how each member takes turns playing the main character emotionally, matching with their parts in the song. As the song builds, the video gets bolder. The most memorable part of the video was when PHARITA was struck by a car. That scene was unexpected and shocking. Usually, music videos pause, slow down, or take it off-scene, since such an event can be confronting. The dancers were also a neat touch, adding an artistic, grand feel to the video. My only issue is that some of the members’ movements were over-exaggerated. I get that they were trying to match the song’s impact, but it all felt a bit much.

Song – 9/10
Music Video – 8.5/10
Overall Rating – 8.8/10

[Review] 12 O’Clock – JEONGHAN x JOSHUA (SEVENTEEN)

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Despite being in the military enlistment era, SEVENTEEN has remained active and busy with unit promotions. This week, the group launched its 7th subunit, JEONGHAN x JOSHUA. The pair released their first mini-album, DREAMSCAPE, featuring the title track 12 O’Clock. ICYMI: JEONGHAN is also part of another SEVENTEEN subunit, JxW (with WONWOO), and they previously released the single Last Night in 2024.

While both JEONGHAN and JOSHUA are in SEVENTEEN’s vocal unit, I actually had no idea what direction they would take as a subunit. We have also heard a range of genres from each unit so far, so the curiosity deepens. 12 O’Clock turned out to be a funky dance-rock track. The instrumental is quite light, which makes the track feel pleasant and appreciable. Despite being under 2 and a half minutes, the track also feels spacious and manages to incorporate a brief guitar solo and a substantial instrumental break. As for JEONGHAN and JOSHUA’s vocals, they take a similar light approach to match the instrumentals, which can be hit or miss. Again, since they complement the instrumental, pleasant descriptors come to mind; 12 O’Clock‘s melodies speak to this. But it doesn’t lend itself well to a strong hook. You can see how they relied on a more textured (and in terms of JOSHUA’s execution, striking) “I’m so in love” sing-speak refrain as the hook for 12 O’Clock. Overall, it is a pleasant song through and through.

The music video shows JEONGHAN and JOSHUA searching for one another in a dream between 12 o’clock noon and 12 o’clock midnight, which matches the lyrics. However, the lyrics do speak about a lover, rather than about each other. Why do I think they are searching for one another in the video? Well, a few early scenes show them enjoying each other’s company amid the search, and they end up finding each other at the end of the video. But I could be misreading it. The post-production, which melded everything together, was really well done.

The performance for this comeback was neat and pleasant. The body waves and their chemistry with the camera were on another level, making the whole thing even more enticing to watch. Though JOSHUA’s solo dance break was awkward.

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

[Review] Drip – ATEEZ

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After the huge success of BAD in July, ATEEZ will make their third comeback this calendar year next month with their 15th mini-album, Golden Hour: Part.6. Ahead of the comeback, the group has pre-released the single Drip.

As this is just a pre-release single, Drip shouldn’t be seen as the official follow-up to BAD. That honour should be reserved for the title track of their upcoming release. And I am going to be doubling down on that. I don’t know what the title track will be, but musically, it ain’t going to be Drip. Right off the bat, you can tell that Drip is a heavy hip-hop track with a powerful trap rhythm. Personally, this ain’t my cup of tea. It doesn’t help that after a few repeats, I still have neutral feelings towards Drip. The rap-speak throughout Drip doesn’t excite me this time, and I find the instrumental pretty ordinary. On the flip side, I find the chorus somewhat catchy, and I liked MINGI and HONGJOONG’s rapping right before the choruses. The latter’s stripped-back instrumental and lower-energy delivery were very alluring. But I don’t think these two elements make up for the rest of Drip.

The music video fares a lot better. The song is about their growing confidence and ambition, likely fueled by their recent success. So it might be a follow-up to BAD, but I stand by my earlier comments. As for the video, I really liked how it made black feel striking and bold without relying on a white background. Their visual game was particularly strong across all members, even in the video’s more hip-hop-leaning moments. The number of dancers featured in the video also gives off an epic feel.

If you have an eagle eye, you might notice that JONGHO isn’t in any of the choreography. In an interview for this pre-release, JONGHO said he was injured at the time and couldn’t participate in the dance. Anyhow, the choreography looked good. It captured the song’s edgy hip-hop vibe quite well. I really liked the “Drown in the Drip” dance move, which adds to the chorus’s catchiness.

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

[Review] Looks Can Kill – IVE

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IVE is gearing up for a comeback next week. But ahead of that, the group (as usual) has unveiled a pre-release single that shares the same name as next week’s mini-album: Looks Can Kill. This comeback follows their ReViVe+ studio album, released in January, led by the singles BANG BANG and BLACKHOLE.

My initial impression of Looks Can Kill is that it isn’t like their other successful pre-release singles. I find the new single to be on the safe side of the spectrum and lacking the strong hooks of their predecessors. That doesn’t mean I didn’t enjoy Looks Can Kill, but I think there are better IVE pre-releases out that. The track is an electronic dance-pop song, with consistently channelled dynamic energy throughout. It’s good, but it also shows where the song felt ordinary. I wish it had a bit more flair to add dimension and depth to the instrumental, perhaps making Looks Can Kill sassier and more provocative. The choruses were catchy, and the “Da Da Da” refrain is hard to get out of your mind. The bridge was also a promising sequence, with a more melodic, smoother focus. Plus, the transition from bridge to chorus was super cool. Elsewhere, Looks Can Kill falls short in both the verses and the post-chorus. The verse didn’t offer anything of substance to remember it by (most of what I can remember is the chorus), while the post-choruses felt plain and lacklustre in comparison to the song’s centrepiece

I liked the playful take on the song’s self-confidence message. It starts off with IVE looking very cool, as superheroes. But the music video then features outtakes and behind-the-scenes moments where things are less glamorous. The video also takes a turn when you realise they’re actually shooting commercials for mundane everyday items, like tomato sauce and bug killer spray. But who are they kidding? IVE will always look good at whatever they do, whether they are in front of or behind the camera. The ending was super funny, revealing that IVE had people stand in for their choreography shots. So, perhaps their coolness, as mentioned at the start of this section, was outsourced… What a plot twist.

Looks Can Kill, but so can the choreography, apparently. Based on their performance video, the routine really shows off their slim figures and strong performance skills. IVE definitely looks good performing the track, while their movements were sharp and well synchronised.

Song – 8/10
Music Video – 9/10
Performance – 8.5/10
Overall Rating – 8.4/10

[Review] Birthday Wish – NMIXX

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Yesterday was one of the days when so many groups made their comebacks (meanwhile, I was sleeping off some illness). One of them was NMIXX, who returned with the single Birthday Wish and their 6th mini-album, Heavy Muse. This comeback follows their Heavy Serenade comeback earlier this year.

NMIXX has been on a roll with their last two comebacks (Blue Valentine and Heavy Serenade), so it was interesting to see how Birthday Wish would land. Right off the bat, the song has more of a dance-pop vibe, blending moombahton, afro, and future house. I liked how Birthday Wish starts (after the narration bit) and how they kept that melodic touch from the previous releases in the first verse and bridge. The chorus is great; I enjoyed how lively it got (though you could also describe it as being shouty) and am digging the “Celebrate, Celebrate” post-chorus hook. But while I appreciate the upbeatness and the refreshing vibes Birthday Wish brings, I am not a big fan of other elements of the song. The rapping in the second verse didn’t fit the song, and the bridge felt overly tight. The narration breaks the flow of Birthday Wish and could have been blended in for a more cohesive feel. Overall, Birthday Wish was a good song, though it didn’t exceed the expectations and standards set by their previous two comebacks.

Birthday Wish‘s lyrics celebrate meeting one another and creating a whole new world together, and the music video reflects that. The members have parties and celebrations throughout the video, whilst also pursuing their own lives and passions. There is a neat theory on Reddit about this that you can read into further and how it fits into their MIXXTOPIA world. The one thing I am not a fan of about this music video is the sterility of the sets, which don’t lend well to parties. It might fit the idea of building a whole new world together, but it also makes the party and vibes feel empty (which I don’t think was the intention).

I wish the routine had more of a celebratory flair. The only part I felt had that celebratory flair was during the “Celebrate, Celebrate” post-chorus hook. But the rest of the choreography looked good.

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

[Review] I SPY – NCT WISH

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NCT WISH is back this week with their new single and mini-album, I SPY. It is their first release since Ode To Love (and the studio album of the same name) from earlier this year.

I ended the song portion of my Ode To Love review with the comment that I prefer NCT WISH’s youthful, energetic tracks. Well, it seems NCT WISH and their producers listened somewhat. There is a bit more to I SPY than just that. The melodies in I SPY still carry some of that pleasantness from their former song. The I SPY references tap into that youthful energy, though the game referenced does bring a childish feel. But the producers and NCT WISH did a good job of not venturing too far down that path. Instead, they turn it into an edgy element, which came to full realisation in I SPY’s final moments. I quite liked it, though I wish it had been more pronounced earlier on. I also like the combination of the vocalisation and the edgy “I spy I spy I spy, with my little eye” in the bridge. On the flip side, I have to put the instrumental and delivery down as the weaker aspects of I SPY. The dance-pop instrumental was pretty ordinary, and while the vocals and rapping had a refreshing tone, most of the delivery (aside from the edgy “I spy I spy I spy, with my little eye” part) just didn’t have the energy we know the group can bring.

The song captures the excitement of being attracted to someone and wanting to grow closer. The use of the I SPY references is a way of noticing and showing curiosity toward that person. One thing I noticed about the music video, and thought was a clever way to portray this attraction, was the close-ups, in particular the ‘look at me’ moments during the choreography shots. It fits the concept well. The view from inside the PC was also a neat shot, though less unique. Elsewhere in the video, there were some really cool Y2K and glitchy post-production effects.

NCT WISH does a great job with their synchronisation and sharp movements on stage. The performance looks great, with my favourite choreography moments being at the opening of the final chorus and the edgy final moments.

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

[Review] BORN DIRE – ALPHA DRIVE ONE

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Back in August, ALPHA DRIVE ONE made their comeback with their second mini-album, Unbreakable: 少年Beast, led by the single BORN DIRE. I haven’t reviewed the comeback single yet, so I am finally posting my thoughts on their latest single today. ICYMI – ALPHA DRIVE ONE is the group formed from the winning trainees from BOYS II PLANET, and they made their debut quite early in the year with FREAK ALARM. They later returned in May with OMG! (I also haven’t reviewed it, but I’ll try to by the end of the year!)

Also, you might have noticed the lack of reviews for rookie groups this year. Don’t fret, because there will be another Rookie Week in November!

Anyhow, BORN DIRE is an intense dance track that throws you straight into British Rave and punk rock blend from the start. I remember my ears perking up within the first few seconds at the intensity and dynamic energy when I first checked out the song. That was a good sign for BORN DIRE, with the first few seconds capturing the essence of what would be a memorable aspect of the song. I really liked the focus on punk elements in the instrumental break, as well as the concentration in BORN DIRE‘s final moments. Beyond the production, the members’ delivery was also strong. I liked that you could consistently hear them clearly amid the instrumentation, and their execution was compelling. If anything, I felt their verse parts could have been bolstered to add more depth to the track. My biggest issue with BORN DIRE was the lack of a memorable hook. What we got was decent, but it didn’t match the bar the instrumentation set.

Whoever did the visual effects for this music video needs a pay raise yesterday. I was blown away (and still am) by all of the post-production in this music video. BORN DIRE conveys the message of not stopping and continuing to race even amid the chaos of control. In the music video, we see society trying to track and potentially control the members, who are seen as beasts (cue the gargoyle and wing imagery). While dodging cameras and the people literally holding them back, the members climb to the top to embrace what society fears about them. This concept has been done before, but it feels perfectly suited to today.

The word intensity is getting its work out today, and the performance definitely captures that aspect of the song well. On top of that, the synchronisation between the members looked insane and made the performance super cool. XINLONG’s slight b-boy moves in the first pre-chorus and the dance break by SANGWON, ANXIN, XINLONG, and ARNO also add to that coolness factor.

Song – 8.5/10
Music Video – 10/10
Performance – 9/10
Overall Rating – 9.1/10


[Review] GO HARD – MEOVV

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MEOVV has made a speedy comeback with GO HARD, just four months after their BITE NOW mini-album release featuring the title track DDI DO RI.

GO HARD is a rather interesting song. It starts off like a ballad, and it sounds really soothing and pleasant. The pre-chorus melodies were extremely nice. I wouldn’t mind MEOVV exploring this sound profile in the future. It would have been better without the vocal processing, though. Once GO HARD hits the chorus, the beat unexpectedly drops, and the song ends up… well… going hard with an up-tempo club beat. The contrast between the opening verse and chorus is definitely memorable and grabs your attention. But I will also admit, the two side by side were quite jarring. After the first chorus, the club beat remains, setting up NARIN and ANNA’s rapping. I felt this was the weakest segment of GO HARD, with the verse feeling plain and ordinary, both instrumentally and vocally. At least the pre-chorus returns. After another run of the chorus, the bridge is probably the best example of the two sides of GO HARD coming together. As for the ending, I wish it went harder to round out the song. A final push (stronger than the choruses) would have been ideal to make GO HARD end on a strong note.

The music video shows the group in two very different styles. Accompanying the softer ballad sound, the members were seen in more refined, traditional schoolgirl uniforms. During the club-beat chorus, the members appear in more casual, outgoing club attire. Definitely a strong contrast between attires. I also liked how they used lighting and pyrotechnics to amplify the chorus’s energy. The one thing I wish the producers had focused more on was the schoolgirl concept. I get that the song loses that influence after the first chorus, but it would have been nice to see more of that contrast throughout the video.

While the contrast between the ballad start and club-beat chorus felt jarring musically, I liked how the contrast came off in the performance. I liked the delicate moves that accompany the ballad start versus the intensity and energy of the choruses. I also liked how the members didn’t hold back, which ups the contrast.

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

[Review] UNDEAD – SUNG HANBIN (ZEROBASEONE)

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SUNG HANBIN was one of the members to stay on as part of ZEROBASEONE following the conclusion of the initial 3-year period after the survival show, BOYS PLANET. We saw him earlier this year promoting as part of the reformed 5-member lineup with the release of TOP 5. For his solo work, SUNG HANBIN returned to one of his original companies, THE L1VE. Today, he officially debuted as a solo artist with the single UNDEAD and the mini-album DEAD:ALIVE.

Both SUNG HANBIN and UNDEAD don’t hold back, making a strong impression from the get-go. The instrumental is powerful alternative pop-rock that definitely gets the adrenaline pumping. From the guitar riffs to the dramatic drumming to the calculated pauses, the backing was intense and robust throughout UNDEAD. SUNG HANBIN’s vocals were on par with the instrumental, powerful enough to cut through the backing. This kept his delivery clear and not drowned out, unlike some songs where the balance between the powerful instrumentation and vocals wasn’t right. I also liked the clever use of the choral backing to amplify the song’s most intense moments. This only added to the dramatic, powerful flair SUNG HANBIN was already bringing to UNDEAD and concentrated everything into a memorable piece. On memorability, the only thing UNDEAD could have done better was feature a meatier hook. It definitely got the melodies down right, but the hook just wasn’t addictive enough. That would have made UNDEAD a hook-line-sinker song.

Based on media articles, UNDEAD ‘conveys a strong determination to willingly accept any pain and hardship, both for the sake of others and for his own.’ Throughout the music video, we see SUNG HANBIN on the run. In some parts, it looks like he is running away from someone or something. But most of the video shows him facing it all as everyone else runs away. We see him running head-on through walls, falling off buildings and taking high risks to escape the someone or something chasing him (most likely the pain and hardship mentioned above). In the end, he climbs back to the top of the building, having gone through it all to claim his success and glory. SUNG HANBIN’s visuals were on full display, too. He looked good doing anything, even falling from the building.

The choreography captured the intensity, power, and dramatic flair I mentioned earlier. And it was amazing to watch. The performance really highlights SUNG HANBIN’s talent and skill as a dancer. The synchronisation with his dancers was also perfect. His charisma and stage presence really shone through. If you are still unconvinced, I highly recommend checking out his intro performance during the live curating session for DEAD:ALIVE. You won’t regret it!

Song – 9/10
Music Video – 8.5/10
Performance – 9/10
Overall Rating – 8.9/10

[Review] Guitarist – Doh Kyung Soo (D.O – EXO)

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A month ago, Doh Kyung Soo (or D.O from EXO) made his solo comeback with his 4th mini-album, Dopamine. The lead single from the new mini-album, and the focus of this review, is Guitarist. This is Doh Kyung Soo’s first solo release since Bliss and SING ALONG!, and his first release since EXO’s long-awaited Crown comeback earlier this year.

It makes sense that, with the song titled Guitarist, a prominent feature of the instrumental is the guitar. As we all know, the instrument is versatile, and in Guitarist, the guitar (alongside other band instruments) delivers a bright, upbeat, funky tune. It is an extremely nice listen from the outset and has me boogieing in my seat each time it comes on. Alongside the instrumental, Doh Kyung Soo’s vocals are equally bright and effortlessly warm. The riffs and his crisp tone add to Guitarist‘s ‘extremely nice’ appeal. The “Da-ra-da” hook was super pleasant, as were the melodies.

As for the music video, we can view it as two halves. The first half shows Doh Kyung Soo coolly playing guitar in a striking red leather jacket and driving his friends to a party or hangout. The second half shows Doh Kyung Soo meeting up with a girl on the side of the road, where they vibe and dance together in a cute yet light-hearted way. I much prefer the second half, as this is what I know of Doh Kyung Soo, and the whole montage just makes you want to smile.

This comeback includes a performance with dancers. It is a super easy-going routine for Doh Kyung Soo to focus on his live vocals, but he does execute the moves well (alongside the dancers to give the stage some oomph) when it comes to the “Da-Ra-Da” hook. He also sneaks a bit of that fun, light-hearted dancing from the music video into the routine.

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

[Review] Kick Off The Wall – KickFlip ft. iann dorr

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Making their return this week is KickFlip, who returns with their 5th mini-album, Kick Off The Wall Pt. 1. This mini-album features the title track of the same name (sans the Pt. 1 bit and features rapper iann dorr) and the pre-release single Puzzle Piece. This review will focus on the title track. It’s the group’s second comeback of the year, following their earlier My First Kick and Eye-Poppin’ era.

Kick Off The Wall continues KickFlip’s pop-rock sound and blends it with electronic elements to create a super cool, dynamic track. It is one of the elements that really sold me on this track on first listen. Everything melds together so well (the chorus is a great example of how the pop-rock and synths come together cohesively), and the synth-dominant instrumental break is a textural wonderland. The members are very lively and punchy throughout Kick Off The Wall. I enjoyed how they channelled the instrumental’s dynamic nature. The song’s hooks also add to that punchiness. This definitely gives Kick Off The Wall its catchy, addictive quality. It was pretty hard to put the song down. iann dorr is given the bridge to rap in, and I liked how it doesn’t shortchange Minje’s rap sequence. Both sounded great! Actually, I also like how his bit fits into Kick Off The Wall and sounds just as lively and dynamic as the members.

My biggest issue with this comeback was the music video. Not the whole video, but where they used a specific post-production technique (green screens). The opening scene to the first chorus looked so bad and cheapened the video. Similarly, the pre-chorus sequence before the second chorus, where the members broke down walls and kicked up dust, felt the same way. Those scenes could have been refined a lot more. JYP Entertainment is a big company; surely they could have done better. Though it was nice to see the featuring artist in the music video and alongside the members at the end.

The performance aspect was really good. The best parts are the choruses, where the energy is highest, and the members embody it well. The dance break was also super cool. On the flip side, the dance moves during the verses could have been more interesting

Song – 9/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 8.2/10

[Review] Death of Me – EVAN

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EVAN only just made his solo debut with Ride or Die in June this year. But he returned quickly, two and a half months later, releasing his first solo mini-album and title track, both titled Death of Me. This review focuses only on the title track.

Death of Me‘s production is one of the song’s real strengths. The groovy, crunchy synth work that dominates the chorus background was so driven and sharp. It had so much vigour and energy that it really stood out. EVAN translated this so well into his delivery and execution of the chorus. It was a promising start and a strong centrepiece. However, beyond the choruses, Death of Me falters. The verses were a snooze, largely forgettable, and just didn’t resonate as much as the choruses did. Some of his vocals were decent, but it sounded like he was held back from reaching his full potential. A prime example is how his singing in the second verse felt overly processed. Similarly, Death of Me also felt held back. Some ad-libs during the final chorus to build Death of Me toward a peak would have been appreciated, but instead we got a repeat of the same chorus, which ultimately flattened the song toward the end. The instrumental break outro was a nice touch and tried to add some oomph in the last seconds, but it was too late and not enough to get us to that peak.

This music video would have worked really well in the lead-up to Halloween, as it shows EVAN being haunted by a mysterious figure throughout. My theory is that the mysterious figure represents his past self, as he sings about starting afresh and his unwillingness to let his past limitations or fears control him. Out of EVAN’s looks throughout the video, I really like when he was in a suit on stage. It would have been nice for his other looks to be more on that side of the spectrum, and not super casual, loose, crop-top T-shirts. While he looked cool, I couldn’t help feeling like the video felt refined, but it ended up cheapening itself by the end.

You can tell EVAN put a lot of energy into the choreography, and it paid off. There is a strong MJ influence throughout the routine, and the dance break at the end was my favourite bit of the entire routine. The extra push he gives in the final moments just makes that part so much more impactful. His facial expressions and charisma were also executed perfectly, adding so much more to the performance.

Song – 7.5/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.2/10

[Review] I’m Gonna TOESA – SOYEON (i-dle)

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Currently topping the charts in South Korea is SOYEON’s I’m Gonna TOESA (which translates to I’m Quitting in English). It is her lead single from her first solo studio album, What a Wonderful Life, which dropped in early September. Since then. SOYEON’s new song has since been extremely successful on the charts, where it is currently earning multiple perfect all-kills (where the song simultaneously ranks number one on multiple real-time, daily, and weekly charts). I’m Gonna TOESA is also SOYEON’s first major solo release since 2021’s Beam Beam.

I’m Gonna TOESA is about the fantasy and romance of quitting a stressful job. Most of the song is in Korean, but I am sure it feels relatable and speaks to Korean audiences, as it is currently dominating the charts in South Korea. For a non-Korean speaker like me, the song doesn’t have as strong an effect. But that doesn’t mean I didn’t enjoy it. The first thing that sticks out to me is that I’m Gonna TOESA isn’t the release you’d expect from SOYEON. We all know from i-dle works what SOYEON can pull out – something strong, empowering and bold. Whereas I’m Gonna TOESA is cutesy, retro, laid-back, and whimsical. This contrast is already quite intriguing and pulls me further into the song. I enjoyed the song’s vocal-forward nature, with moments that highlight SOYEON’s raspy, nasal vocals. The band instrumentation is quite simple but has an appealing feel-good vibe. The melodies, and the song overall, are easy on the ears, which helps it stand out in the current KPOP climate.

Watching the music video made me smile. I might be slightly envious that SOYEON quits her office job in the video, but I love how she curtsies as she leaves, only to flip the bird the next moment. That takes confidence on so many levels. From there, she portrays her newfound free schedule, which includes going on dates (even though she literally just waltzes up to a table and tries to woo the guy, who is already in a relationship), going to the karaoke bar (I feel like this is normal) and daydreaming about being an old lady.

Watching the performances also made me smile – even more than the music video. Each comeback stage felt different and refreshing, and you could tell SOYEON had a blast performing each one. The trip at the start kept things interesting and playful, while the aggressive twerking at the end of the first two choruses contrasts with the light and joyful “La La La” that follows is my favourite part of the entire routine.

Song – 8.5/10
Music Video – 9/10
Performance – 9/10
Overall Rating – 8.8/10