Category: Reviews

[Review] Bloody Paradise – ENHYPEN

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ENHYPEN returned last week with their first comeback as a 6-member group, following their Knife promotions earlier this year and the unexpected departure of HEESEUNG in March (who has since re-debuted as EVAN). The new song, Bloody Paradise, is the lead single from their 8th mini-album, THE SIN: BLISS.

No matter how many times I listen to Bloody Paradise, each time has been a blur. I will hand it to ENHYPEN for being consistent with their title tracks, most of which are under 3 minutes. Bloody Paradise feels even shorter, however, as it opts for Brazilian Funk, which is quite energetic and robust. Bloody Paradise‘s background pretty much accelerated the song, resulting in that blur. The brass synths were quite attention-grabbing, while the bass beats brought a nice rhythm to the song. However, the genre does have its advantage – it is very trendy and suitable for the summery period that is about to end. Despite being a shorter song, the chorus stands out, and I found the hooks quite catchy. The deeper vocal tones and the “Ya Ya Ya” contrasted well, heightening the song’s dynamic flair. The whispery ending was also a nice development. The verses are where I wish the members had shone a bit more individually, especially since this comeback would have been great to showcase the reformation. But with Bloody Paradise being a blur, it would have been a feat to also pull that off.

Through the lyrics of Bloody Paradise, ENHYPEN explore the idea of a paradoxical romance, depicting two lovers running away together amid danger and tension. To show this idea in the music video, ENHYPEN are convicts who escape and go on the run together. Once the life of the party inside the prison, the members find their bearings in the world beyond the prison cell and become the life of the party underground as well, which helps depict the idea of paradise. It is a short video, but they manage to tell quite a story within this time constraint.

As for the choreography, it looks great. The chorus, without a doubt, the strongest and most memorable part of the routine. You can feel the members’ intensity during this part, and the body rolls, footwork, shirt grabs, and shoulder and hip moves are bound to get the audience riled up.

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

[Review] BiiiG – BIGBANG

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In 2026, BIGBANG celebrates a remarkable feat of 20 years together as a group. Over the years, the group has released some of the biggest hits in KPOP, including Lies, Haru Haru, Fantastic Baby, Bang Bang Bang and more. This week, the group (now made up of just G-DRAGON, TAEYANG and DAESUNG) released the single BiiiG, their first official single under the name BIGBANG since 2021’s Still Life. However, the trio did come together to release Home Sweet Home in 2024, which formed part of G-DRAGON’s 2024/25 comeback.

Unsuprisingly, BIGBANG’s BiiiG gears towards the hip-hop genre. It is of a high-energy variety and features a grandiose beat that gives the track bite. It may not be much, but that beat became quite a memorable element of BiiiG for me. Unfortuately, the rest of the track fails to spark much out of me. I felt the delivery of BiiiG was flat, even though hearing G-DRAGON, TAEYANG and DAESUNG together once again was a good dose of nostalgia. For the most part, every part felt brief with the exception of G-DRAGON’s raps and the choruses. But because the delivery felt flat, these parts didn’ necessary stand out. The chorus does head in the direction of having an addictive hook, with the opening line “B.B G, Tae, Daesung-ie” being catchy. But I don’t think it was enough to then broadly say the entire chorus was catchy. BiiiG‘s production was strong, but the rest of the song just didn’t follow through.

The music video for this comeback sees BIGBANG make a grand return (I think the three trucks at the start were carrying their coffins) to hype up the crowds for their 20th anniversary. And it is done in the usual wild style that BIGBANG always pull off when it comes to their big hit anthems. There is also an edgy flair to the music video, which works well with the hip-hop side of the song. It is interesting to see a YG Entertainment music video not shot in high definition as past YG Entertainment music videos have commonly been.

Song – 7/10
Music Video – 8/10
Overall Rating – 7.4/10

[Review] THUNDER – CIX

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Upon hearing that CIX was disbanding, I committed to writing reviews of their final title tracks that I had yet to review. Why? Well, CIX has some really good songs in their discography, and they were very much underrated on the KPOP scene. Some of my favourites that instantly come to my mind from over the years include Cinema and WAVE. Today, I am finally reviewing THUNDER, which was released as part of their THUNDER FEVER mini-album in January last year. THUNDER also served as their first release with former member BAE JINYOUNG, who departed the group in 2024.

While I don’t remember my first impression of THUNDER, my current impression is that it is a super cool track. THUNDER features a really funky, groovy electro-pop instrumentation that is right up my alley for what I seek in a dynamic release. As the song progresses, you can feel the electrifying energy build, and the producers harness it to make the song sound even more robust, catchy, and powerful. THUNDER has a really cool, sparse instrumental break at the end that adds a slight sense of anticipation to the song. What also makes THUNDER so robust are the vocals. They were pronounced and well-balanced alongside the dynamic electro-pop instrumentation, and I enjoyed the acapella moment at the very end. The chorus was very catchy, and recent replays of the song had me humming along. If anything, I wish BX’s rapping was longer and more prolific. This song could have been stronger with a more powerful, fast-paced rap sequence. If that hit hard, then THUNDER would have been elevated to perfect territory for me. But CIX was already quite close.

The song is about the intensity and passion that love can bring, likening a lover to a storm and its thunder. Throughout the video, shot in Hong Kong, we saw sparks flying, lightning strikes, and storms brewing as the members walked about. Towards the end, we see one of the members clutching their heart, revealing the edgy vibes from earlier were about love, as the song expresses. I quite liked the post-production applied to the music video. It was definitely a cool aspect of the video and element of the comeback.

The performance for this comeback was super powerful and intense. I really enjoyed watching it, with particular mention of the dance break, which was my favourite part of the whole routine. Like the song, I can’t remember my first impression of the routine. But given that I am astounded each and every time I watch the performances for THUNDER now, I reckon I have always felt this way about the performance.

Song – 9/10
Music Video – 9/10
Performance – 10/10
Overall Rating – 9.2/10

[Review] Bad Influence – SEVENTEEN

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Album review incoming! But before I post my thoughts on HAPPY BURSTDAY next week, there is another song from the album that got the music video treatment alongside the title track, THUNDER, which means it is eligible for its own song review. I have always meant to review Bad Influence, but my poor time management has gotten in the way. Better late than never, I guess.

Produced by Pharrell Williams, Bad Influence showcased SEVENTEEN in a mature, moody and edgy light. It is quite the departure from their usual sounds and tones we get from SEVENTEEN. Not just that, but there is also whole heap of expletives in the lyrics that aren’t usually what SEVENTEEN sings in other songs! Anyhow, Bad Influence brings forth an early-2000s R&B influence mixed in with the instrumental’s sparse, funky trap elements. It is a nice blend of styles, and I enjoyed that SEVENTEEN is still stepping out of their comfort zone with this different sound. However, over time, I came to realise that the song was restrained, holding itself back and lacking oomph. This unfortunately meant Bad Influence dried up its appeal. Occasionally, when it comes up through random shuffle, I would listen to it. But I am not one to seek out Bad Influence on my own.

Interestingly, the song only features 9 of the 13 members (S.COUPS, HOSHI, WONWOO, WOOZI, THE8, DK, SEUNGKWAN, VERNON, and DINO). The music video does feature the remaining 3 members (JOSHUA, JUN and MINGYU), while WONWOO and JEONGHAN aren’t seen (most likely filmed after the pair enlisted in the military). The entire music video is a very moody yet alluring display of visuals from the members. I don’t remember seeing any member singing along to the song in the video, with their stoic and charisma being employed to bring forth the mature and edginess from the song to the music video.

Song – 7.5/10
Music Video – 9/10
Overall Rating – 8.1/10

[Review] SWEAT – KISS OF LIFE

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It has only been a couple of months since their Who Is She comeback, but KISS OF LIFE is back for the summer comeback rush. Their new song, SWEAT, is the title track off their 3rd single album of the same name.

I enjoyed SWEAT, which blends Afro-house and electronic pop with KISS OF LIFE’s hallmark, creating an edgy number for the summery season. My favourite part of SWEAT is the post-chorus hook (“I like this, I like that, I like, Let them see you sweat“), particularly the panning between the two members that share those parts of the song. It is a soft chant that is well-embedded and such an earwormy moment in the song. Elsewhere, I also dig KISS OF LIFE’s captivating and alluring delivery of SWEAT. The rest of the chorus was also quite good. I really liked how the background synth in the centrepiece grew on me. At first, I felt it muddled the chorus’s potential to be catchy by being a bit too much and overpowering. But over a couple of repeats, I realised it served as a great accent piece and made the chorus more impactful. However, I still think SWEAT could have been better by having a more consistent sound. This desire for a more consistent sound comes from the slowed-down bridge. Great delivery in this part, but it disrupted the momentum SWEAT had built earlier.

KISS OF LIFE goes for a provocative music video, with the visuals surely eliciting some heat from the audience. I liked that they didn’t hold back – the producers really made sure they hit the brief by ensuring the music video is sexy. From their outfits to performing in the rain, this music video pretty much had it all. I also liked how parts of the video were colourful, other parts were monotonous in colour (i.e., the brown, sandy set) or bichromatic (i.e., the red outfits on the white background), but it was all vivid nonetheless.

Like the music video, the choreography also brings a sensual element to the comeback. The twerking and their chemistry with the camera made for a strong performance. You could also feel their confidence, which radiated throughout the performance.

Song – 8.5/10
Music Video – 8/10
Performance – 10/10
Overall Rating – 8.7/10

[Review] Don’t Wake Me Up! – WONHO

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It’s been a while since I reviewed a track from WONHO; the last was his pre-enlistment comeback circa 2022, Don’t Regret. Since his military enlistment, WONHO released his 1st studio album, SYNDROME, last year, which was led by the single If You Wanna (which I have not yet reviewed). Last month, WONHO released his 4th mini-album, CORE, and the title track Don’t Wake Me Up!.

What attracts me to Don’t Wake Me Up! is the instrumentation. The high-energy, club-infused EDM track was very cool from the get-go. And after many repeats, Don’t Wake Me Up! remains pretty exhilarating and adrenaline-pumping as the first time around. The pounding percussion and shimmering synth line were very intense all throughout. The buildup and development of the instrumentation also help prevent the track from feeling overly repetitive, which was an initial concern I had about the song. The track follows through with a chanty and catchy “Don’t Wake Me Up” repetition that becomes quite a memorable and noticeable element of the song. But apart from that, nothing else really sticks out. You can tell of WONHO’s presence in the song. The brief melodies we do get were nice, but with the short verses and the song overall, there isn’t much airtime for him in Don’t Wake Me Up! and the material we do hear from him isn’t memorable.

The video opens with protestors protesting against the oppression of sound and movement that is probably applied to the world (the ‘reality’ in this universe). They surround the van transporting WONHO at the start, who appears to be their leader or poster-person for their cause. From then on, the music video sees WONHO and the protestors/dancers rally with one another to escape reality and show their desire to stay trapped in an irresistible dream through music and dance. This is further backed by the fact that the dance/music shown in the music video is done ‘underground’ and in secret from outside forces.

I quite liked the notion of losing control to the music, which appears to be the concept the performance was going for. But with that in mind, I also liked how controlled the choreography felt at the same time. WONHO and the dancers’ chemistry on-stage was also commendable. From the music, the intensity and exhilarating nature of the song was also transferred and channelled into the routine.

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

[Review] This & That – Stray Kids

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Nine months on from the release of their second mixtape, DO IT (which features the singles Do It and DIVINE), and just days since the release of their fourth compilation album, SKZ-Replay 2026 Part. 1, Stray Kids make their grand return with This & That, the title of both their latest single and their 10th mini-album. This new mini-album also features the pre-release track RUN IT, which dropped a couple of weeks ago in preparation for the new mini-album.

At the time of writing this review, I had only a couple of listens to the new song. Thus, the following are my initial impressions. I already hear the potential for This & That to grow on me (so my impression of This & That is likely to change), which is thanks to the chorus. But it is the same sequence that also emphasises one characteristic of This & That that leaves me ‘umming and erring’ – This & That feels very neutral and flat. Despite the synth work coming together to create a neat, groovy hip-hop background, there isn’t anything substantial to remember the song by. Further, the members’ delivery throughout This & That felt very monotonous, with a strong reliance on rap-speak. Not really the most striking or prolific way to make a song stand out. The chorus manages to come through, thanks to the repetition, but it doesn’t take much for one to notice the same problem elsewhere in the song persists in the song’s centrepiece. Even the usual suspects of SEUNGMIN’s powerful vocals (in the bridge), FELIX’s deep voice, or CHANGBIN’s powerful rapping (in the second verse) don’t help make this title track memorable this time around.

On the flip side, the music video is a definite worthwhile watch. Once again, the post-production really elevates the music video and gives it an edgy vibe. And the members look really cool, as well. For once, the teasers that I remember for this comeback click upon watching the video. The horror-themed teaser video Stray Kids dropped most likely refers to the headless dancers featured throughout the video (they were slightly scary), while the truck-themed teaser images are relevant to the truck references and car sounds in the song’s lyrics. I also liked how CHANGBIN in a kitchen instantly meant the revival for the school band brass players, which is a neat callback to their God’s Menu music video.

When you hear the phrase “This & That”, you instantly think of ‘making a choice’. I liked how it was represented in the choreography via pointing and flicks. I also liked the attitude-heavy, edgy side of the members during this moment in the choreography – works extremely well with the members’ stage presence. I also enjoyed how the outro also gives the impression of varying speeds, which was a cool touch to the routine’s rather nonchalant, easy-going vibe.

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

[Review] Surfin’ Boy – Red Velvet

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It has been a while since we last heard from Red Velvet. The five-member SM group have been focusing on solo and unit work for the past 2 years since Cosmic, the title of both their last title track and mini-album. That changed earlier this week with Red Velvet returning with their 3rd special summer mini-album, Velvet Summer, and the title track, Surfin’ Boy.

In their earlier days, Red Velvet’s releases were categorised into two categories: “Red” (which refers to the bright, dynamic and poppy tracks they are known for) and “Velvet” (which, as the name suggests, are the group’s darker and sultrier releases). To me, Surfin’ Boy meets the criteria of their “Velvet” category. Whilst it is a dance track, the bossa nova guitars, reggae touch, and house groove come together to create quite a sophisticated and elegant sound. Throw in the members’ vocals and the catchy melodies, and Surfin’ Boy is quite a rich and decadent track. The bridge was indeed such a ‘chef kiss’ moment in terms of showcasing vocals; it was a definite highlight. However, Surfin’ Boy wasn’t great throughout. One issue I had with Surfin’ Boy is that it felt unnecessarily rushed. I am honestly not sure why there was little room within the song to take it in and process it. The second was the rap-speak that was going on. It just didn’t meld well with the rest of the melodies and flow of the song, which were strong aspects of Surfin’ Boy.

I have seen the social media posts of people theorising the video is about mermaids (played by Red Velvet) eliminating the men in the video. But now that has been mentioned, going from all men around them to just females at the end probably confirms that. Backing up this theory as well is the fact that one of the men’s webbed hands was seen later in a specimen jar, and YERI both pushed a guy to his death and aimed for another guy’s head with her crossbow. Quite an interesting concept, and I loved the dreamy execution of it all.

Those sophisticated and elegant vibes from the song come through the performance quite well. But it was the outro bit of the choreography that I really liked. It felt like the performance was building towards this peak, and the members looked like they had a lot of fun with it.

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

[Review] Shut The Door – Young K (DAY6)

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DAY6 appears to be focusing on solo work this year, with WONPIL making this solo comeback earlier this year (which I have yet to review) and, as of this week, Young K. The bassist of DAY6 has returned with Shut The Door, the lead single from his second studio album YOUNGEST. It is Young K’s first solo release since nothing but from his Letter with Notes studio album from 2023.

Shut The Door is a rather pleasant rock track that comes at the best time. Where I am, the weather is cold, and I have been tired from work (thus the lack of reviews). But Shut The Door joins the list of summer tracks that feel fresh and invigorating, breathing new energy into me. I enjoyed the emphasis on the song’s title in the chorus, which just gives the centrepiece some real oomph. Young K’s vocals are vibrant throughout the track, and I liked the synth/band instrumental’s drive. If anything, the instrumental could have been sharper. This could have made Shut The Door more impactful and ‘hit harder’. What also appeals to me is the song’s message, which also comes at the best time. Shut The Door expresses the message that everything will be okay, even if you need to take some time for yourself. And after the week I had, with my current state of mind, it is reassuring to hear Shut The Door. Don’t worry, I am totally okay; it’s just been one of those weeks where everything has felt uneasy.

The music video sees Young K play an actor on a sitcom, who just isn’t having the best day. He knocks everything over and causes delays in filming. It also doesn’t help that people are scolding him, asking him questions, and someone else is doing his job better. Frustrated, he runs off-set and isolates himself from the film crew. By doing so, he opens himself to a different world and gives himself a break from the constantly moving and packed world around him. Instead, he is able to enjoy some peace and quiet, as depicted by the ‘room on the road’ and field scenes. By taking this time for himself, he is able to return better and stronger, blasting (literally) back into the studio. The music video literally is a visual message reminding us to take some leave to avoid burnout and return invigorated, which is something I should be doing. (Again, don’t worry, I got some leave planned for myself!).

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

[Review] Back To Life – KARD

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Not many groups get a chance to say goodbye to their fans before disbanding. Usually, the news is dropped quite suddenly and unexpectedly, with no opportunity for a final single or release. However, for some, they are given the rare opportunity for one final hurrah. This is where KARD find themselves. It has been announced that the quartet would be disbanding following the release of their studio album, Where to Now? (Part 2): Nowhere (which dropped today alongside the single Back To Life) and the completion of their ongoing world tour. Their last comeback was Touch, released last year.

If only Back To Life had been released a couple of weeks back during the World Cup. It would have been an ideal fit, with the new single sounding like an official anthem for the global event, especially the chorus. However, as we are past that, the dancehall and Moombahton track still fits in with the summery season in South Korea through its energy and upbeatness, whilst also developing a fun, celebratory flair given the circumstances of the comeback. What I liked is how all of this takes us right back to KARD’s roots in the tropical house that they debuted with. Back To Life feels like we have gone full circle. The chorus is catchy, with a nice melody and anthemic vibe (as already touched upon). A part of me wishes things were a tad sharper, particularly during that post-chorus, to just give the centrepiece more impact. The same also applies to the members’ delivery in both the vocals and rapping departments. The other drawback to Back To Life is that is, and felt awfully short. I wish there was more to the track, though this could be me wanting more from KARD before their final goodbye.

The music video carries both a celebratory and a reflective feel. It makes sense given what this comeback represents for the group. I did notice some elements from past music videos are incorporated into this comeback. Some are quite obvious, such as the ICKY footage that appears during J.Seph’s part in the second verse. Others took a little more time to come to mind (and a quick scroll of past music videos), including the old phones that all members spoke into appeared in their Oh Na Na music video, the yellow sports car from their Hola Hola music video, the spades that JIWOO stands on at the start is a callback to their card concept, and the key that SOMIN chucks onto the ground might be a subtle hint to the motel rooms from their You In Me video. Not sure if the other music videos are referenced in Back To Life‘s, but there could be elements that I have missed.

The choreography looks good. Nothing really stands out to me. But I enjoyed the fun energy that came from it, how the routine maintains the energy throughout the song (from what I could see from the music video). I am also sure the members had a blast performing it.

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

[Review] Vitamin ME – fromis_9

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fromis_9 made their comeback earlier this week with their second studio album, Glow Me, and the title track Vitamin ME. It’s their first comeback since their remake of Kim Min Jong’s White Memories, released in December, and their LIKE YOU BETTER summer comeback, both of which occurred last year.

Vitamin ME is a much more pleasant and soothing summer track compared to LIKE YOU BETTER. There is more of a sing-song, melodic touch to the new track, which makes Vitamin ME enjoyable. However, I much prefer the former song over the new one. For one, the bossa-nova instrumentation was pretty ordinary and didn’t spark much excitement throughout the whole song. The verses are cute, but they also feel empty for the most part and lack any memorable element. On the plus side, Vitamin ME‘s chorus is where the song has most of its meat, with strong melodies and hooks to remember the song by. And the vocals were strongest during the bridge. Overall, Vitamin ME is nice, but as mentioned above, I preferred LIKE YOU BETTER as a summer hit.

The music video can be split into two distinct yet overlapping concepts. The first sees the members going on vacation or serving as flight attendants (HAYOUNG was quite cute blowing up that life jacket), while the second half sees the group basking in the sun. The entire video also doubles as a massive product placement for the song (Vitamin ME). It sounds like a bit much, but it worked. The only ‘bad aspect’ of the music video was the poor incorporation of water during the final chorus part of the music video.

The choreography was cute. The same can be said about the members. As a result, the performances were also quite pleasant.

Song – 7.5/10
Music Video – 8/10
Performance – 7.5/10
Overall Rating – 7.7/10

[Review] I LIKE IT – BABYMONSTER

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BABYMONSTER joins the lineup of summer comebacks with a music video and promotions for the side track I LIKE IT from their 3rd mini-album, CHOOM. This release follows on from the May release of the said mini-album and title track of the same name, and the June digital single Sugar Honey Ice Tea (which I will be reviewing soon).

I have come to the realisation that I like YG artists best when they release pop-leaning music, as opposed to their usual hip-hop sound. I LIKE IT offers this pop sound through vibrant, bright synths. The upbeatness of I LIKE IT makes me want to dance and sing along to the catchy parts of the song, while there appears to be a bit of a twang mixed into the first verse, which adds a fun element to the song. What I also liked about I LIKE IT is the refreshing focus on vocals. For me, AHYEON really shines throughout I LIKE IT (her high note was impressive), though the rest of BABYMONSTER hold their ground quite well. The chorus brings a brightness to the song, while the post-chorus hooks were the aforementioned hooky bits of the song that I really enjoyed. That and the repetition of the song’s outro are stuck in my mind. The only aspect of I LIKE IT that holds it back for me is the background to the rapping in the second verse. It draws inspiration from reggae, which is suitable for summer, but I find it unnecessarily slows the flow of the upbeat energy that is coming from the track overall.

With this being a “summer comeback” for the group, their music video sees the members hanging about outside and having fun. All of the video is vibrant, colourful in the daytime and cool, breezy during the nighttime. Pretty much what you would expect to complement an upbeat summer track. The members look great throughout the video, and I feel like there is a slight badass vibe (i.e., ice cream set on fire) still making it into the video to keep to their usual image. The most interesting bit of the entire video is the ending, where the final music video for MOON (another side track from their CHOOM mini-album) is announced for an early August release. It is just an oddly plain announcement tacked onto the end, which I don’t think was needed and could have been done elsewhere through other media.

The choreography for this comeback was fun, bubbly and refreshing. No move really stood out to me, but I enjoyed how much the members enjoyed performing the song on stage. It is great seeing this side from them, and that is something that has me coming back to I LIKE THAT‘s stage performances.

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

[Review] 2 L0VE – STAYC

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STAYC made their comeback a couple of weeks back with 2 L0VE, the title track off their 6th single album 2:LOVE. It follows on from their early 2026 Japanese Mwuah single (from their Japanese Stay Alive studio album) and their 2025 I WANT IT Korean comeback (which I have yet to review).

STAYC knows how to put their best foot forward with another fun, vibrant pop track that fits neatly into their discography and the summer season. I really enjoyed the synth work in 2 L0VE, especially that striking, spiralling synth that appears at the beginning, after the first chorus, and at the end. The rest of the track is equally as lively thanks to the synths. STAYC’s delivery of 2 L0VE is also quite dynamic. I really liked SIEUN and SEEUN’s parts in the verses, particularly the twang they have in their lines. As for the chorus, the “2 LOVE 2 LOVE” opening is super catchy and hooky. I find them so brisk, while the rest of the vocals in the chorus just flow on through quite nicely. With the chorus the way it is and that opening synth, 2 L0VE is such a serotonin hit.

The lyrics and STAYC’s music video for 2 L0VE come together to depict the members’ persistence in their pursuit of love, whilst everything indicates otherwise for them. The members are left on read or ignored, their crush’s locker is full of love notes from others, and as part of their tennis concept, they are not scoring any points. By the end of the video, the members learn not to sit around for their crush to respond, only to receive a message from their crush right then, which is promptly ignored. Apart from that storyline, I really liked the vibrant and colourful side of the video, which is always fitting for the group.

I enjoyed how fun and cute the performance was. The slingshot moves alongside that “2 LOVE, 2 LOVE” line in the chorus were very cool and is a neat depiction of either their attempt at a cupid shot or to get their fans’ attention.

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

[Review] Ride or Die – EVAN

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Earlier this year, BELIFT Lab unexpectedly announced HEESEUNG’s departure from ENHYPEN and that he would stay on as a solo artist under the company. The official reasoning provided was ‘creative differences’, though let’s hope whatever happened was amicable for the sake of ENHYPEN and HEESEUNG. Anyhow, four months on, HEESEUNG has gone on to redebut as a solo artist under the new stage name EVAN with the single Ride or Die.

Ride or Die is a decent debut track. The single delves into an alternative rock sound, with hyperpop elements to fit into today’s music trends. What comes out in the end is an edgy, almost punkish track that has grit and intensity. Not bad on the background front. The chorus has a catchy melody that helps Ride or Die stand out to me. The opening line to the chorus is what has been playing in my mind lately, and I find myself coming back to Ride or Die from time to time. On the other hand, Ride or Die is short in length, and this hinders EVAN from really exploring the alternative rock sound to his full potential. Also, the autotune over his vocals was far too heavy. I get that it works well with the hyperpop elements and gives off a rough exterior to match the rock sound. But it masks his true vocals, which we have heard time and time again through his past ENHYPEN works. For this reason, I do prefer the live performances of Ride or Die, as we get to hear more of his vocals and less autotune.

The song expresses the idea of loyalty, commitment and perseverance in a relationship, no matter what. But the video doesn’t feature another person as the other side of the relationship. Instead, the music video sees EVAN exist as a ghost after being in a car accident. As the music video progresses, a worn-down car (I assume it was the luxury car we see earlier in the video) follows EVAN around. At first, EVAN tries to avoid the car, but the car persists (this represents the idea of loyalty and commitment depicted in the lyrics), and EVAN ends up reuniting with the car (cue the late-night drives). I find this idea of a relationship between a person and an inanimate object a little funny, though it isn’t unheard of. It is also a neat way of avoiding showing EVAN in a relationship, even if it is just acting.

Aside from the live performances giving us more of EVAN’s vocals over autotune, the choreography showcases some really strong energy from EVAN and the dancers themselves to reflect the intensity of Ride or Die. EVAN has showcased some good chemistry with the camera, which is a necessity after the shift from group to solo stages.

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

[Review] Ice Cream – YEONJUN (TXT)

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Six months on from his solo comeback with No Labels: Part 1 (yet to be reviewed) and the single Talk To You, YEONJUN has made another return in the midst of summer with No Labels: Part 2 and the single Ice Cream. His solo comeback also follows TXT’s comeback from earlier this year, 7th Year: A Moment of Stillness in the Thorns, and the single Stick With You (which was picked as one of my favourite tracks from the 1st half of 2026).

Based on GGUM and Talk To You, I became excited upon hearing the announcement that YEONJUN would be making a summer comeback. The season of energetic and dynamic releases would be a prime opportunity for YEONJUN to flourish as a solo artist. But upon hearing Ice Cream, I don’t think that opportunity was fully realised. There were some likeable aspects of Ice Cream. The groovy bass in the background and the vintage drums were strong elements of the new song. I also really liked YEONJUN’s raspy vocals in the chorus and the grittiness that it gave the track. I also think the Ice Cream hook in the chorus was good (it reminds me of Robin Thicke’s Blurred Lines), but it could have been more substantial. I also feel like the rest of Ice Cream could have included more substance. The rest of the song is sparse, and the song was too short, thus a blur and having not much else to remember it by.

Ice Cream likens the push-and-pull of a relationship to the icy treat, where things can get ‘romantic’ when together but kept ‘cool’ when apart. The music video sees YEONJUN and the female character flirt with one another, with the world around them disappearing, freezing or slowing down when the pair bump into one another or interact with one another. The frozen ice cream at the start depicts how their relationship has not yet started, but the melted ice cream at the end of the video shows that the pair’s relationship in the video had created some heat. I quite liked this music video and concept, overall.

YEONJUN’s stage presence and flirtiness are showcased throughout the performance. These work well as part of the comeback, as seen in the music video. The choreography is definitely a very cool performance to watch. I liked his and the dancers’ energy, particularly the fluidity of the legwork in the post-chorus sequence on the stage.

Song – 6.5/10
Music Video – 8/10
Performance – 9/10
Overall Rating – 7.5/10

[Review] So Good – KIHYUN (MONSTA X)

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KIHYUN is back with his first solo release in four years! The main vocalist from MONSTA X made his solo debut with VOYAGER in January 2022 and returned promptly the same year with Youth. After that, he enlisted in the military and was discharged in February 2025 before returning to music through MONSTA X’s N the Front comeback last year. Earlier this week, he returned with his second solo mini-album, Borderline, and the title track So Good.

With VOYAGER and Youth being some top-notch solo work, and knowing what KIHYUN is capable of with his vocals through MONSTA X’s releases, I had some high expectations for So Good. And as expected, KIHYUN delivers with the new song. So Good is a rock ballad. The instrumental opts for soft rock elements during the verses, and it knocks it out of the park by amping the background during the choruses. I found the way KIHYUN’s vocals soared during the choruses (relative to the verses) and at the bridge to be stunning and captivating. Elsewhere in the song, it was so easy to get lost in his voice. Something that So Good does well is its length. It’s short, sharp and sweet. Yet, its execution has me coming back for more.

According to Soompi, So Good is about trusting your instinct in a world that pressures you into expectations and norms, and that by trusting one’s instinct, life becomes liberating. In the music video, we see KIHYUN surviving in a dystopian world that used to be Earth. The video begins with KIHYUN lying in front of a crashed spaceship (as if he had been flung out of it). The expectation is that he would just give up, but after feeling his emotions, he moves on until he reaches a mountain of clothes. While I am not sure what the clothes mean, he dreams that there are better things at the top or on the other side of the mountain. However, the cartoon, which represents those societal expectations and norms, tries to stop him from climbing the mountain. But he pushes on and makes it to the top, where he thinks he finds water. But in reality, the mountain rumbles and pushes him away. In that moment, the video shows how liberating it is to trust your instinct, just like what the song’s lyrics suggest. I am not exactly sure if my interpretation is correct, particularly the ending. But this is my theory at the moment. Let me know if you have other ideas.

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