Category: Reviews

[Review] ICONIK – ZEROBASEONE

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ZEROBASEONE is back with their 1st ever studio album, NEVER SAY NEVER. The album is led by the title track, ICONIK, following last month’s SLAM DUNK and the earlier single BLUE, (plus the mini-album BLUE PARADISE, which I have yet to review). This release is timely, as their original 2.5-year contract (starting in July 2023) leaves the group with less than 6 months remaining. But in some exciting news, WakeOne (the company that manages ZEROBASEONE) is looking to extend ZEROBASEONE’s contract. So there is hope for more music from ZEROBASEONE, potentially including another studio album.

ICONIK is a song with the potential to be awesome. It has only been a couple of hours since the song’s release, so it needs a few more listens to develop. However, with a strong first impression already made, ICONIK will likely grow on me easily. Throughout this dance track, the group incorporates funky and groovy elements boldly with its disco-pop style. I really liked this direction of ICONIK, but I just wish the chorus had a bit more time to breathe. It felt too tightly strung together. While it worked well in terms of intensity and boldness, it also made ICONIK‘s chorus feel like a fast-paced blur, preventing us from fully taking it in. The obsession with keeping a song under 3 minutes might have been a driver for this, and while it has helped make repetitive songs feel less so, I don’t think it was necessary here. The melodies in ICONIK ultimately fall victim to the fast pace and tightness, feeling slightly undeveloped and rushed at certain times. But it isn’t all bad news. Vocally, I felt ICONIK is strong, while KIM GYUVIN’s rapping was very sleek. I was very impressed with MATTHEW’s bridge, HAN SUNGBIN’s high note and KIM TAERAE’s ad-libs at the end.

According to SOOMPI, ICONIK “represents the path ZEROBASEONE has walked down as artists and expresses their determination to shine even brighter.” In the music video, we see the members in the midst of their journey they speak of in the song’s message, stopping at an airport along the way that serves as a midpoint of their trip. Their destination is probably wherever that floating jewelled star is. It may represent stardom, as we see one of the members grab onto a microphone and jump off it. I really liked the styling of the members throughout the video, as well as the cool post-production. I also liked how the producers ensured the energy in the video matched the song, which makes it very appealing to watch alongside the song.

I like how the choreography captures that funky and groovy side of the song, creating a very energetic performance to watch. The best part of the routine is undoubtedly the transition between the bridge and the final chorus, where the deep rumbling synths take centre stage, and the routine intensifies in that moment.

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

[Review] XOXZ – IVE

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IVE made their return at the start of the week with their 4th mini-album, IVE SECRET, and the lead single XOXZ. It is their first overall release since their July Japanese comeback with Be Alright and their first Korean comeback since their 3rd mini-album IVE Empathy, which featured singles REBEL HEART and ATTITUDE.

Except for last year’s Accendio and TKO from their previous mini-album, whenever IVE has promoted a song with an edgier and darker style, it has been a miss for me. The new single XOXZ appears to follow that trend. The choruses were the biggest miss in the entire song, in my opinion. It was very dry and lacklustre. There was some good to be found in the chorus, such as the dramatic flair in the instrumental and the whispery delivery of the XOXZ title. However, somehow, putting all of that together just didn’t have the desired impact and created a fizzler of a centrepiece. The fast-spoken lines should have been an intriguing component, but the execution just didn’t stick with me and was easily overlooked. A similar comment can be applied to most of the song. However, it isn’t all bad news for XOXZ. I really liked the ethereal pre-choruses. It is just a pity that the follow-through (i.e., the chorus) was a let-down.

The music video for XOXZ unfolds as a dream, starting with a truck crashing through the window of a high-rise apartment. This is then followed by the dream version of IVE taking the sleeping member on a journey of her dreams. I really liked IVE’s edgy looks throughout the music video, and I feel elements of the video call back to IVE’s Accendio‘s music video (i.e., the goat horns). The only aspect of the video I didn’t like was the dings that start to appear during the bridge portion and in the ending card. It just made the video feel overly cheesy.

The performance aspect of the comeback was pretty good. Nothing stood out on its own, but rather the choreography (as a whole) did a decent job of encapsulating those edgy tones from the song. I also enjoyed the balance between the members’ cuteness and power in the routine.

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

[Review] HER – MINNIE (i-dle)

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I made a promise on the blog a while back to review MINNIE’s solo single ‘soon’. Well, ‘soon’ has come as I am finally getting around to reviewing MINNIE’s official solo debut single HER, which is featured as the lead single off her debut mini-album of the same name. An album review for this mini-album will follow, after I’ve reviewed some of the other singles with accompanying music videos. I haven’t decided whether to review all of them separately before the album review, but you will find out soon enough. (Note: ‘soon’ has been used this time around to mean soon, and not a couple of months away.)

HER leans into the groovy and upbeat pop music trend that we have been hearing a lot in KPOP (now and back when HER was released). I find the instrumental to be pretty simplistic, with a hefty beat and those groovy tropes serving as the main elements of HER‘s background. MINNIE’s vocals throughout the song are light and delicate, which I find to be well-balanced with the instrumentation. I did wish MINNIE had been given material that made her sound stronger to give HER some additional oomph and dimension. Yet, somewhere along the way, both vocals and backing come together to make HER sound sophisticated, which suits the concept the debut went for (more on that in a second). What I have always liked about the song is how catchy it is. The chorus plays the repetitive card, but it was effective and has allowed the song to stay strong in my books. Overall, a strong solo debut track from MINNIE.

The music video sees MINNIE play 3 versions of herself. The first version we see, MINNIE dressed in white, is actually MINNIE herself. She goes on a drive at the start of the video, but returns home later on presumably to deal with the other two versions of herself. Left behind at the mansion are playful MINNIE (dressed in pink) and serious MINNIE (dressed in red). They are polar opposites, representing two distinct halves of MINNIE’s mind and personality. I like how they are continuously clashing, though I wish it were more physical than verbal clashing. I also like MINNIE’s final expression in the entire video, clearly fed up with her alter-egos.

I liked how MINNIE embraces her sensual and seductive sides for their accompanying performance. I liked how sassy the chorus felt, both on stage and within the music. It was definitely worth checking out.

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

[Review] CEREMONY – Stray Kids

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The biggest release of the day is Stray Kids’ fourth studio album, KARMA, led by their newest single CEREMONY. This is their latest release since April’s Mixtape: Dominate (which features the Korean version of GIANT) and their Japanese comeback single Hollow. I am in the process of reviewing their solo tracks from their mixtape mini-album, Hop, which featured the single Walkin’ On Water.

CEREMONY is probably the first Stray Kids title track in a while to get a lukewarm first impression from me. Each time I have listened to the song since its release a couple of hours ago, I’ve consistently felt like a lot was held back in CEREMONY. The usual bombastic energy common to their title tracks was missing, and none of the members really stood out for me. I am surprised that you have to wait for the end of the song for the chorus to really give some impact in CEREMONY. And finally, the song just ends in such an abrupt and unsatisfying manner. Had the song been more robust and stronger in these areas, CEREMONY would have been much more appealing. That being said, I did like some elements in CEREMONY. The “Hip hip” by BANGCHAN, followed by the crowd’s “Hooray” that started off the first and second choruses, definitely had the engaging energy intended to get a crowd to join in. And I liked the hip-hop twist they gave the subsequent “Hip Hip … Hooray” in the chorus. The instrumental was rather intriguing, and I liked how it showcased that some hip-hop flair. The bombastic energy I mentioned as being missing could have been delivered by sharper beats, but I did appreciate the percussive and detailing synths. Overall, CEREMONY could have been better.

What I really enjoyed about this comeback so far is the sports concept in the music video. The intensity, especially from their focused/serious looks, as well as their competitiveness with one another, in the music video was definitely very pronounced and delivered very well by all members. I liked how the balls somehow connected all sports in the music video, even if the sports were all very different. And of course, the music video would not feel complete without some sort of celebration scene, which is precisely what the group gave to us towards the end. The music video closes off with a surprise cameo from professional gamer FAKER (If you didn’t see the group’s reaction to the music video, they were also shocked by his cameo.) Definitely very cool, and it adds e-sport to the mix of sports referenced in the music video.

The accompanying performance for this comeback shares similar intensity to the music video. I also get the impression that the members are excited for this comeback, based on their enthusiasm and the energy they put into their moves. I really liked the footwork, bouciness and the hip-hop motif in the routine.

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

[Review] Do What I Want – MONSTA X

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It has been over two years since we last heard from MONSTA X as a group through their 2023 release of Beautiful Liar, the title track from their 12th mini-album REASON. Since then, the group has been on hiatus due to military enlistments, while those who finished their enlistment (Shownu) and those who had not enlisted yet (I.M) focused on solo activities. Now that all members are available, they will be celebrating their 10th anniversary as a group with the release of their 13th mini-album THE X on 1 September 2023. In anticipation of the album release, MONSTA X has dropped the single Do What I Want.

The new single is quite different to what I remember of MONSTA X pre-2023. While the track does sit within the hip-hop realm, like most of their past title tracks, Do What I Want distinctively draws upon Brazilian funk, which is very unique and different for the group, but also KPOP in general. And the final result is definitely something fun, energetic and lively. There is also a club beat in Do What I Want, which I appreciate for keeping the single grounded and giving it some bite. But at the same time, it is quite generic and so does zap some of the fun and energy from those livelier and funkier moments. Do What I Want also lacks a strong hook. The song’s spoken hook in the song’s centre does have a catchiness to it, but it felt underbaked and does not necessarily reflect the song’s energy. It does create some contrast (i.e., between the low and high tones), but it wasn’t enough to be the song’s main selling point. The group’s delivery (i.e., rap and vocals) is sound, but without that strong hook, I don’t really remember much of the delivery. Overall, Do What I Want is refreshing and different, but I miss the old MONSTA X edgy hip-hop dance sound that we heard previously from the group.

I do appreciate the group doing something utterly different music-wise. And to match the completely different music, the group has gone for a very wild and chaotic visual to accompany the new song. The members are horned and sharp-eared creatures in the music video, which is very unusual. I am not entirely sure what these horns represent, but it’s possible they’re connected to the upcoming music video for THE X‘s title track. Regardless, the members are seen vibing along and being very free with the music and each other in a home video-style video in a summery fashion. This seems pretty normal. But while being perplexed isn’t the way I expected MONSTA X’s first music video in a while to go, I will admit it is very memorable for obvious reasons.

There might also be some choreography to the release, with the routine being shown slightly alongside the second and final choruses. However, I don’t think there is enough for me to comment on it. If it is the accompanying choreography, it does share that wildness that I mentioned earlier with the flailing arms and such. So, I won’t include it in the ‘Overall Rating’ for the time being.

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

[Review] Unfair – FELIX (Stray Kids)

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With news that Stray Kids will be making a comeback soon with their fourth studio album, KARMA, I thought I would start on the many reviews I have not posted for Stray Kids – the solo tracks from their Hop mixtape and the unit tracks from their Mixtape: Dominate album. Next up is FELIX’s solo single from Hop, Unfair. For the other reviews of Stray Kids’ solo songs from the Hop mixtape, see the links below the music video.

It is interesting to hear a more vocal-centric track from FELIX, who is known for his deeper voice, which tends to lend well towards rapping. Unfair combines FELIX’s vocals with a cool hip-hop beat, giving it a semblance to the style he is more known for. Within the verses of Unfair, we also get some delicate piano accompanying the hip-hop beat. These two elements come together quite well, creating an emotive and heavenly atmosphere that allows FELIX to liken his journey to the fairy tale Beauty and the Beast. Unfair speaks to the insecurity he feels (references to feeling like a ‘beast’ in the lyrics) and how love (references to Belle in the lyrics) can help him overcome his insecurities. As for FELIX’s vocals, I am a bit torn. I very much prefer his usual deep style, as he showcases in the raps and the choruses, even in a melodic manner. It feels natural and allows Unfair to be associated with him. However, in the verses, the autotune strips away his characteristic deep voice, leaving behind an artificial-sounding voice that I cannot connect with. I wished FELIX and the producers had fully embraced his deeper voice and utilised it in the verses, as this would have felt fitting with what he is conveying in Unfair.

The music video draws upon the Beauty and the Beast storyline that I mentioned earlier. We see FELIX portray a winged beast, like a fallen angel, wandering alone in the dark forest. In the presence of the rose, he is reminded of his love (the flashback scenes earlier show him in the presence of Belle, dressed in white to represent innocence and purity). He comes to terms with his beastly appearance, which briefly reappears and then disappears, showing the audience that there is hope for one to overcome their insecurities. The visual aspects of the music video are amazing, particularly those underwater scenes.

Song – 7/10
Music Video – 10/10
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] HUNTER – KEY (SHINee)

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Returning at the start of this week was KEY with his 3rd studio album and lead single, both titled HUNTER. It is his first solo release in almost a year, with the last being his 3rd mini-album Pleasure Shop (album review coming soon) and single of the same name.

HUNTER sees KEY make another return with the electropop genre. And like his other endeavours with this style, he simply does not miss. HUNTER immediately grabs my attention from the first second with its groovy synth bass. As the song progresses, cooler synth choices come into play to make HUNTER even more impactful. I really enjoyed how the chorus concentrates the bass, synth, and energy, developing into a very grungy and bolstered number that has me coming back for more. The chorus also has a super catchy melody that helps greatly in that department, as well. KEY himself commands your attention with his powerful vocals and whispery raps in the HUNTER. He definitely gave the song extra impact and oomph, which matches the intensity of the synths in the background and those grungy vibes I mentioned earlier. My only major criticism is simply that HUNTER felt too short. It is a fast-paced dance track, so being just over 3 minutes doesn’t seem enough. And if that is the only thing HUNTER missed, then HUNTER definitely left an impression on me.

The music video might not be suitable for everyone. There is some violence throughout the video that might not be your cup of tea, so proceed with caution. I will admit that I find HUNTER’s music video to have quite a striking concept. The lyrics speak of a toxic relationship where the pair struggle between being in love or obsessed with one another. However, in the music video, the toxicity is depicted with two versions of KEY (one with red hair, another with black hair). One is being hunted, while the other is the hunter – we just never know which version of KEY is which, since both are involved in hunting the other, depicting the toxicity the lyrics touch on. In the choreography scenes at the end of the video, it is confirmed we are seeing two sides of one person with the two hair colours appearing at once.

KEY delivers a bold performance for HUNTER. I really enjoyed the MJ Thriller-esque inspiration and vibe that is going on, and I liked how the sharpness matches up with the fast-paced and dynamic nature of HUNTER. KEY definitely shone on stage and pulled off a live performance quite impressively.

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

[Review] DANCING ALONE – KiiiKiii

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Last week, KiiiKiii made their first ever comeback with the single DANCING ALONE. This followed their debut with I Do Me and the mini-album Uncut Gem. I have yet to review both, but I did review KiiiKiii’s follow up single BTG.

DANCING ALONE is KiiiKiii’s answer to a summer single. I enjoyed the feel-good vibes that this pop dance track exudes. DANCING ALONE is relatively straightforward in all aspects (vocals, melodies, instrumentation, etc.), so the single comes together well enough so that it doesn’t somehow trip over itself. Consistency can be a problem, but I think DANCING ALONG had enough upbeat energy and development to it, whilst also bringing on other positive feel-good thoughts, so that consistency doesn’t cross my mind. For example, the synth-pop instrumentation evokes a nostalgic vibe, transporting us back to the ’80s. It is also key in making DANCING ALONE upbeat and fun. The smooth melodies are catchy, and I find myself occasionally humming along to them. KiiiKiii’s vocals are perfectly light throughout the song, which is solid for this song. To be a bit critical, a ‘safe’ argument can be made for DANCING ALONE. But the more I listen to DANCING ALONE, the more I fall into the single.

Just like the song, the music video for DANCING ALONE opts for a feel-good vibe. It sees the group hang out with one another whilst at and after school, dancing around, having fun and enjoying each other’s company. I really enjoyed the nostalgia the video brings, as it makes me think about my memories of having fun with friends whilst at school. Oh, life was much simpler back in those days. These memories paint a very big smile on my face, on par with the smiles and energy that the members showcase in the video. But it is the scenes where the members are alone that are probably the most important. DANCING ALONE also redefines the idea of being alone. Instead of being isolated, the music video shows each member dancing by themselves to represent the idea of exploring freedom, confidence and self-assurance.

The choreography for this comeback just hits the spot for me. Everything that the song exudes (those feel-good vibes I keep on mentioning, youthfulness, upbeat energy etc.) is embodied and showcased perfectly. The routine has some sharpness to it, which makes the routine so much more fun and exciting. I also liked the ending, where we see them dancing alone by pulling off different moves but together in close proximity. It is a good way to reflect the comeback’s message, even whilst on stage.

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

[Review] How Can I Do – EVNNE

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EVNNE made their comeback earlier this week with their 5th mini-album, Love Anecdote(s), and the lead single How Can I Do. This comeback follows their 4th mini-album release from earlier in the year, HOT MESS (yet to be reviewed), which was led by the single of the same name.

How Can I Do mixes groovy elements with hip-hop to create EVNNE’s new title track. It makes for a fascinating and sleek instrumental. I enjoyed the direction this track was going in, especially with that jazzy piano in the background of the pre-chorus and the funky bass in the chorus and bridge. As for EVNNE’s vocals and raps, I enjoyed their gritty and deep vocals in parts of the verses and dynamic rapping throughout How Can I Do. The pre-choruses and choruses feature really smooth vocals that add to the song’s sleekness mentioned earlier. Although there is some good in How Can I Do, I notice that the song doesn’t really go anywhere. There is a pronounced stagnant feeling that leaves me somewhat unsatisfied. It also doesn’t help that How Can I Do is fairly weak in the hook department. There is some melodic material that sounds nice in the chorus, but it isn’t enough to reel me in.

While it wasn’t the most profound or amazing music video out there, I did like the balance the producers struck when it came to the jazzy and the hip-hop heavy moments. You get a smoother aesthetic during the scenes that coincide with the pre-chorus, where the jazzy piano is in play. The music video moves into edgy territory during the second verse, where the hip-hop influences are strongest in the song. The rest of the video doesn’t overdo either style, which speaks to the balance mentioned earlier. The colour palette of the video and outfits also contributes to this.

There were two standouts choreographically for How Can I Do. I was rather impressed by the footwork and synchronisation. In particular, the bridge was the coolest aspect of the entire routine.

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

[Review] As We Are – SEUNGMIN (Stray Kids)

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With news that Stray Kids will be making a comeback soon with their fourth studio album, KARMA, I thought I would start on the many reviews I have not posted for Stray Kids – the solo tracks from their Hop mixtape and the unit tracks from their Mixtape: Dominate album. Next up is SEUNGMIN’s solo single from Hop, As We Are. For the other reviews of Stray Kids’ solo songs from the Hop mixtape, see the links below the music video.

If I were ranking the solo tracks by how much they stood out to me, the uplifting As We Are would follow I.N’s HALLUCINATION very closely. The chorus melodies and SEUNGMIN’s vocals are what really spoke to me the most in As We Are. There is just something so familiar and inviting about these melodies. I also loved the way SEUNGMIN builds up his vocals alongside the acoustic band instrumentation. His first run at the chorus was so soft and beautiful. By the time we get to the final chorus, you can feel the oomph and emotions behind his vocals. That brief pause just before the bridge helped give the SEUNGMIN and the final chorus a relatively intense rush, closing out As We Are strongly. The only reason why As We Are follows I.N’s HALLUCINATION is that SEUNGMIN’s solo felt expected for SEUNGMIN, and so it didn’t have that unexpected edge.

The music video shows SEUNGMIN playing baseball and music, which were two of his passions whilst growing up. Both come naturally to him. But in the end, we see him make the decision to go with music, running away in the opposite direction from his teammates. I think part of the video depicts that the road to music was going to be lonely for him, as none of his friends share the same passion. But his friends from baseball respected his decision and continued to support him, as shown through the scene where they lie down next to him. The decision to go with music and not baseball, as well as the support from his friends regardless, goes hand-in-hand with the lyrics, which speak to sharing the personal struggle with a companion and the unwavering support they provided during this time.

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

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] HALLUCINATION – I.N (Stray Kids)

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With news that Stray Kids will be making a comeback soon with their fourth studio album, KARMA, I thought I would start on the many reviews I have not posted for Stray Kids – the solo tracks from their Hop mixtape and the unit tracks from their Mixtape: Dominate album. First up is I.N’s solo single from Hop, HALLUNCINATION. For the other reviews of Stray Kids’ solo songs from the Hop mixtape, see the links below the music video.

HALLUCINATION ended up being the solo track that stood out the most to me. It was just an unexpected track from the youngest member of Stray Kids, or any member of Stray Kids for that matter. But the unexpected can be intriguing at times, and that is what I felt about HALLUCINATION. The more I listened to it, the more I enjoyed it. There is an abundance of percussive textures throughout the track that just give HALLUCINATION so much character and style. This, alongside the hooks, made HALLUCINATION catchy, as well. The song makes good use of I.N’s vocals, which brought maturity and sensual energy to the song. I was particularly impressed with the way he launched back into the song following the instrumental break. There was so much oomph behind that note. However, the song’s main weakness was the vocal processing. It brought texture to the song, complementing the instrumentation well. But it was so thick, and this became a constant distracting thought each time I listened to the song. I wish that HALLUCINATION let up at certain moments to give us reprieve. I’m sure it wouldn’t have compromised the quality and final result of HALLUCINATION.

For this review, I will be combining the music video and performance aspects of my review together. HALLUCINATION, as a mature and sensual sounding song, gave I.N a unique opportunity to do something different. He took full advantage of the opportunity, making it a key asset (and drawing point) of the release and adding to the intrigue of this particular solo release that I mentioned earlier. What came about is a sensual and bold image of I.N. From the wet look, to the stylish skirts and cropped outfit, and to the body waves in the performance, I.N definitely showed a whole new side to himself in this release.

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

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] 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