Category: Reviews

[Review] ICU – Xdinary Heroes

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Xdinary Heroes returned last month with their 7th mini-album, LXVE to DEATH, and the title track ICU. This new release follows their July digital single, Fire (My Sweet Misery), which has yet to be reviewed, and their March mini-album release, Beautiful Mind, featuring the title track Beautiful Life.

For my constant desire for hard-hitting, intensely powerful and bold rock music, Xdinary Heroes is one band that I can rely on to deliver on this craving. And they have done it again with ICU. Right from the start, the band launches us into some awesome shredding electric guitars and pounding drumming, hallmarks of a great rock sound. What makes ICU even more so is simply the fact that the members never let up this energy, and it continues through to the end. Then come the members, who charmingly take us throughout ICU through some really prolific vocals and rapping. I also really like how they are confident enough to hit the high notes and scream and shout when needed throughout the song, giving ICU an even more engaging profile. And the melodies give ICU a memorable tinge, which helps make the song even more appealing. The ICU‘s bridge is probably the most memorable part of the song, kicking off with a heightened rock instrumental break and then moving into chanting that further hypes the song.

The music video sees O.DE being taken to the hospital in an unconscious state for whatever reason. My best guess is that the members (with him in on the plan, given they all appear behind the medical staff) purposely put him in that state, so they could all make their way to the big cat figure in the sky they love (or worship/believe in – but I am saying love because it looks like O.DE is also lovesick and has a locket of the members and the big cat around his neck). They almost make it to their destination, but O.DE’s locket chain breaks, and the cat becomes upset at that. Instead of welcoming the members, it shoots lightning from its paws, waking O.DE from his unconscious state and leaving him disappointed. I like how another version of the members play the medical staff, causing chaos throughout the video. The fun video ends with a shot of the van upside down underwater, with music still playing.

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

[Review] Say My Name – MIYEON (i-dle)

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Making her solo comeback last week was MIYEON from i-dle, with the single Say My Name, which serves as the title track off her 2nd solo mini-album, MY, Lover. This new release marks her first solo comeback in several years, following her solo debut with Drive and the mini-album My, released in 2022.

Say My Name sees MIYEON delve into a pop ballad, providing us with a perfect dose of melancholy that puts the lyrics into perspective (more on the lyrics later). The instrumental for this song features the usual suspects for a ballad at first. But as the song develops, the growing presence of drums and guitars gears it away from the traditional classical hallmarks of a ballad and into pop territory. Say My Name is made stunning with MIYEON’s vocals. The way she carries the melodies with her voice and falsettos during the choruses was definitely a memorable aspect of the song. The high note was also spectacular. As mentioned earlier, you can sense the emotions behind her vocals. I must admit that I did get worried seeing the length of the song, noting that I am not a big fan of the ongoing trend of keeping songs below the 3-minute mark. But Say My Name‘s short length strikes the right balance to make the song appealing without feeling too much or too short.

Say My Name is about wanting to let go of an ex, but being unable to entirely forget someone because you can still literally hear their voice and recall the good memories with them. The music video depicts heartbreak by showing MIYEON turning around when she thinks she hears her name, but there is no one around her. It becomes more heartbreaking when it is later revealed that she passes by or is a few steps behind a person who can only be her ex, which represents the idea that the memories linger. It is a rather minimalist and straightforward video, but it does a great job of portraying the lyrics. I also like how it complements MIYEON’s vocals. Listening to the song whilst watching the video made it feel like we were walking with her.

I am unsure if this comeback required choreography, particularly since MIYEON remains in one spot for most of it and only performs minimal moves during the performance. But the dancers do make it look lovely, and give the stage a bit more depth and dimension to enjoy

Song – 9/10
Music Video – 9/10
Performance – 7/10
Overall Rating – 8.6/10

[Review] Pinocchio – AHOF

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I am planning a week in the very near future that will focus solely on the rookies who made their debut this year. AHOF is potentially one of the groups I could cover during this week, but since I have already reviewed their debut single, Rendezvous, I thought I would focus on the groups that I have yet to review on the blog. This does mean I can push on and review Pinocchio, the title track from the group’s second mini-album, The Passage, which dropped last week.

Similar to their debut track, Pinocchio continues AHOF’s venture into the pop-rock soundscape. What I do like about Pinocchio is that it leans more towards the rock side of the genre. I also like that it doesn’t hold back its power and impact, giving us a taste each time the chorus comes into play. I quite like the chorus soars, creating an epic centrepiece for the song, and it does so refreshingly each time the chorus comes into play in Pinocchio. I find this offering to be very generous. In addition to the chorus, I am really digging how Pinocchio introduces rapping into the song during the first verse, giving the song a slight punch. And the vocals throughout Pinocchio are impressive, particularly in the chorus. However, while it sounds like Pinocchio is the perfect song, two minor aspects bug me about the song. The first is the pre-chorus. Usually, songs do something interesting with the pre-choruses, but Pinocchio actually does it the opposite. It just didn’t hit the same as the chorus and verses. And secondly, the transition between the bridge and the final chorus was somewhat abrupt, which caught my attention. However, as I mentioned, they are minor, so I have been able to overlook them and thoroughly enjoy Pinocchio.

Based on the SOOMPI article, Pinocchio reflects the members’ own growth by drawing parallels to Pinocchio’s journey to becoming human. The music video depicts the members coming to terms with their feelings of loneliness and isolation, finding solace in each other as they move forward with their careers. At the midway point, the members are pushed into chaos with abrupt and unexpected events in their lives (i.e., the stage explosion) and lose one another amid the chaos. However, the video shows the members finding each other again and coming together to tackle the unexpected and unknown future events (i.e., the snowstorm). I really like the autumnal colours in the video, which match the season Korea is now in.

The performance was great. I liked the balance between softer (during the verses) and more intense movements (during the chorus). This gave it an artistic vibe, which works well with the song. The dance also has references to Pinocchio (i.e., his long nose and such), which I thought was a neat tie-in with the song’s title and lyrics.

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

[Review] CYNICAL – SUNMI

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It has been a while since I wrote a review for SUNMI. The last one was 2023’s STRANGER. Since then, SUNMI has been relatively quiet, with only a single release in 2024 (Balloon In Love) and another earlier in 2025 (BLUE!). Last week, SUNMI made her solo return with her first studio album (12 years after her solo debut), Heart Maid, led by the single CYNICAL.

CYNICAL sees SUNMI tap into a groovy dance number, made hefty with electronic synths and solid bass. While the instrumentation is relatively neutral and consistent throughout the song, it has a certain vibe that aligns with SUNMI’s style and past release aesthetics (more on that later in the review). Nonetheless, the neutralness and consistency extend to SUNMI’s delivery of CYNICAL, with her vocals coming off as monotonous for the most part. This develops into an equivalent-style chant for the chorus. However, I think this is intentional, given that a definition of the word ‘cynical’ involves mocking others in a way that disregards them, and that is what she is doing in the lyrics. And while the repetitiveness usually doesn’t help make the monotonous approach appealing, CYNICAL might be an exception. I definitely would have liked to hear something more dynamic through instrumentation, vocals or hooks, CYNICAL still managed to stand out somehow. It could simply be because it has been a while since I last heard from SUNMI, but I think it is because CYNICAL manages to do something right.

The music video features a fun and comedic Korean ghost (played by SUNMI herself). I am probably one of many who thought this video and concept was a missed opportunity for Halloween 2 weeks ago. According to some comments under the music video, this is due to ABYSS (SUNMI’s company) delaying the comeback to the start of November, when it was initially scheduled for a mid-October release. It’s a pity that they couldn’t align it better with Halloween; this would have been so good during the spooky season. As mentioned, it features SUNMI as a Korean ghost, dying after twisting her ankle and falling to her death in a public bathroom. She doesn’t ‘cross over’ into the afterlife immediately, instead lingering in the world of the living for 49 days (a common Buddhist belief). Throughout the video, she mocks Death as he waits around to take her into the afterlife. In the end, he does take her to the afterlife, but without one last scare. I also mentioned that the video is comedic, especially at the start, where SUNMI has to change out of her club outfit and don her Korean ghost white outfit.

I thought the routine for this comeback was very good. She does an excellent job, as do the dancers, in making this feel creepy through their stone-cold facial expressions, while also making sure the moves complement the electronic synths of the song. The former actually taps in well with her past performances and concepts.

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

[Review] Talk To You – YEONJUN (TXT)

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A year on from his solo debut with GGUM, YEONJUN from TXT is officially back with his first solo mini-album, NO LABELS: PART 01. Leading the mini-album is the title track Talk To You. Since GGUM, YEONJUN returned to his group for releases like Love Language, Beautiful Strangers, and most recently, Can’t Stop.

Talk To You is a very grungy and intense rock single. I found the instrumental to be very satisfying as a rock release, and I like that both the song and YEONJUN really focused on this influence without too much additional influence. The electric guitars really make the song, ensuring that the grunginess and intensity are a constant presence throughout Talk To You. YEONJUN himself does bring a hip-hop flair to his delivery, which I didn’t mind. With the help of the grungy filter that his vocals go through, he complements the rock influence quite well and allows Talk To You‘s hooks to effectively lean into the same influence. That being said, his vocals were strongest and most engaging when clear. The slurring at the start was a tad distracting, but it wasn’t the biggest deal-breaker. For me, the most significant deal-breaker is simply the fact that Talk To You was too short. The song was consistently in a high-tension mode, and the abrupt ending didn’t provide much closure. But overall, Talk To You is a decent listen that I think will grow on me substantially.

However, there is one caveat to that – I don’t listen to Talk To You while watching the music video. I was a bit slow to realise that the video featured 3 songs from the NO LABELS: PART 01 mini-album – COMA, Let Me Tell You (feat. Daniela of KATSEYE) and Talk To You. Before I figured out the three songs, I genuinely thought that these three songs were one singular song and was questioning YEONJUN and HYBE’s style for a bit. Anyhow, while the idea of three songs coming together to form one video does sound innovative, the music video simply combines three separate videos with what appears to be very little in common. COMA corresponds to a wild dance performance video, Let Me Tell You, which sees both YEONJUN and DANIELA performing sexily with a pronounced R&B style, while Talk To Me sees YEONJUN being a party-goer that everyone cannot get enough of. I wished there were common threads (and they probably are) to make the videos link up and be somewhat cohesive. I just don’t see them.

Performance-wise, YEONJUN only performs Talk To Me on stage. And once again, he does so with so much remarkable charisma and great chemistry with his dancers and the camera. This is definitely a stage worth watching! I liked that YEONJUN is willing to be loud on stage (not in terms of his vocals, but instead, his moves), and this really made various moments stand out on stage. I particularly like how the female dancers made their first appearance one at a time, and how the dancers were reintroduced throughout the performance via interactions with YEONJUN.

Song – 8/10
Music Video – 7/10
Performance – 10/10
Overall Rating – 8.1/10


[Review] FOCUS – Hearts2Hearts

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Since their debut earlier this year with The Chase, Hearts2Hearts have released two singles that I have yet to review – Style and Pretty Please. While the length of time since the release and their potential review might be an indicator, it can also be said that Hearts2Hearts is also impacted by my inability to keep up with new releases. Anyhow, Hearts2Hearts returned last month with their first-ever mini-album, FOCUS, and the title track of the same name (which is also the ‘focus’ of this review). Pretty Please, mentioned earlier, is a pre-release single from their first mini-album, FOCUS, as well.

What I liked about FOCUS was its constant and consistent groove. While consistency is something that is a hit or miss to me, it does well in FOCUS, keeping the house-based song buoyant and upbeat for the majority of the track. I also liked how the producers gave the song impact by adding just a bit more to the instrumental for the instrumental break bridge. It’s subtle, but it does wonders to FOCUS. The members deliver a more subdued tone to the song. I think the success of the song is simply the contrast between the subdued spoken tone and the upbeat groove that the instrumental delivers. Somehow, they both come out on top and give FOCUS a memorable aspect. However, the subdued tone and spoken delivery do mean that all of them merge together, and I don’t really hear much individuality between the members. I also feel that this combination limits the appeal of the hook, which I found to become repetitive with repeated listens of the song. So, I guess in summary, FOCUS is a mixed bag of both good and not-so-good aspects. But it’s still a decent listen, overall.

In FOCUS, Hearts2Hearts sings about how someone captures their attention and takes their focus away. Given their ages, the school concept makes perfect sense. While they should be focused on their studies, the person in question takes up all of their attention. I think the dance practice room location later on in the video fits in similarly, where the members should be focused on their dance moves, but yet they are distracted by the person (who, in the mirror, is Hearts2Hearts themselves). In particular, I like the final scene outside with the fireworks. Paired with the choreography and the members’ stoic expressions, it was a bold end to the music video.

Although it may not appear this way, the routine for FOCUS was exceptionally strong. The sharp movements during the chorus and the in-your-face approach they took during the dance break were really cool and super bold. If this is what they can do, I highly anticipate their next performance!

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

[Review] SUPERPOWER (Peak) – xikers

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One of the songs released last week that caught my attention was xikers’ comeback single, SUPEROWER (Peak), which serves as the lead single off their 6th mini-album, House of Tricky: Wrecking the House. Their last comeback, Breathe, was released in April this year, as part of their 5th mini-album, House of Tricky: Spur.

There were a few things that caught my attention within SUPERPOWER (Peak) whilst I was tuning into the new releases last week. However, ultimately, the song’s boldness was the most prominent and noteworthy aspect to discuss. The electro hip-hop background, from the hollow tinny beats at the start to the range of textured synth work in the verses, made this entire instrumental piece extremely appealing. Yes, it was loud, and I can understand why some might find it even obnoxious. But I really liked it. Even the instrumental break inserted at the end of SUPERPOWER (Peak) was very cool, and interestingly, it brought a touch of 2010s nostalgia to me. As for the members, they did exceptionally well with their aggressive and powerful raps and vocals. All the raps in the verses were super engaging, with each rapper bringing their own style to SUPERPOWER (Peak). As for the vocals, the autotune during the pre-chorus felt reminiscent of vocals from other electronic-based songs, while I really liked HYUNWOO’s powerful showing during the bridge. SUPERPOWER (Peak)‘s chorus sees xikers deliver the song’s centrepiece as a powerful shouty chant. While I don’t mind it, I do think it is a bit typical in the current landscape of boy-group music. But overall, SUPERPOWER (Peak) really excelled, and I really enjoyed it.

SUPERPOWER (Peak) is about how the members are in their most powerful form, which gives them the power to break down the walls and boundaries in their current form. This itself is essential context, as well as the fact that this album is the last in their House of Tricky series, which has been a consistent part of their album names since their debut. If you fast-forward to the end of the video, you will see the House of Tricky collapsing as the members leave the building, symbolising the closure and departure of the House of Tricky era. For some reason, xikers and the SUPERPOWER (Peak) conceptually fit in well with the industrial and underground setting, with the cyber cityscape in the background. Definitely a cool video, overall.

I really liked how the performance for SUPERPOWER (Peak) was both an intense routine and a hype routine. It was definitely a powerful routine, with xikers putting their all into the different ranges of intensity and building up the hype. I love how the dance break at the end of the routine (which coincides with the club vibe instrumental break of the song) was the peak moment of the entire performance, and it left me very satisfied and gratified with the routine.

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

[Review] Spaghetti – LE SSERAFIM ft. j-hope (BTS)

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LE SSERAFIM made their comeback last week with their first single album since their debut in 2022. Titled SPAGHETTI, the single album consists of the title track (and multiple versions) of the same name, featuring HYBE labelmate j-hope from BTS. This is LE SSERAFIM’s first Korean comeback following HOT and Come Over (from their HOT mini-album), and their first comeback overall since their Japanese comeback with Different (yet to be reviewed).

Look, the final product that LE SSERAFIM released was not on my KPOP bingo card this year. SPAGHETTI shows an entirely different side of the group that we have not heard from before. It is a lot more out there and wackier than any comparable LE SSERAFIM release—the only one that comes to mind is last year’s CRAZY, and that felt contained. For this reason, the heavy yet funky synth-and-autotune style of SPAGHETTI was engaging. It is definitely fun (cowbells tend to have that effect, which I am sure I have mentioned before on the blog), aided by the catchy hooks and repetition throughout SPAGHETTI. Similar comments can be made about the members’ delivery, but I also note that certain parts of the song made them seem charismatic. But while experimenting and doing something different is good (at least in my books), I think it should be acknowledged that this style switch could be jarring to some fans. As mentioned earlier, j-hope also features in SPAGHETTI, and I really appreciated his appearance in the song. I felt his feature grounds SPAGHETTI in a way that allows LE SSERAFIM to approach their parts in a more light-hearted manner. I love the oomph in the latter half of his part. It does wonders to SPAGHETTI.

People have described SPAGHETTI as a diss track aimed at their haters, and the lyrics do give that impression. I liked how they focused on a tasty and classic dish that many people would ‘eat up’. I also like how the video plays into the wacky side I mentioned earlier, with some scenes being a tad random (e.g., one member hanging out in the sauce and the members performing on a plate of spaghetti). I also appreciate that j-hope makes an appearance in the video. I do question some of the styling choices, such as the mechanic overalls. But it was a good video, overall.

I really enjoyed the performance of SPAGHETTI, particularly the sass and attitude the members bring to the audience throughout the routine. It definitely works well with the lyrics and the comeback’s concept. I particularly enjoyed the routine that accompanies the post-chorus hook (i.e., the “Eat it up”), with the members mimicking a ‘becoming sick’ motion. In contrast, the centre member tells people to ‘Eat it up’ through their moves. It felt like a fun part of the routine, with high impact on the message it was trying to push.

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

[Review] Youth – Lee Know (Stray Kids)

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Stray Kids recently made their comeback with their fourth studio album, KARMA, led by the title track CEREMONY. However, I still have a backlog of song reviews related to Stray Kids that I have yet to post, including the solo tracks from their Hop mixtape and the unit tracks from their Mixtape: Dominate album. I have already made a start on this backlog, with Lee Know’s solo single from Hop, Youth, up next. For the other reviews of Stray Kids’ solo songs from the Hop mixtape, see the links below the music video.

Lee Know’s Youth goes down the dance pop side of KPOP with a funky disco instrumentation. It is straightforwardly fun and upbeat, just as you would have expected with such an instrumental. In addition to the music, Lee Know’s vocals, right off the bat, fit in perfectly. He shines throughout the single with his fresh and pleasant tone, whilst also adding to the song’s brightness and energy. The pre-chorus was probably my favourite part as it offers the best that Lee Know has to offer as a singer. And Youth’s pre-choruses are just so repeatable. The chorus had a fun and catchy hook, and I enjoyed the bubbly pop nature of Youth’s centrepiece overall. I do wish Youth had some grit (in some shape or form), just to break up that consistent pleasantness. I think this would have done wonders for Youth, giving it dimension and more layers to enjoy. But overall, Youth is a nice solo single nonetheless.

The music video starts off in the midst of a bingo game, where an old lady cheats by pulling out a completed bingo card. However, the actual bingo card is missing the final letter ‘U’, hence why this raises suspicions with other players and management (which Lee Know is part of). While the rest of the management is made to play along with the situation, Lee Know breaks ranks, tells management that they should accept the win, as he will search for the missing ‘U’. He catches the ‘U’, which cues celebrations and allows the old lady to win the game. Obviously, the reference to the letter ‘U’ isn’t just the letter, but also the person who is willing to stand alone and be themselves (per the lyrics).

The choreography for Youth is cute and bubbly, complementing the song well. The jumps and energy that both Lee Know and the dancers put into the routine, and that we get out of the routine, are ideal for such an upbeat song. I like how the routine keeps things fun and lighthearted, especially the part where the dancers had to copy Lee Know’s surprise move(s) at the end of the routine.

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

I.N’s HALLUCINATION | SEUNGMIN’s As We Are | FELIX’s Unfair | HAN’s Hold My Hand
HYUNJIN’s So Good | CHANGBIN’s ULTRA | LEE KNOW’s YOUTH | BANG CHAN’s Railway

[Review] Sunkiss – WENDY (Red Velvet)

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WENDY made a comeback last month with the mini-album, Cerulean Verge, her first solo release since leaving SM Entertainment and signing with ASND for solo promotions (which is also the home for fromis_9). WENDY remains under SM Entertainment for Red Velvet activities. The mini-album serves as her third solo mini-album, following last year’s Wish You Hell, and is led by the single Sunkiss.

Sunkiss is a stunner. Sunkiss features WENDY’s crisp and strong vocals prominently, with the rock band instrumental considered secondary. I really enjoyed the bright, warm melodies and WENDY’s vocal delivery, with the pair coming together to give Sunkiss a nostalgic and comforting feeling. This is particularly true for the choruses, which allow WENDY to really soar. As for the instrumental, I consider it secondary in Sunkiss because it follows WENDY’s lead – where she goes with her vocals, it follows. Standalone, I really liked its wholesome vibe and the intensity of the rock sound that comes through. I also enjoyed the upbeat quality it gives Sunkiss, which works well with the summery season, as well as adding something upbeat to WENDY’s solo discography. My only concern is that the single is a little safe for her, but it is still a fantastic listen.

I agree with everyone’s concerns when the teaser images and music video dropped – WENDY looks far too skinny for this comeback. I do hope it was her own choice (i.e., she was not pressured by her own management or others’ expectations to present herself in this way). But she does look great nonetheless, and I can say the same thing about the rest of the music video. It may not have the SM budget, but it had a lovely aesthetic to it. I also liked the adventurous vibe that WENDY exudes throughout the music video, as she searches for the sun-kissed glow that she sings about in the song.

Performance-wise, WENDY looks great on stage. You can feel the happiness from WENDY as she performs and sings live. I love that she focuses on the live aspect of the performance, as Sunkiss sounds best in this form. That being said, she participates in some of the choreography. While it is not complex, she manages to showcase remarkably stable vocals while performing what she can on stage.

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

[Review] Hollywood Action – BOYNEXTDOOR

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BOYNEXTDOOR is back with their 5th mini-album, The Action, led by the single Hollywood Action. It follows the release of their 4th Korean mini-album, No Genre (yet to review) and the single I Feel Good, as well as their Japanese single, Count To Love.

I have been a little busy the last couple of weeks, so I hadn’t checked out any teaser material for BOYNEXTDOOR’s newest album. So, going into Hollywood Action, I had no idea what to expect aside from what I knew of BOYNEXTDOOR. Well, I am genuinely surprised with how the final product turned out. The track features a retro-driven swing rhythm instrumental with catchy brass. Altogether, this lays the foundations for Hollywood Action‘s fun, addictive and groovy nature. I also liked the jazzy elements that the producers managed to incorporate into Hollywood Action, particularly via the outro where the members introduce the piano, drum bass and trumpet for some brief solo moments. I did enjoy BOYNEXTDOOR’s dynamic and chemistry in Hollywood Action, which made the song super engaging and worthwhile to listen to. Their delivery adds to the fun and gives off a witty impression, which works well with the lyrics. However, I think Hollywood Action needs something textural and be longer to take it to the next level in my book.

The music video is excellent! It definitely matches the fun and upbeat vibes of the song. We see the members crash the Hollywood production of a spy-slash-sci-fi movie that, if it were real, would be extremely cringy and cheesy. But isn’t that the nature of some classic spy and sci-fi movies from that era? I particularly liked how they are nonchalantly performing their choreography throughout the video, whilst on set and in the foreground of the movie production. I also liked the ending of the video, which saw the members (and the rest of the cast and crew) attend an award ceremony and receive an award for the film. This speaks well to those jazzy elements in the song and just gave a nice classy cap to the video. Love that the aliens were also there, as well.

The performance for this comeback, from the one reel and the snippets in the music video, promises synchronisation and the vibrant energy. This performance already looks like a standout to me. I enjoyed the Thriller reference and am intrigued by that crouching twist (where they touch the ground behind and in front of them) move, all of which form part of the chorus routine.

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

[Review] Blue Valentine – NMIXX

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Also making their comeback this week is NMIXX with their first studio album, Blue Valentine, and the title track of the same name. It is their first comeback since Fe3O4: Forward from earlier this year, led by the single KNOW ABOUT ME. Following the promotions for Blue Valentine, the group will embark on their first world tour.

Blue Valentine begins beautifully, with stunning vocals and a soft instrumental piece that gently introduces us to the song. It is from the pre-chorus where Blue Valentine gets interesting. The music-box-like instrumental begins relatively slowly, even compared to the opening verse, before upping its tempo while the vocals remain the same during the opening verse. It feels out of sync, but it actually has a lovely charm. From there, the chorus fills Blue Valentine with a meaty chorus that is packed with a strong synth instrumental, powerful vocals, and a catchy melody that leads into the song’s addictive hook (i.e., “You’ll always be my blue-oo-oo-oo valentine”). The second verse’s instrumental leans almost into pop-rock territory, and the same pre-chorus recurs with rapping added to it. I found both to be a cool addition to the already intriguing nature of Blue Valentine. After the second chorus, the bridge pauses the song briefly, featuring only JIWOO’s vocals, which are again truly stunning. After the final chorus, we get an outro featuring a brief feature of LILY’s powerful vocals and a sudden switch up to soft and beautiful vocals from HAEWON, with the latter finishing Blue Valentine just like how it started. Blue Valentine successfully attempts something different, allowing NMIXX to reaffirm their place as a unique artist in the industry.

From what I understand from the lyrics, the song is about rekindling an old flame, comparing the passion of love from the initial relationship (red) to a colder, blue Valentine. The music video appears to show the members in both their initial and subsequent relationships with one another. Parts of the music video are dark (which represents their subsequent relationship with one another), while other parts are bright and summery (which I guess means the initial relationship). There is also a theme of time rewinding and fast-forwarding, which plays into the idea that the music video reflects upon both relationships. Some of the visual work of the video could have been done better, but I think it is a neat showing of the song.

The accompanying routine is lovely, but nothing really stood out to me. However, I appreciated the use of gracefulness to accentuate the choreography, which complemented the song well.

Song – 9/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 8.3/10

[Review] COLOR – NCT WISH

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At the start of last month, NCT WISH made their second comeback of the year with the mini-album COLOR, led by the title track of the same name. In the lead-up to the release of COLOR, NCT WISH also pre-released the single SURF and released a music video for the side track BABY BLUE. I will definitely review SURF in the future, but I haven’t made up my mind regarding BABY BLUE yet. Their last comeback was poppop from earlier in the year.

Following my review of poppop, I am happy to report that it really grew on me. I hope that will be the case for COLOR. Similar to my initial comments on poppop, I find this new song to be an okay release. As such, I am not overly excited about it. But no matter how many times I have listened to the song since its release, I find it hard to see myself ever being excited about it. This is probably why this review has taken over a month to write. Some positive aspects of COLOR contribute to the song’s likeness. The clangy, synth, and percussive instrumentation give COLOR impact and help deliver some punches alongside the melodies/hooks. At the same time, the members’ delivery, layering and energy add life and an upbeat quality to the song. The “Bring out the colour” hook was also catchy. However, I feel that something holds back the dynamic potential of COLOR. Going back and forth over the song, I think the combination of the above made COLOR a little too hefty for my liking. If the producers had found a way to loosen up the song, making it feel lighter, I think this could have made COLOR more dynamic and appealing. I also wish the melodies were a little more grabbing.

The music video for COLOR is quite colourful, but it is done in a way that feels natural and tasteful. The colourful aspects aren’t in your face, but you can tell they are there. I really appreciated that. I also liked the art gallery theme in the music video; that part of the video was very fun. Energy-wise, the music video also felt youthful, ideal for NCT WISH’s appeal. It was great, overall.

As for the performance, I thought it looked good. The footwork and handwork during the chorus add complexity, and I liked the subtle intensity of the moves that accompany the song’s “Bring out the colour” hooks. Both definitely looked cool. Overall, I felt the routine matched with the hefty nature of the music, and the intensity adds some interesting dynamics to the performance.

Song – 7/10
Music Video – 8/10
Performance – 8.5/10
Overall Rating – 7.6/10

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[Review] OVERDRIVE – TWS

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Yesterday, TWS dropped their 4th mini-album, PLAY HARD, with the single OVERDRIVE serving as the title track to the mini-album. It follows the pre-release of Head, Shoulders, Knees, Toes, which dropped two weeks ago. It also follows TWS’ earlier comeback, Countdown and the mini-album Try With Us (yet to be reviewed), which occurred in April.

OVERDRIVE seems to bring together the edgy influences that were heavily present in Head Shoulders Knees Toes and combine them with the ‘boyhood pop’ that the group has consistently put out since their debut. And together, we might have a new direction for TWS that feels refreshing and different. I really enjoy the slight rock influences that come through the instrumentation. The bass guitar riff is super dominant and gives OVERDRIVE a standout characteristic. The humming that accompanies some of these guitar riffs post-chorus was definitely a clever tool to key the riff into our memory banks! The drums are punchy and make the song feel buoyant and energetic, which matches the energy we have seen from TWS through past releases. Even the members’ delivery is full of life and adds excitement to the song, with the chorus being super catchy. My only gripe about OVERDRIVE is the “I’m getting hot in here” spoken lines that felt like a take on a rapping segment. It just doesn’t fit the rest of the song that well, and similarly, the lyrics of the song, which speak to their feelings of being in love and how that is putting them into a state of overdrive.

Conceptually, the music video has two sides. The first is where members of the group are infatuated with their crushes. These scenes occur in everyday life, with the members being distracted, looking to spoil their crushes, and being love-struck by them. Think ‘I won’t tell people I am in love, but there will be signs’. The second part is a video-game-esque concept, where if the love puts the members into overdrive, they will respawn in the video game setting. It is quite an interesting and abstract way of looking at love, and I like how it aligns with the boyhood concept TWS has been known for. I do like the light-hearted moments, like DOHOON protecting his hand at all costs (after coming into contact with his crush) and JIHOON leaning on the sign, causing it to fall onto the other members (and how that leads us back into the dance performance).

Like always, TWS performances have always been a highlight of the comeback, and this one is no exception. Per usual, I really liked the energy they put into the performance. But I also liked how their expressions brought brightness and additional colour to the routine. The final chorus is my favourite bit, with the exciting jumps and flips.

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

[Review] ULTRA – CHANGBIN (Stray Kids)

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Stray Kids recently made their comeback with their fourth studio album, KARMA, led by the title track CEREMONY. However, I still have a backlog of song reviews related to Stray Kids that I have yet to post, including the solo tracks from their Hop mixtape and the unit tracks from their Mixtape: Dominate album. I have already made a start on this backlog, with CHANGBIN’s solo single from Hop, ULTRA, up next. For the other reviews of Stray Kids’ solo songs from the Hop mixtape, see the links below the music video.

It came as no surprise to me that CHANGBIN’s ULTRA would be the most powerful of all the solo singles. This resonates with his rapping in Stray Kids’ title tracks. ULTRA features two sides that showcase its power. The first is, as expected, CHANGBIN’s rapping. He always ensured his delivery had impact in ULTRA, with the parts where he gives his most angsty delivery being the peak of this power. I really liked how he played with the tempo of his delivery, helping make ULTRA dynamic and engaging for me. I also really liked it when CHANGBIN went slightly into vocal territory, which was something a little different and unexpected from CHANGBIN. The second form of power we got from ULTRA was the instrumental breaks. These breaks, each featuring a different synth and EDM profile, build upon everything I have mentioned about CHANGBIN’s rapping and help him expand into other areas (more on this in the next section). Overall, ULTRA comes together to emphasise and push further CHANGBIN’s usual powerful style and dynamic from the Stray Kids track.

The music video for ULTRA is dark and edgy, fitting well with the music. I really liked the green lighting in the background, which helps convey a villainous and angst-ridden energy with minimal effort. To me, CHANGBIN’s leather long coat look is probably one of the most iconic looks in this series of the Stray Kids’ solo work. I just wish they had explored the chemistry or the drug creation in the video further. I feel that there is a storyline here worth expanding on.

Earlier, I mentioned that the instrumental breaks allowed CHANGBIN to expand into other areas. What I meant by that was CHANGBIN’s top-notch performance. I personally felt he outdid himself with his performance, with the instrumental breaks/choruses giving him a chance to explore a sensual yet powerful side. The flexed bicep and body wave move is definitely one of the memorable moves in this series of solo works, and I liked how each break was something different, performance-wise.

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

I.N’s HALLUCINATION | SEUNGMIN’s As We Are | FELIX’s Unfair | HAN’s Hold My Hand
HYUNJIN’s So Good | CHANGBIN’s ULTRA | LEE KNOW’s YOUTH | BANG CHAN’s Railway

[Review] ME+YOU – TWICE

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It is almost 10 years to the day that TWICE made their debut with the mini-album The Story Begins and the hit single Like OOH-AHH. TWICE has gone on to have multiple hits since then. Not many groups go on to celebrate their 10th anniversary, so to commemorate this fantastic milestone, TWICE released their special album titled TEN: THE STORY GOES ON yesterday, alongside the title track ME+YOU. Featured alongside this title track are extended versions of solo tracks from each member previously revealed on their THIS IS FOR world tour.

ME+YOU is an all-English R&B pop track for their fans (ONCEs). It is a pleasantly smooth song, with a straightforward instrumental and neat vocals overall. Personally, I find it to be a nice listen. Other than that, there isn’t much else to the song. Because of this, I don’t think ME+YOU is the type of song that I would actively look for on my playlist to play. It is interesting that TWICE chose such a song to celebrate a significant milestone in their career. While the lyrics of the song have a warm and nostalgic feel, which feels fitting for a song that looks over the last 10 years, the music itself doesn’t really convey that celebratory sentiment that we were promised. I wish there were a whole lot more to ME+YOU.

While the song won’t garner much interest from me, the music video has. I really like the sitcom vibe that the members have going on as they move into a new apartment. It was amusing to watch the members in the video, especially in relatable scenes like SANA incorrectly plugging the USB into the player, or NAYEON and SANA struggling with the PowerPoint. Seeing the members give us a throwback to the bus scenes in the Like OOH-AAH music video was a really nice nostalgic touch, even though the members found themselves amusing and cringey. The video also features actor Uhm Tae Goo, who plays their awkward neighbour across the hall, who becomes frustrated but ultimately shy with TWICE. His cameo and interaction with TWICE add another layer of comedy to the video.

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