Category: Reviews

[Review] La La Love Me – VIVIZ

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Look, if I am being honest, I missed the news that VIVIZ would be making a comeback. It wasn’t until I saw La La Love Me on Spotify two weeks ago that I realised that VIVIZ had made a comeback with the album, A Montage of (). It is their first studio-length album since their re-debut in 2022. This new release follows their fifth mini-album, Voyage (yet to be reviewed), and the lead single Shhh!.

La La Love Me is a dance-pop song with a killer chorus. It starts off with and features some decent verses with nice vocals across the board from VIVIZ. It would have been nice to hear stronger melodies from the get-go, as the verses do pale in comparison to La La Love Me‘s killer chorus. The buildup through the verses, with added beats, creates momentum, but is interrupted by a soft pre-chorus that feels out of place there (though it works better as a bridge). La La Love Me rebounds thanks to that killer chorus I mentioned earlier. After all, it is where La La Love Me shines the most. The funky, heavy club beats inject energy and make a powerful impact, especially on first listen. VIVIZ’s vocals sound impressively commanding here, contrasting with their usual softer tone. Catchy hooks and dynamic melodies layered over the production elevate the chorus into the song’s clear highlight. Even though the “You got to la la… La La Love Me” line appears earlier in the pre-chorus, its return in the chorus feels much more impactful. Overall, the track thrives on its explosive, energetic chorus.

La La Love Me is about the excitement and intensity of falling in love. The music video depicts this through the soft images of the members in dresses accompanied by butterflies (representation of innocence before falling in love), and then the stronger and bolder image of the group with fire and spiders (a representation of the intensity of falling in love). The butterfly imagery we see in the bridge is a reminder that the members are precisely the same person, just at different stages of their relationship.

Like the song, the choreography is definitely strongest during the choruses. I particularly liked the boldness and intensity of the final chorus. It really encapsulated the exact point of the song (i.e., La La Love Me‘s peak) really well. It also helped that the crowd was also feeling it during that moment. The routine in the other choruses also shared a similar style, but it just didn’t have the ‘last hurrah’ type of feel that the routine during the final chorus had.

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

[Review] Stylish – THE BOYZ

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Following VVV from earlier this year, THE BOYZ is back with their new single Stylish and their 10th mini-album [a;effect]. It is also their first official comeback without JU HAKYEON, who was removed from the group following controversy last month.

Unfortunately, even after a few listens, I still find Stylish to give off the same first impression I got when I checked out the song yesterday – ‘overwhelmingly disappointed’. The new single attempts to create a trendy, sultry atmosphere through a moody hip-hop trap-based dance track. ‘Attempt’ being the keyword here. The majority of Stylish is delivered in a rap-speak manner that dulls the song and strips THE BOYZ of the personality they have built through their other releases; the instrumental is also unexciting by today’s standards. It also doesn’t help that the lyrics are very abstract, with the chorus building on the line “Even gibberish is Stylish” by following up with the song’s hook “Guap Guap … Shot, Shot … Bubble Gum Bubble Gum Pop“. Also, Stylish remained very neutral and consistent for over 1:30 minutes, sounding all very similar for this length of time, even during the approach to and the actual chorus during this time. Given that the song was dull and unexciting from the get-go, this isn’t great for Stylish. There was a minimal shift in energy at the start of the song’s last minute, but it is short-lived and definitely not enough to recapture my attention or develop Stylish in any way. I’m not sure why we have gone down this path for THE BOYZ, but I am not a fan of it.

The music video does a much better job of showcasing the song’s stylish side, which it doesn’t capture that well in the actual song. We are shown three sides of the group: a hip-hop industrial side, a more casual and urban side, and a charismatic model-like side. I prefer the last of the three styles, as that is what I think of when it comes to the word ‘stylish’. Other than that, the music video keeps to a minimalist concept, which helps emphasise each of these looks during close-ups and choreography scenes.

Based on what I can see in the music video, the choreography captures more of that hip-hop style than anything else from the song. I liked the confidence and attitude that is exuded from the routine. I also get a sleek vibe from the routine. Not sure if any move sticks out yet, as we haven’t seen a performance for Stylish just yet. If anything jumps out at me, I will come back and update my review.

Song – 5/10
Music Video – 7/10
Performance – 8/10
Overall Rating – 6.2/10

[Review] SLAM DUNK – ZEROBASEONE

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It was confirmed recently that ZEROBASEONE would be making their comeback in September with their first studio-length album, titled NEVER SAY NEVER. However, while we have a bit more waiting to do until the album’s release, ZEROBASEONE has released the single SLAM DUNK as a teaser for their upcoming album. Their last release was the mini-album BLUE PARADISE, led by the singles BLUE and Doctor! Doctor!.

While the term ‘slam dunk’ can be used to describe something with guaranteed success, SLAM DUNK (the song) doesn’t hit that mark. It feels rather ordinary and plain by today’s standards. The track itself is a blend of EDM and hip-hop, featuring a shouty and chanty chorus. Unfortunately, this isn’t anything new in the world of KPOP, especially for male groups. Although I will admit that SLAM DUNK does showcase GUNWOOK’s rapping and reveals a new side of ZEROBASEONE that we have not heard before (thanks to the hip-hop influence). I appreciate how fitting the basketball sounds are for a song titled SLAM DUNK, but I thought their usage could have been less clumsy. I like how the bouncing basketball featured at the end of the chorus brought sharpness to the chorus, while the game sirens set the scene. However, the other use of the bouncing basketball and constant squeaky shoes embedded in the song felt overused, taking the novelty away from SLAM DUNK.

The music video for SLAM DUNK sees ZEROBASEONE struggle at first in a major basketball game, missing their shots and failing to score points on the court. One of the members also sustained an injury. But this doesn’t stop them from cheering themselves on and rising later in the game to emerge as victors of the championships. The rest of the music video is choreography shots. While I liked their choreography shots on the basketball court (after all, it makes the most sense), I am troubled by the massive basketball on the screen that just disappears as it gets closer to the members. I know it is just an image on the screen, but I think the producers could have done better.

SLAM DUNK‘s choreography naturally includes some basketball moves, including dribbling between the legs and shooting gestures during the chorus. It made sense, as leaving out basketball in the choreography would have felt off. I also liked how they incorporated some hip-hop influence into the routine. That said, I think they missed a chance to include cooler footwork, which could’ve replicated the sound of sneakers on a court.

Song – 6.5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 7.3/10

[Review] Back Again – CHANYEOL (EXO)

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Look, when I said ‘in a couple of days’ regarding CHANYEOL’s Back Again in the review for Black Out, I clearly meant ‘in a couple of weeks’. Time is clearly not my friend. However, as promised, here is my review of Back Again, the single selected from CHANYEOL’s debut mini-album, to follow the promotions of Black Out.

Back Again sees CHANYEOL return to a more powerful sound (relative to Black Out). The verses feature CHANYEOL rapping candidly, accompanied by a folksy, percussive instrumental in the background, which lends a unique and distinct quality. For the choruses, CHANYEOL ventures into ’90s punk rock territory. This brings flair, personality and intensity that takes full advantage of CHANYEOL’s husky tone in an impactful manner. I quite liked the resultant head-banging energy that the choruses provide, which helps it stand out. Bridging the second and final choruses was some cool guitar shredding that just heightens the energy and allows CHANYEOL to close Back Again on a bolstered note. But it is how CHANYEOL brings together the rapping verses and punk-rock chorus that I am fascinated by. Simple soft vocals, then an escalation into slight shouty territory and a choir backing – an interesting yet effective combo.

We see CHANYEOL getting chased and beaten up in the music video. After his initial fight, CHANYEOL starts to box, so that he can confront those who beat him up. This storyline aligns with the lyrics, which convey the message of getting back up again and returning stronger, regardless of the setback or failure. And we see that, as he gets quite serious about boxing, going to the point of staying at the gym for long periods of time. In the end, his second encounter with those who chased/beat him up at the start of the video became electrifying (literally sparks flying around them). It showed him knocking down one of the assailants. Perhaps the sparks reveal his newfound strength and energy, which would enable CHANYEOL to convey the message of persistence and self-empowerment successfully.

Song – 8.5/10
Music Video – 9/10
Overall Rating – 8.7/10 (Rating updated in post on 23 September 2025 due to calculation error.)

[Review] Outside – ENHYPEN

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Coming from ENHYPEN’s Desire: Unleash mini-album last month is the follow-up promotional single Outside. It follows the promotions of their latest title track, Bad Desire (With or Without You).

If I had my way, Outside would not have been my choice for follow-up promotions. It is my personal pick for the least liked track on ENHYPEN’s latest mini-album. Outside is a hip-hop-inspired track featuring a trap-based instrumental. I do like one of the synths in the background that reminds me of a Billie Eilish song, so Outside had that going for them. And I suppose the song had some potential due to its intensity. It just never really got anywhere with it. Unfortunately, the rest of Outside just doesn’t do it for me. The shouty rapping and deep, husky delivery of the chorus flash by without much thought, while the vocals are plain and lacking anything memorable. There also wasn’t much of a hook to the song, thanks to the vocal processing.

The music video for Outside sees the members battling against shadow versions of themselves. The lyrics talk about the changing desire (a constant theme of the mini-album) that they are experiencing within themselves. As the desire takes hold of them (switching to their shadow versions), they ensure it happens to all of them (which is why we have the sniper SUNOO taking out JUNGWON). Conceptually, this is quite a cool video. I just wish the song accompanying it was just as cool.

Outside‘s performance shows an intense version of themselves that I don’t think we have seen before. It is an interesting dynamic, and I quite like what they do on stage with it. A compelling performance, overall.

Song – 5/10
Music Video – 8/10
Performance – 8/10
Overall Rating – 6.5/10

[Review] Beautiful Strangers – TXT

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TXT returned yesterday with their 4th studio album, The Star Chapter: TOGETHER, and the lead single Beautiful Strangers. It follows their Love Language single from earlier this year, which is not included on this new album. TXT is also due to start their 4th world tour, Act: Tomorrow, from next month.

Beautiful Strangers see the group return with an emotionally charged single. I really liked the contrast between TXT’s sometimes soft, sometimes powerful vocals in Beautiful Strangers and the bold synth drops, which make for a fantastic centrepiece in the song’s background. In between all of this, we get a blend of trap and rock, which the group has attempted previously in Deja Vu. While not novel in TXT’s discography, I honestly didn’t mind this and thought it made the instrumental ‘leap’ at the correct times to gear the song towards those bold synth drops. However, despite all attempts to make Beautiful Strangers a powerful and impactful track, there was an overwhelming lack of development in the song that holds back its full potential. The contrast mentioned earlier gives Beautiful Strangers ebbs and flows, but it doesn’t really go anywhere, and this gets frustrating the more I listen to the song. I blame the lack of a climax in Beautiful Strangers, which is primarily due to its incredibly short runtime of 2:18 minutes. There simply isn’t enough time for the song to really develop.

The music video for Beautiful Strangers showcases the members’ bond as a group, conveying the message that they are more powerful together. How fitting, given that it has been confirmed the group is currently up for contract negotiations. The music video depicts the members struggling without one another, particularly during the aftermath of an accident that leaves one of the members no longer by their side. I think the member in question is SOOBIN, given that he wasn’t part of the montage of solo scenes at the start of the pause in music in the video. TXT’s acting was really good throughout the video, and I liked the moodier atmosphere that matched the music.

Those synth drops mentioned earlier lend well to the performance, which is dramatic and powerful to watch. As such, this performance is definitely one to watch, especially with TXT giving their all to reflect that same emotionally charged energy from the song in this routine. The routine itself was apparently choreographed by YEONJUN. Well done to YEONJUN for such a fantastic routine.

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

[Double Review] FAMOUS + WICKED – ALLDAY PROJECT

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I haven’t reviewed many rookies this year, but I hope to cover some of the rookies of the year as I post more reviews. One of the biggest rookies thus far this year is ALLDAY PROJECT, a five-member co-ed group (consisting of Annie, Tarzzan, Bailey, Woochan, and Youngseo) under The Black Label (the home for MEOVV, JEON SOMI, TAEYANG and ROSÉ). They made their debut last month with the single album FAMOUS, which features two songs – one that shares the same name as the album and another titled WICKED.

FAMOUS

I must admit I didn’t care for the track when it was first released. This is a track that I don’t tend to gravitate towards because of its heavy hip-hop influence. However, after sneaking onto my queue and recommendations, I can see why FAMOUS had such a strong appeal. The Latin-influenced guitar work that started off the song felt very classy. The rhythmic percussion that follows gave FAMOUS drive. It was also minimalistic in nature, which allowed the focus to be on the engaging vocals and rapping that ALLDAY PROJECT gives. The shouty ‘We ain’t even famous‘ and the melodies during YOUNGSEO’s vocal moments were super memorable, while Annie and Bailey’s choruses have grown immensely on me. At the end, we are presented with a trap-based instrumental piece that, although brief, embodies a cool persona.

FAMOUS‘s music video stands out for its superb editing. I really liked how the different scenes connected with one another. The heel turning into city streets was a definite example of this.

The performance is just what you expected, with ALLDAY PROJECT embodying the hip-hop that the song features prominently. It was a super engaging performance and a very cool one at that. The highlight has to be the intense routine by Bailey and Tarzzan’s jump at the end of the performance.

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

WICKED

Similar to FAMOUS, I didn’t really engage with WICKED as much when it was first released. But like FAMOUS, it made it onto my queues and recommendations. But it didn’t really fare the same. The catchiest element of WICKED is the ‘Wicked‘ repetition at the end of some of the choruses. The rest of the chorus was spoken words. However, while repetitive, it didn’t have the same catchiness. The Brazilian funk production was unique, but it ultimately fell short in terms of memorability. I did get a very ‘cool’ vibe from the intense rapping, which holds some potential. However, in terms of the single album, FAMOUS was by far the superior track.

We don’t have a formal music video for WICKED. However, we did manage to get two ‘performance videos’. The first is the ‘MOVIE SET’ version (embedded below) that felt like a music video. While the editing was not as creative as FAMOUS‘s music video, I really liked they did YOUNGSEO’s bridge segment of the video turned out, with different things happening in the same background each time the beat hits. The movie set elements also give off a very cool vibe. The second version is the ‘BASEMENT’ version, which felt like the actual performance video, with the members performing WICKED in the basement. Nothing else happens, and there isn’t any change between shots. This version does bring out their synchronisation and sharpness, which makes the performance feel more chic and impressive.

Song – 6.5/10
Music Video/Performance (based on Version A – MOVIE SET) – 8/10
Overall Rating – 7.1/10

[Review] SING ALONG! – Doh Kyung Soo (D.O – EXO)

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Doh Kyung Soo made his comeback last week with his first-ever studio album, Bliss, and the title track SING ALONG!. It is his first release since last year’s BLOSSOM mini-album and singles Popcorn and Mars.

SING ALONG! gives us a different side to Doh Kyung Soo through a fun, summery pop song. I like it because of that. The upbeat instrumental is relatively simple, with tropical elements throughout the backing and featuring Afrobeat percussion during the bridge. It isn’t the most groundbreaking instrumental piece out there, but I think it does the job appealingly. Doh Kyung Soo’s vocals bring a familiar warmth and tone to the SING ALONG!, which helps enhance its appeal. The biggest problem I found with SING ALONG! is that it feels too consistent throughout, which holds the song back from reaching its full potential. Whilst already on the shorter side of song lengths (though 2:40 could very well be the average these days), I’ve found it to be one of those songs where, after just a couple of listens, it feels like you’ve heard it so many times already. However, in its first instance, I did appreciate the novelty of SING ALONG! in Doh Kyung Soo’s discography.

The music video for SING ALONG! brings a smile to my face. The main reason was Doh Kyung Soo’s bubbly and charming nature. Then, there were also the awkward moments that make the music video memorable, such as seeing him sprint down the soccer field while a game was being played, or when he was introverted at the club. Now, the entire song was about seizing the moment and making the most of the present. Doh Kyung Soo running down the soccer field was his response to a disappointing game, while the introverted club scene was the lead-in to Doh Kyung Soo enjoying the club a little while later. We also see a little homage to The Truman Show with the set of stairs along the skywall, which serves as a flashback to when Truman ‘seizes the moment’ and leaves the dome that he had called home for his entire life.

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

[Review] JUMP – BLACKPINK

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The last time we heard from BLACPINK was in 2022, when they released their second studio album, BORN PINK, along with the title tracks Pink Venom and Shut Down. Since then, BLACKPINK have focused more on their successful solo careers. However, as of the start of this month, they have regrouped for their Deadline world tour, which featured the debut of their new track JUMP. An album is also on the cards, as confirmed by LISA earlier this year.

BLACKPINK’s past songs have shared a distinct structure, resulting in a similar discography. This consistency had made their releases somewhat dry and unexciting, to the point where I don’t think I was ever really drawn back to their music while they were on hiatus (except for Lovesick Girls – this one will always be my favourite BLACKPINK track). While JUMP does draw on that structure somewhat, there is a refreshingness to JUMP that makes it stand out. The beat and distinctive European techno EDM give JUMP a neat, constrained bounce that keeps it buoyant and fun. The slight country influence in the verses gives off a wild-west Western feel that adds a layer of fun. All of these influences add colour and vibrancy that we have not heard from the group in a very long time. The vocals and rapping were fine, and I did like the material the members delivered during the verses. As for the choruses, the breathy singular ‘Jump‘ in Korean was nice and gives impact. But the chanty parts could have been stronger. I also liked the final part of JUMP, with the addition of sharper yet rounded beats to accompany JUMP‘s chorus to bring the new single to an effective close in a no-fuss and straightforward way.

While I can support the music, the accompanying music video is a letdown. I understand that the producers were trying to do something different, and I did like parts of the concept of a crowd head-banging wildly during the chorus. However, the use of green screens and similar effects in the video really cheapened the music video. It really unravels the reputation that YG Entertainment has built for their music videos, particularly BLACKPINK’s videos. The montages of the members running during the second verse, and when they float into the sky in their puffy jackets, are so terrible that they have become memorable at the same time.

The choreography for the comeback is actually quite good. Unsurprisingly, small bounces and jumps make their way into the routine for the chorus, and it genuinely looks like a lot of fun. I also liked how the formations and routine take time to spotlight each member individually.

Song – 8.5/10
Music Video – 6.5/10
Performance – 8/10
Overall Rating – 7.8/10

[Review] CHILLER – NCT DREAM

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A week ago, NCT DREAM unveiled their first title track, BTTF, from their 5th studio album, Go Back To The Future. Earlier this week, they officially dropped said album and their second title track CHILLER. As mentioned previously, this new album marks NCT DREAM’s first release in 8 months, following their 4th studio album, Dreamscape (which I have yet to review).

While BTTF was bolstered and bombastic (which I liked), CHILLER is a much… well, chiller track. I suppose this is the intention of a song titled CHILLER. Despite the trap-based instrumental, this ‘chiller’ vibe of the first verse lends the instrumental a smooth glide, giving it a more pleasant sound. Still, I miss the punchier, harder beats that NCT DREAM usually brings in their past title tracks. The chorus of CHILLER does give me a bit of that intensity I was hoping for, with a more prevalent pounding beat and some piercing shouts that give CHILLER some much-needed grit and edge. I wish more of this showed up in the track. The second verse does give small punches, but nothing attention-grabbing. I also felt like there was a flow problem in the song, with certain parts feeling like they were stuck together without any glue in between. I liked the vocals in the song, particularly when harmonies were present. The rapping side of CHILLER was more hit-or-miss for me. Overall, CHILLER just didn’t satisfy me as well as BTTF did.

The music video for CHILLER continues the time-travel concept inspired by the Back To The Future franchise. The hoverboard makes another reappearance in this music video, reconnecting NCT DREAM with their past and future (whilst also having fun and enjoying the moment). I liked the small, cute robot that is seen throughout the video, filming the members and that the members used to take pictures with. I also liked the part where the members turn into video game characters. That was rather cool.

Once again, despite not performing on the usual music shows yet, the group has already performed CHILLER at the launch of their 2025 world tour. I quite liked the performance more than BTTF‘s, as there is boldness to the chorus that helps make the stage memorable. I also like how the members put extra oomph into this part. I also liked the cascading part led by JISUNG in the second verse. It is the smoother parts of the routine that didn’t feel as well incorporated as they could have been.

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

Ending syllable at end of each chorus line was pierecing

[Album Review] CRAZY (4th Mini Album) – LE SSERAFIM

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LE SSERAFIM’s 4th mini-album CRAZY, which shares the same name as its title track, is the focus of this album review post. It was released at the end of August of last year, and CRAZY became a massive hit in my books since then. The rest of the mini-album was extremely strong (based on my standards), so it is a highly recommended listen from me. Plus, a particular side track was nominated as part of the 2024 KPORPEVIEWED Awards. You can find out which track, and my thoughts on the rest of the songs that make up CRAZY (the mini-album), down below.

CRAZY follows on from LE SSERAFIM’s 3rd mini-album, EASY, from earlier in the year.

CRAZY Album Cover

1. Chasing Lightning – The album starts off with the usual narration from LE SSERAFIM. This one occurs over a techno backing piece that readies us for what is to come on this mini-album. There are some brief vocals, as well. The narration tells 2 narratives. The first half of the track features some dialogue with disapproval responses. It concludes with the pessimistic message that ‘they cannot change the weather.’ But then LE SSERAFIM flips the script, accepting that they cannot change the weather, but they can ‘chase the lightning’. From here on out, the same dialogue recurs with responses that look towards the positive side of the situation. (9/10)

2. CRAZY (Title Track) – Since its release, CRAZY has grown on me excessively. So, I am bumping the original song rating from an 8 to a 9. Click here for CRAZY’s full review. (9/10)

3. Pierrot – Pierrot brings hip-hop to the mini-album. While I am not a hip-hop person, it doesn’t take me much to realise that Pierrot is a strong track. I like how LE SSERAFIM maintains this vibe throughout, keeping the track simple and straightforward for the most part. It does steer into interesting and unique territory when Pierrot leans into opera. Very random, but honestly very cool. Pierrot also samples Kim Wan Sun’s Pierrot Laughs At Us. (8.5/10)

4. 1-800-Hot-N-Fun – If you somehow missed it, 1-800-Hot-N-Fun was nominated for Best Rock Song in the 2024 KPOPREVIEWED Awards earlier this year. The reasons for this are straightforward. The guitar work made 1-800-Hot-N-Fun extremely memorable, and LE SSERAFIM’s attitude-filled delivery heightened the song further. Extra points for the hooks and embodiment of the rock sound. (10/10)

5. Crazier (미치지 못하는 이유) – After such bold songs, they end the mini-album with a bit of whiplash in the form of a ballad. Crazier is a nice soothing track, with beautiful and stunning vocals from the group. I liked the acoustic nature of the instrumental. I’m just not sure if it is the right song to end this particular mini-album with. (8/10)

Overall Album Rating – 8.9/10

CRAZY Teaser Image

[Review] THIS IS FOR – TWICE

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TWICE also made their comeback yesterday with the all-English single THIS IS FOR and their 4th Korean studio album of the same name. This follows on from December’s Strategy (which featured Megan Thee Stallion) and mini-album of the same name.

THIS IS FOR gets less than a lukewarm response from me. The sentiment was nice, and it was still listenable. But THIS IS FOR is just a very dull song. While TWICE has done R&B pop well before, the instrumental in this new single felt flat (despite the bass), and there wasn’t anything memorable during the verses or bridge. The fact that the song only lasts 2:11 minutes doesn’t give it much opportunity to develop, so I can already see its future where it will likely gloss by without much thought. The chorus does improve the song slightly with some melodies to sink into, but the chanty delivery lacks extra excitement and feels elementary. As for the members, they make the song feel familiar, but there isn’t much material for them to amaze us with in THIS IS FOR.

Despite the flatness, THIS IS FOR is an empowering and hype song that sends the simple message to exude confidence from within oneself. I like how, for the most part, it shows TWICE in a straightforward and down-to-earth manner. I also like the idea of adding those outtakes, where they had to stop the music video shoot because of a pestering AI bee and when one of the members fell over. I assume this shows us that even TWICE isn’t perfect (like past music videos have shown me), and that’s okay.

I think this is the first routine in a while where similar comments made regarding the song can be applied to the routine. THIS IS FOR‘s choreography looked nice, but there wasn’t anything memorable, worth mentioning or revisiting.

Song – 5/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 6.3/10

[Review] In Your Fantasy – ATEEZ

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Just a day after confirmation that ATEEZ will continue on as a group for another 7 years and 4 weeks since their 12th mini-album GOLDEN HOUR: Part.3 dropped (led by the single Lemon Drop), ATEEZ has made a quick comeback with the deluxe version of the mini-album GOLDEN HOUR: Part.3 ‘In Your Fantasy Edition’. It is led by the single In Your Fantasy.

You might be familiar with part of the instrumental for In Your Fantasy. The groovy aspects of the new song were previously featured as the outro of Lemon Drop‘s music video, which I had hoped would hint at a future comeback. The same groove also evokes and maintains an ultra-sexy vibe throughout, reminiscent of Justin Timberlake and Timbaland’s SexyBack. And if In Your Fantasy can remind me of that prolific song, the new all-English song has the basis to go far and wide. When it comes to the vocals and rapping, ATEEZ excels at both once again. There is no doubt about it. I did like the extra punches the final raps in the song give, so it can go out on a high. However, I do think In Your Fantasy could have used stronger hooks. The melodies that are there in In You Fantasy are slowly growing on me, but I think something with a more instantaneous effect to remember the song by would have knocked it out of the park.

Building on the sexy heat that ATEEZ exuded in Lemon Drop, In Your Fantasy gives us a teasing glimpse at something darker and sleeker. After all, the lyrics were of a sensual nature and made direct references to Lucifer (the name of the Devil). Once again, the styling and smouldering looks the members give are all on point and really helped make the video feel like an indulgence and temptation. YUNHO really grabs my attention at the start and makes me constantly look out for him throughout the video. I also appreciate the classier vibe of the sets, which heightens those sexy vibes even further, in my opinion.

While the group has yet to promote the new single, I managed to find a fancam of the performance at their recent concerts. The choreography for In My Fantasy taps into both the groovy and sensual sides of the song. It also focuses on intensity, making certain parts feel even more impactful than they seem.

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

[Review] BTTF – NCT DREAM

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NCT DREAM’s 5th studio album, Go Back To The Future, is due to drop on Monday. However, ahead of that release, NCT DREAM has unexpectedly dropped the music video for BTTF, the first of two title tracks for this comeback. The second title track, CHILLER, will be released next Monday, along with the rest of the album. This release is the group’s first in 8 months, and follows on from their 4th studio album Dreamscape (which I have yet to review).

For me, there was a lot to enjoy in BTTF. What I like most about the new song is bombastic instrumental. It makes for a lively and exciting backing piece. I haven’t had the song on full-blast just yet, but you can tell immediately that BTTF would be amazing at that volume. I enjoyed the synthwave that simmers in the background for most of the song. There is also a satisfying crunchiness to BTTF. The second pre-chorus also serves up a cool rock-inspired ramp-up to the chorus. The members themselves build upon the energy from the instrumental with powerful rapping and strong vocals that elevate BTTF to the next level. This impressed me throughout BTTF. Admittedly, some parts, such as the chorus, were of a shouty nature. But I say that the shoutiness works, as it gives the impression that the members are riding the energy from the instrumentation. While I do like the hooks that BTTF have to offer, there wasn’t one singular hook that stands out as the song’s primary hook. I think had BTTF had this prominent and singular hook, this would have elevated BTTF even further.

Inspired by the film Back To The Future, the music video sees the members travel through time to the past, where we see them interact with their past selves (i.e., HAECHAN passing on the hoverboard to his past self). Talking about hoverboards, I did like how the reporter asks them about the hoverboards from 2016 at the end of the video, which is a reference to the hoverboards the members incorporated into their debut choreography for Chewing Gum. Their debut date, July 25, is also referenced in the music video as D-DAY on the calendar. I also liked the futuristic and electrifying elements of the music video, which was all very cool post-production.

While the comeback hasn’t happened just yet, the group has already performed BTTF at the launch of their 2025 world tour. I did check out one of the fan videos uploaded to X. From my observations, the choreography looks super intense and powerful, matching the energy and dynamism of the song. I did like the slowed down moments, which coinicides with the pre-chorus vocals, and how they contrasted with the rest of the routine.

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

[Review] X – ONEUS

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ONEUS made their comeback last week with their new mini-album 5x, which features the title track X. This mini-album is their 11th Korean mini-album to date since their debut in 2019. It is also the first release the group has made as four members, following SEOHO’s enlistment in the military earlier this year. It also follows the special album Dear.M that ONEUS released earlier this year, which was led by the single IKUK, and a string of solo releases from each member (including SEOHO).

X is good. ONEUS gets right to business, opening the song directly with the track’s primary hook and delivering a fun centrepiece. The track revisits this hook a couple more times throughout its run, searing it into my mind. As a result, I find myself humming along to X‘s hook without even knowing. However, this hook isn’t the only memorable aspect of X. The bass guitar plays a dominant role in the instrumental, and this is quite refreshing. It gives X an underlying funkiness and grooviness that helps boost up its addictiveness and feels very current with today’s trend. The rest of the song, including vocals and rapping, was nice. I do think X could have done better with a little more grit and texture, just to give it some edge. There was an overwhelming polished feeling that just made everything in X (including ONEUS themselves) glide along too smoothly, and the song needed something to cut right through that. But not in a disruptive or distracting manner that detracts from the fresh and cool groove that X is built on.

I really liked the retro vibes that the start of the music video gave, with the interchanging members, the four-member framing, and the layering of the various shots of the members and choreography scenes. Their black and white outfits over the white background also definitely helped. From there, we see ONEUS in an industrial setting and then on the moon. Unsure of the relevance of these to the song, but it looks good nonetheless.

The choreography for this comeback is okay. Not ONEUS’ most impressive work, but it does the job. I did like the chorus routine, especially when it comes to LEEDO’s part. But again, not exactly amazing from ONEUS, who has had some great choreography in the past.

Song – 8.5/10
Music Video – 8/10
Performance – 7/10
Overall Rating – 8.1/10

[Review] Touch – KARD

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KARD made their return with their 8th mini-album, DRIFT, and the title track Touch. It is their first release since their digital single DETOX in December 2024 (which I never got around to reviewing).

It has been just over 2 days since Touch was released, and I have given it multiple listens. But I still don’t get much out of the song. I get a 2000s vibe from the track, and I appreciate the hip-hop, rap-esque sound profile from that era in Touch. SOMIN and JIWOO’s vocals in the pre-choruses were nice, and I liked how they split up the bridge amongst themselves. But it is what Touch doesn’t do well that speaks volumes to me. Touch overall lacks personality and sounds mundane. The instrumental was okay at first, but the percussive elements became too consistent, pulling the song back and making it feel plain. Touch would have benefited from some bombastic highlights or accents within its instrumental, which I felt the song was aiming for but never realised. The hooks were also lacklustre and unmemorable. In retrospect, Touch is a fair song, but not their best.

Touch‘s music video is steamy, which is very much in line with the group’s brand. I do feel like the production value isn’t there for this comeback, but they make do with some sexy scenes. Note that the keyword in the sentence is ‘some’. Some of the dancers were standing around, and weakly body-waving in the background isn’t that enticing. I do feel like the ending, with the extras disappearing and one female character remaining behind with KARD might mean something, but this wasn’t explored well in the video. I wish J.Seph and BM were better utilised in the video. They very much felt like extras until their solo scenes came on, and then they reverted to being extras as soon as we passed their solo moment.

When I watch the performance for Touch, I get two distinct vibes. For the most part, the routine feels restrained and doesn’t look that energetic. However, as soon as we land in the last chorus, the choreography kicks it up a notch, and the members round out the routine with an intense ending.

Song – 6.5/10
Music Video – 7/10
Performance – 7/10
Overall Rating – 6.8/10