After the overwhelming success of their DominATE world tour, K-Pop outfit Stray Kids wasted no time in dropping their fourth full album Karma to a legion of supportive fans around the globe. Utilising word play seen in the titles of previous albums, Karma stands for both the good karma that the group hope to continue receiving in their career, and for ‘calmer’; the group channeling any negativity into drive for their future. The album contains eleven colourful tracks that traverse new pop, hip-hop, ballad and pop-rock terrain while developing the group’s strengths in vocals, rap and particularly production, courtesy of the group’s songwriting trio 3Racha, comprised of members Bangchan, Changbin and Han.

It seems appropriate that the album opener should be ‘Bleep’, a jittery hip-hop diss track that displays the group’s unbothered attitude towards haters. As the band’s fame and worldwide visibility grows every day, it is unfortunately the case that unwarranted hate and trolling continues to make an appearance. However, the members send a clear message to these people in targeted lines like “Music to my ears, your silence”; assuring fans that they have little time for such petty insults.

The album’s title track ‘Ceremony’ is a complete shift in tone as the group deliver a jubilant dance-pop track that thrums with energy from a bubbly instrumental and fiery rapping. The band revel unashamedly in their pride at their musical success (“We’re gonna dominate pop it, Making headlines, big news topic”) while celebrating their ability to continue impressing even with the weight of the industry and fan expectations on their shoulders (“Thirsty day and night, They put us in the desert but we survive”). Vocalist Bangchan’s addictive calls of “Hip Hip!” are bound to put listeners in a party mood, particularly when the final chorus transitions into the members’ spirited chants of “Karma, Karma, Karma!”.

The deliciously slick hip-hop bop ‘Creed’ is decidedly more subtle in tone, and yet delivers with its suave rap verses from rappers and vocalists alike. “You know I bite the way I bark” main vocalist Seungmin growls over a gnarly bass track; perfectly showcasing the members’ continual efforts to display the versatility of their talent. This song may be short, but it packs a hell of a punch.

In contrast, ‘Mess’ taps into a sub-genre of Stray Kids’ music that fans affectionately term ‘Han-pop’, so named for the introspective and deeply emotive tracks penned by rapper and producer Han. As expected this mellow and sentimental track, about the regretful and complex emotions left behind after a break-up, highlights the sensitive lyricism and balladry that Han has become known for, while also contributing some welcome variety to this album’s generally upbeat soundscape.

The following two tracks allow the group to settle a little back into their comfort zone, breaking out high-energy fusions of modern pop sensibilities with a twist. ‘In My Head’ will appeal to many who enjoy harking back to 2000s era emo-rock nostalgia with its breezy vocal line (“I’m messed up in my head, a-yeah a-yeah”) and rock guitar backing. Likewise, the stylish ‘Half Time’ will excite with its ear-worm chorus melody and lyrics teasing the group’s bright future (“I’m at the half time, play time, Now I’m just getting started”).

The band fearlessly dive headfirst into their first true venture into EDM with ‘Phoenix’; a euphoric track that shines with the members’ uplifting harmonies and lyrics reflecting inner strength and perseverance. This transitions flawlessly into edgy pop track ‘Ghost’ which details the disembodied emotions felt by someone suffering burnout (“I feel like I’m a ghost…I don’t know why I’m lost in space and time”). While these tracks continue to build upon the group’s genre-bending musical identity, they are both sure to capture listeners’ attention with their slick production and infectious energy.

‘0801’ is an intensely personal song for STAY, the supportive fandom that has followed the group since their 2018 debut. Traversing the gap between ballad and sunny pop song, the boys even mention their fans by name in lyrics that overflow with promises to treasure this bond between artist and fan (“I’ll stay forever, oh I’ll stay here”). While this is not the first time Stray Kids have exclusively dedicated a song to their fans, ‘0801’, which marks the annual fan club birthday, seems even more intimate in its description of unconditional love and support, and its bound to trigger an emotional response from many listeners.

The album ends with two further versions of title track ‘Ceremony’ – its exultant festival version and an English language version for international fans to rave to.

Score/Outstanding: It seems to be widely known by now that listeners will be guaranteed music of the highest production value and songwriting, rap and vocal talent when diving into any new Stray Kids release; showing just how far the group has come in shaping themselves into a worldwide-renowned K-Pop powerhouse.

[We rank albums, E.Ps and singles on a scale of Poor, Mediocre, Good, Excellent, Outstanding]

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Since the collapse of Trainee A’s debut plans, the public has been holding their collective breaths for Big Hit’s newest boy group. Following the footsteps of their globally successful predecessors, BTS and Tomorrow X Together (TXT), CORTIS has big shoes to fill and even bigger expectations to meet. 

Consisting of Martin, James, Juhoon, Seonghyeon and Keonho, CORTIS is a five-member boy group under Big Hit Music. All members in the group have showcased their creative prowess, with both Martin and James writing and choreographing for ILLIT pre-debut. With that in mind, the group is positioned more as a ‘teenage authentic creative crew’ rather than the usual polished and controlled idol group. This crew of teenage creatives certainly proved themselves by participating in different ways for all five tracks of the EP. 

The EP opens with pre-release single ‘GO!’, as the boys shout about their dreams and introduce themselves to the world over a lo-fi trap beat. The bright and youthful belief they have in themselves to succeed, as long as they put their minds to it: “I just gotta get it/ Watch me go, go, go, go, go, go.” This track is like a can of energy drink, waking the listeners up to CORTIS’ coming into the industry as the ‘new shit’. ‘GO!’ serves as the perfect introduction of CORTIS to the K-pop world, bright-eyed, youthful, creative go-getters that are not brash about their desires.

It is then followed by lead single ‘What You Want’, a psychedelic rock track reminiscent of later Nirvana productions. While ‘GO!’ opens with the boys’ youthful belief in themselves and each other, ‘What You Want’ leans into the boys’ ambitions more. It serves as the perfect embodiment of the members’ desires to carve their legacy into K-pop. Laid atop a grungy production, CORTIS desperately screams about their dreams, hoping that they’ll come true: “Chased after love, chased after fame / So now I want the whole world to know my name.” A track capturing the group’s hunger for success, the vocals are left raw and desperate, oozing with the boys’ desire. 

Next comes ‘FaSHioN’, the group’s follow-up single, featuring a hip-hop trap beat with clear influences from southern hip-hop artists like Travis Scott and Playboi Carti. Just like most teenagers, their fashion and style make up a big part of their identities. But unlike other K-pop groups, CORTIS is not looking to dress up in expensive luxury brands. In fact, they are proud of their cheap vintage finds: “Thrift shop finds got me looking fresh / Pull up boys, scraping away / Vintage Jesus”. A highlight of this track is the little callback Martin made towards an episode where Keonho judged his new thrift haul: “An Keonho, no matter what you say about my clothes / I hold my ground the belt from my fruits wish list, now on my waist”. Overall, ‘FaSHioN’ is a light-hearted track about the boys having fun and finding their identity through testing different styles.

After three upbeat, high-energy tracks, CORTIS slows down and brings out ‘JoyRide’, a sentimental laid-back pop track detailing the boys’ yearning to be free from expectations and responsibilities. Not only do they themselves want to get away, they invite us to “leave this place, toss the map away” and get on the joyride as well. The mellow track paints an image of the boys driving away at night, the breeze blowing through their hair under the stars, as they try to cherish the moment of “fleeting freedom”. Taking a break from all the talk about their dreams and identities, ‘JoyRide’ reminds us that CORTIS are just teenage boys that need breaths of fresh air away from the pressure cooker that is the K-pop training system as well.

Finally, ‘Lullaby’ closes up the album as a sweet goodnight from CORTIS. It serves as the boys’ reminder to themselves and all of us that resting comes before everything else. No matter how stressed we are, no matter how hard we are trying to maintain our relationships, or chase our dreams and desires, refueling ourselves is key: “I got work / You got work / But in this moment / Quiet first”. Instead of a soft track lulling you to sleep, ‘Lullaby’ is more of a reminder that burnout is real, and balancing your work with a goodnight’s sleep is crucial.

Score/Outstanding: ‘Color Outside The Lines’ is the perfect introduction of CORTIS into the world of music. A terrifically cohesive EP starting off loud and bright, aiming to make an impression, yet closing out softly to cherish freedom and rest, CORTIS certainly captured the thoughts of a teenager in this EP. 

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When discussing today’s most influential acts in the K-Pop sphere, aespa will no doubt be mentioned. Debuting in November 2020 with an experimental hyperpop music style that perfectly displayed the four members’ impressive vocal and rap capabilities, as well as a penchant for mesmerisingly futuristic visuals in tune with their forward-thinking AI concept, aespa were immediately the talk of the town. Now after five mini albums, a full-length album and several singles that catered to both Korean and international markets, members Karina, Winter, Giselle and NingNing have their eyes trained on world domination with the help of their multifaceted sixth mini album Rich Man.

The album’s title track ‘Rich Man’ launches listeners into an album that proudly takes advantage of each members’ versatility and ability to execute the most daring of concepts. The song ‘Rich Man’ is no exception; thrilling audiences with the girls’ first attempt at a rock-star concept, which is characterised by edgy fast-paced guitars and the girls’ confidently carefree attitude that they pull off so naturally. The song is based upon a reported quote by pop superstar Cher to her mother, “Mom, I am a rich man” in response to being encouraged to marry someone wealthy. aespa cleverly twist this phrase into the members celebrating being ‘rich’ in experiences and empowered by their inner-strength; inspiring lines throughout such as “I’m my own biggest fan and I’m high in demand”. Allowing ample room for both vocalists and rappers to shine by intertwining melodic hooks with powerful raps, ‘Rich Man’ impressively highlights the group’s degree of individual talent while simultaneously presenting these skills within a harmonious group dynamic.

The sleek and sassy ‘Drift’ opens with a minimalistic whistle intro beneath the members’ sultry whispers (“Let’s go, let’s go, Get the drift in”). A stylish ode to the girls’ ability to tune out the haters and unnecessary drama to keep riding high in their careers, ‘Drift’ is at once reminiscent of aespa’s signature futuristic and eccentric sound; this time utilising the stripped back but playful combination of vocal samples and bass to power the song’s suave ambience. Fans will for sure feel at home here amongst this gritty hip-hop style; cementing this track as another banger in the group’s discography.

aespa’s daring edge doesn’t stop here, though, as the third track ‘Bubble’ may very well prove to be one of their boldest tracks to date. Bursting with sugary harmonies and a light-hearted tone, the track sees the members unapologetically celebrate bubblegum-pop with a difference. Lyrically, the girls have fun with teasing, yet still cool deliveries (“Talking nonsense, I just bubble bop it to the beat”) while encouraging fans to let loose with this cheeky number.

The dreamy R&B track ‘Count On Me’ will become an instant hit with fans of the chill and introspective side of aespa’s discography. The lyrics reflect upon the complex feelings that consume someone who returns back to the embrace of a toxic lover (“It doesn’t matter if I’m completely ruined, Be a little selfish baby”). This is brought to life through the singers’ serene vocal runs and pleasant harmonies, which lend the track a tragic and bittersweet edge.

Amongst this sobering and contemplative ambience though, aespa drop their delightful English language dance-pop track ‘Angel #48’. The sweepingly sweet vocal tones of the members help this breezy track take flight with vocalists Winter and NingNing’s enchanting sopranos leading the song’s airy melodies. The lyrics tell of finding a dream-like love as a result of manifesting positivity and love in daily life (“Angel number forty eight, My guardian angel”), which perfectly matches the song’s bubbly instrumental; allowing listeners to drift off into this song’s dreamy soundscape with ease.

The sixth and final track ‘To The Girls’ powerfully encapsulates aespa’s willingness to showcase a confident ‘girl power’ image, while in turn inspiring their female listeners to be the best version of themselves. The members embrace their fans as family in the empowering chorus (“This one goes out to the girls, My sisters all over the world”), backed by a rousing guitar accompaniment. It’s the perfect sentiment on which to end an album highlighting aespa’s musical versatility and inner strength that continues to power them to the top of the K-Pop industry.

Score/Excellent: The group never seem to let fan hype for new music overwhelm them, but instead continue to deliver to an impressively high standard. Rich Man goes above and beyond to give back something new yet still undeniably aespa to their many listeners, and it’s sure to be popular as a result.

[We rank albums, EPs and singles on a scale of Poor, Mediocre, Good, Excellent, Outstanding]

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With K-Pop’s fifth generation having churned out a large quantity of groups since early 2023, competition was already undeniably fierce. Enter All (H)ours, a boy group that debuted in January 2024, who immediately took the scene by storm with powerful and bold music paired with highly technical dance performances. Aside from general industry pressures, many new boy groups often face criticism for pursuing a ‘noise music’ style, characterised by a chaotic, distorted or experimental sound, instead of delivering music that would better appeal to the masses. With many of their fellow fifth generation competitors opting for brighter concepts, All (H)ours thundered unapologetically in on bold beats and edgy choruses paired with striking visuals; the group concentrating on creating an exciting blend of EDM-inspired K-Pop/Hip-Hop for fans to enjoy, contrary to other’s demands for a softer style.

The group’s newest mini album Smoke Point is comprised of five audacious tracks that capitalise on the boys’ boisterous and often experimental sound. With the title referring to the point in which oil starts to boil, the group hopes that this will be the release that helps them gain even more attention from both Korean and international audiences. The album intro ‘Smoke Point’ is a groovy affair of upbeat guitars underneath rousing vocal samples and uplifting synthesisers. As many fans may have discovered, the group’s album intros always serve as a sneak peek to the next album’s title track, and so ‘Smoke Point’ is sure to set fans alight with burning curiosity and wonder at what else the group has up their sleeves.

Without getting too far ahead of ourselves though, All (H)ours really do go all out to ensure that Smoke Point is a certified hit for listeners that can maintain its charm even after many replays. The second track ‘Graffiti’, previously released as a single in January 2025, enthusiastically opens with a bouncy drum beat punctuating the members’ energetic raps. Japanese member Masami puts his gravelly tone to good use by intertwining his powerful rap with lines delivered by the band’s vocalists Kunho, Youmin, Minje and ON:N, who all carry much brighter and higher pitched tones. After a synth-led pre-chorus, which is brought to life through airy harmonies and mellifluous vocals, ‘Graffiti’ bursts out in a satisfyingly rhythmic chorus with lyrics that encourage listeners to live a carefree life (“Don’t care, do what you want to do…Just feel the vibe”).

The rowdy title track ‘Gimme Gimme’ is the album’s highlight for a reason – it’s loud, wild and unbelievably addictive. The song, a hardcore dance track incorporating EDM and drum and bass elements to incredible effect, is an unruly ‘noise music’ party that fans and new listeners alike do not want to miss. Beginning with an upbeat guitar riff, the song is soon bolstered by a thumping bass track and fiery rapping, and it only gets wilder from here. The song’s action-packed pre-chorus transitions into the track’s satisfyingly upbeat chorus, which is lead by the members’ teasing calls of “You gotta gimme gimme gimme…” over the song’s high-powered beat. It’s exactly the quality of title track fans of the group will be expecting, and is guaranteed to get audiences bouncing.

‘Kings and Queens’ is a more subdued affair with its chill hip-hop sound and suave mid-tempo, but the track’s somewhat suggestive lyrics hold enough thrill of their own as they describe a precarious mental game against an opponent, romantic or otherwise. With a swaggering bass line and the smooth vocals of the members shining here, the track’s cool vibe will leave listeners contemplating the real subject of these lyrics. The ear-worm pre-chorus does justice to the impassioned performances given by vocalists ON:N, Minje and Kunho, as their charismatic vocals resonate pleasingly over some of the track’s most memorable lines (“Just take the risk, never say die”).

The group aim to leave listeners with a striking final impression by choosing perhaps the album’s most experimental track, ‘Freaky Fresh’, as the album closer. Containing a jittering bass track, the song particularly highlights the group’s main rappers Xayden and Hyunbin, who deliver thrillingly fast-paced raps during the verses. The lyrics suitably tell of All (H)ours’ mission to shake up the industry; the song’s first line standing out as perfectly embodying the spirit of the boy group – “Baby, just born but already the final boss”.

Score/Outstanding: Despite being in the game for just over a year, All (H)ours have proved to be a force to be reckoned with. By sticking to their powerful and energetic music and performance style, the group no doubt qualify to be called ‘the future of K-Pop’.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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After returning from his mandatory military service in 2023 and upon his dramatic exit from his previous company S.M Entertainment, things were looking up more than ever for the singer when he established his own company INB100, allowing him creative control over his musical output.

Most recognised as a member of one of South Korea and China’s most successful pop groups EXO, the main vocalist debuted as a soloist in 2019, where he enchanted and thrilled audiences with his powerful and charismatic vocals. Now in his 4th mini album containing 6 smooth R&B/pop-infused tracks, Baekhyun sounds supremely confident in his talents and revels in the new musical freedom he has been granted.

The first of these 6 tracks, entitled ‘Good Morning’, is a dreamy introduction to the suave sound that Baekhyun has been known to deliver through his solo efforts. With a serene, easy tempo and a chill piano-led instrumental, Baekhyun’s honeyed vocals float lazily upon the track; creating a warm and mellow vibe for listeners to sink into. The smoothness of the singer’s lower register is employed to great effect here as his vocals only contribute to the song’s irresistibly tranquil tone. The lyrics could be said to express the soloist’s optimistic attitude to this new beginning in his career (“Hello world, morning has come again…Now our dream will begin”), as well as adding to the soothing ambience.

The album’s title track, ‘Pineapple Slice’, is a delightfully flirtatious dance-pop jam brimming full of addictive sugar-sweet melodies, groovy rhythms and the singer’s signature breezy high notes. Even upon their very first listen, audiences will have to admit that the track has an instantly addictive quality which only grows the more it is played. The old-school synth led chorus beneath Baekhyun’s airy harmonies certainly captures the thrilling highs of love and crushes, while the lyrics portray Baekhyun trying to win the heart of a love interest. The excitement of the chorus is definitely bolstered by the song’s playful lyrics “Callin’ me extra sweet, just one bite, Pineapple slice of me”. It’s no secret that a big part of the singer’s charm is his ability to show off his breathtaking vocal range by mixing his silky lower range with impressive high notes, and ‘Pineapple Slice’ has all this and more.

The singer’s confidence in his vocal prowess is fully displayed on the slick ‘Rendez-vous’, which is characterised by a bright piano melody and Baekhyun’s deeply charming vocals that paint a passionate picture of love. The singer channels his inner romantic with dreamy lines like “Without you, everything is meaningless, You are my only universe”, and the chorus’ tender declarations of a lovesick partner. Fans and new listeners alike will love this song’s easy-listening style that still allows audiences the chance to hear why Baekhyun is considered one of the best vocalists in the Korean music industry.

‘Cold Heart’ is the album’s emotive ballad-esque track which details the painful breakdown of a relationship. Beginning with a sombre piano intro overlaid by Baekhyun’s smooth vocal timbre, the vocalist immediately laments on being emotionally shut off from a partner (“Now left alone in this place, a wall built high”). Imbued with a lulling, sombre tone that will leave listeners rapt, ‘Cold Heart’ is a brooding track overflowing with the singer’s versatile charisma.

The singer switches things up by adopting a sultry slow-burn ambience on ‘Woo’; a silky R&B track that benefits massively from the singer’s soulful croons and effortless vocal runs. Professing his unconditional love for a partner, the singer sensitively sings his way through lines like “When you call my name, for you I can do anything”; his delicate and expressive vocals amplifying the song’s romantic message tenfold.

The album’s closing track ‘Truth Be Told’ is a minimalistic yet edgy track that speaks of the singer’s inability to move on from a toxic relationship. Angsty lyrics in the chorus (“Truth be told, I can’t bear it any longer”) exacerbate the song’s foreboding ambience while captivating audiences with its moody R&B sound.

Score/Excellent: ‘Hello, World’ is certainly the sound of a new beginning for the K-Pop singer, who manages to show new sides of himself as an enduringly successful pop singer, R&B crooner and sensitive balladeer. With his newfound musical and managerial freedom, this may very well spell the start of the singer’s best solo music output yet.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Even after dropping a record-breaking mini-album, a supercharged full-length Japanese effort, multiple chart-topping collaborations with internationally renowned stars and contributing to the soundtrack of movie ‘Deadpool & Wolverine’, the 8 member boy group have no intentions of slowing down towards the year’s end. Instead, the self-producing group set out to refine their abilities by dedicating an entire album to their love of hip-hop music. Long-time fans may remember the band’s ‘Mixtape’ album back in 2017, which was released even before the group’s official industry debut. Back then, the boy’s passion for music was clear, and now in 2024, the group is back to demonstrate just how far they have grown as idols and musicians.

‘Walkin’ On Water’ is the thrillingly loud and brash number that opens this 12 track mixtape, and what a ride it is. Experimenting with the 90s sounds of boom-bap, the track explodes onto the scene backed by thunderous percussive beats and rapper Felix’s unshakably smooth bass vocal tone. The lyrics speak of an inner strength and self-confidence “Crashing waves but I’ll never fall… Thrashing rain I’ma bring the storm”, which hit particularly hard against the track’s savage instrumental. The chorus’ call of “Water water walkin on, water water walk it off” certainly carries the group’s enthusiasm and confidence that nobody can bring them down. The mixtape also features an alternate ‘(Hip Ver)’ of ‘Walkin’ On Water’, which further focusses in on the bombastic 90s sound that will have listeners bouncing right from the start.

‘Bounce Back’ and ‘U (feat. Tablo)’ are the two other tracks that feature the whole group’s efforts, with both songs playing around with elements of hip-hop and contrasting emotional nuances. While ‘Bounce Back’ contains a powerful message of resilience in the face of adversity (“Stray Kids rock the world, bow your heads”) set against an imposing hard-rock tinged instrumental, ‘U’ sensitively showcases the members’ softer sides while championing their penchant for melodic rap alongside Korean hip-hop royalty Tablo from rap trio Epik High.

From here comes all 8 members’ solo songs that frame their individuality and songwriting skills in a practiced and suave fashion. Group leader Bang Chan is up first with ‘Railway’; an edgy English track that displays the singer’s comfortability with sultry dance-based numbers. “Yeah, this train never sleeps, brace yourself, take a seat” the vocalist warns, before smoothly delivering a melodic chorus that will have listeners swooning in their seats. In contrast to this, ‘Railway’ is followed up by Australian rapper Felix’s sentimental offering ‘Unfair’, whose lyrics riff off the story of Beauty and the Beast to wondrous effect. With a lilting melancholic edge, Felix’s slick vocals flawlessly convey a story of longing for love set against a piano-led hip-hop backing track.

Youngest member I.N delights with his luxurious siren vocals on top of a trippy dance track on ‘Hallucination’. Within this minimalistic song, I.N’s haunting vocals are guaranteed centre stage and lend the track a cool, chic vibe. Lee Know is perhaps another member whose vocal talents were in the past overlooked, and hence his solo ‘Youth’ will capture fans’ attentions with a fun and uplifting sound that perfectly complements the singer’s sweet vocal tone. With its bouncy tempo and energetic vocal delivery, ‘Youth’ naturally brings out the singer’s hidden charms. Both ‘Hallucination’ and ‘Youth’ are a tribute to Stray Kids as artists; celebrating each others’ versatility and displaying their strengths through innovative and arresting musical productions.

Charismatic rappers Hyunjin and Changbin turn up the heat with their songs ‘So Good’ and ‘Ultra’, where each bring their unique vocal tones to the forefront of their mixes – Hyunjin pairing his husky croon with a striking dance beat, and Changbin opting for an intense mix of hip-hop to bolster his fiery rap verses. Both tracks are incredibly cool in their own right, and offer listeners thrillingly original takes on hip-hop.

Rapper Han and singer Seungmin both offer delightfully nostalgic tracks that take flight with a distinctive rock sound. Han’s emotive vocals soar boundlessly on ‘Hold My Hand’, which triumphs with its comforting lyrics (“I wanna make you the happiest one…Hold my hand now”) and instantly joyous instrumental. Similarly, Seungmin’s ‘As We Are’ will charm audiences with its rousing tempo paired with the singer’s honeyed vocal performance, as he recounts his emotional journey on the way to becoming a musician. It’s the perfect way to round off a mixtape that overflows with the versatile talents and passions of all 8 members, who come together to continually create powerful music filled with soul.

Score/Outstanding: If there was any doubt that each and every artist within Stray Kids was destined to follow the path towards music, then ‘Hop’ stands as a testament to each members’ hard work and unfailing passion for their craft. ‘Hop’ demonstrates that the boys will only continue to excel and conquer the world with their music, by showing that they are truly in a league of their own.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Since the 2019 formation of boy group Tomorrow X Together, known as TXT, the quintet immediately found fame with their fresh, groovy pop sound and their versatile vocal talents. As the second boy group under HYBE Entertainment after industry juggernauts BTS, TXT was subjected to immense pressure from audiences to succeed and possibly even equal the popularity of their predecessors. Despite this burden however, the members have continually proved their musical prowess and ability to shine bright even under the most scrutinous of industry gazes.

‘The Star Chapter: Sanctuary’ is only another gem in the group’s practically flawless discography. The members turn their angelic vocals to six dreamy tracks about the joys, excitements, and adventures of love.

The album is kicked off by ‘Heaven’, a glitzy pop track characterised by a retro synth sound that perfectly showcases the members’ nimble vocal performances. The song presents a blissful image of love which is displayed through the song’s lyrics “Heaven is not far away now, the moment we kissed”. To pair with these wistful lyrics, vocalists Hueningkai, Taehyun and Soobin execute some delightfully smooth vocals which effectively accentuate their practiced falsettos. Even rapper Yeonjun taps into a honey-sweet tone that beautifully complements that of the vocalists’. Ultimately, ‘Heaven’ is a gently joyful track that succeeds in lulling listeners into the gleeful pop tracks that make ‘The Star Chapter: Sanctuary’ really stand out.

Next comes the album’s title track ‘Over The Moon’, which is just as breezy and charming as it sounds. Starting with a soothing guitar intro underneath the members’ graceful vocal runs, the track instantly crafts a suave sound that only bolsters the group’s confident vocals. The song links itself to the album’s comforting concept as a whole (“Beyond the moon farther still through our dreams, sanctuary”) while contributing the sentiment that love has the potential to be magical and all consuming (“Over the moon, over the stars, I soar when you’re in my arms”). Audiences will likely be swaying along to the song’s easy beat and humming to the track’s enchanting melodies; all aspects that rightfully mark out ‘Over The Moon’ as the album’s most promoted track.

TXT return with renewed energy in the cool ‘Danger’, in which the group sing of a dangerous temptation towards a love interest. Accompanied by a catchy bass guitar riff, the song will capture audiences’ attention from the start with its hip and sultry ambience. The lyrics also overflow with romantic drama in lines like “wrapped up in a crime called emotion, I can’t see anyone but you”, which are delivered with plenty of creative vocal flourishes and a general air of swaggering self-assurance. Alongside its memorable chorus, fans will also enjoy Yeonjun and singer Beomgyu’s post-chorus, where the two use their charismatic low-tones to sell the suggestive line “What are you doing to me?”

From the very beginning of the bouncy ‘Resist (Not Gonna Run Away)’, the members’ accomplished vocals are on proud display on colourful vocal lines such as on the song’s opening line “When I see you, I can’t resist, you’re my one and only”. With thumping percussion and playful synths setting the scene for this bubbly pop number, the singers’ comfortability within their soaring higher ranges is really used to its full potential, as both rappers and singers come together to weave stunning harmonies and arresting melodies.

Slick R&B track ‘Forty One Winks’ highlights the subtle yet skilled nuances in the group’s vocal performances, with all five members slipping into pleasantly hushed croons that pair stylishly with the song’s low-key, leisurely tempo. The lyrics speak to the deep-rooted connection between two lovers, where words don’t need to be used to express love and affection for the other (“Send a signal, forty one winks, it’s like morse code”). This elegant track may not be as energetic and upbeat as the album’s other offerings, but it will captivate listeners all the same with its idyllic, somnolent vibe.

‘Higher Than Heaven’ seems like the perfect track to leave listeners on a high after the culmination of ‘The Star Chapter: Sanctuary’. The mid-tempo track’s euphorically charming lyrics, joyful guitar accompaniment and the members’ stirring vocals will appeal to audiences looking for a feel-good track to help warm the winter months.

Score/Excellent: Though all of the tracks on the album are under 3 minutes, all of them will bring listeners some moments of joy, who will find it hard to resist the sweet sentiment that this album explores. It’s a certified winter warmer that will appeal to all ages.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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After wrapping up their SYNK:PARALLEL LINE tour which enchanted fans across the world and gave the group ample opportunity to display their prowess at live performance and singing, it feels like aespa have barely had time to breathe before being thrust back onto the industry stage once again with new music. Nevertheless, the group’s 5th mini album ‘Whiplash’ sounds neither rushed nor compromises the group’s trendy, yet boundary-pushing sound. Instead, ‘Whiplash’ offers listeners even more evidence that aespa are capable of putting their mark on any genre and triumphing in the process. In the album therefore, fans can expect the group’s usual futuristic hyper-pop bops as well as smooth ballads, pop-rock anthems and dreamy R&B gems.

Title track ‘Whiplash’ comes storming into the fold with an instantly addictive dance beat that will get listeners bouncing just seconds into the track. With an accompanying music video that features members Karina, Winter, Giselle and NingNing strutting like supermodels, the sassy minimalism of ‘Whiplash’ would certainly sound at home in the background of a luxury fashion show. The arresting mid-tempo track is an ode to the group’s supreme self-confidence with a chorus refrain that boasts lines such as “One look give ’em whiplash”; in turn encouraging fans to embrace their unique selves and revel in the newfound confidence that this track will inspire in many. With both the singers and rappers in the group being afforded enough room to showcase their abilities, the catchiest part outside of the chorus may well be vocalist NingNing’s cool rap in the 2nd verse. Utilising her undeniable charisma to sell the track’s hip ambience, the singer raps “Keep it right, I know it, keep it classy”, while proving that each member’s fixed positions in the band are mere guidelines for the aespa members, who continually excel in their versatile talents.

Long-time fans of the group may liken the experimental hip-hop of ‘Kill It’ to 2021’s slick hyper-pop track ‘Savage’ which both divided and thrilled audiences with its alternative sound. ‘Kill It’ is not too dissimilar to ‘Savage’, with a return to aespa’s signature take on hyper-pop including repetitive lyrical refrains (“I-I-I-I-I I kill it”), unconventional harmonies and a futuristic electronic-based instrumental. Using this formula, ‘Kill It’ will be another high-calibre banger for fans, who will simply lap up this track.

aespa once again change up their sound with the retro-inspired R&B/hip-hop track ‘Flights, Not Feelings’. With a laid-back and even tempo, the song adopts a glitzy and fresh sound, laying a chill foundation for rappers Karina and Giselle to expertly play around with the beat and execute a satisfyingly suave vocal performance. The lyrics talk of a need to protect oneself from the unpredictability of love, as the members express “Catching flights not feelings, I’m not tryna hurt myself”. Winter’s airy, yet husky vocals also work wonders on this type of track; carrying the song’s light melody like a soft summer’s breeze.

4th track ‘Pink Hoodie’ sees the members flaunt their down-to-earth preference for comfort and practicality over flashy and “suffocating” fashion. The track, which plays out over a glitchy bass-heavy hip-hop instrumental, is both playful and ultra sleek in its combination of a swaggering beat and the girls’ cooly casual delivery. The song reminds us that behind the daring hooks and razor-sharp looks of the girl group, 4 supremely talented women stand embracing their unique selves to fans, no matter what anyone has to say about it.

‘Flowers’ is aespa’s enchanting take on slow-burn R&B featuring a leisurely guitar accompaniment and a subtly sultry ambience. This is where dexterous sopranos Winter and NingNing are given wings to soar within this track; unearthing a dreamy vocal performance that sounds straight out of heaven. The lyrics themselves are suggestive in their depiction of falling deeper in love with vivid sensory descriptions of desire in lines such as “Locked away forever in my garden, show me your flowers”. The entire track is softly lulling and will mesmerise fans upon the very first listen.

The album’s closing track “Just Another Girl’ is another triumphant take on an old-school pop-rock sound, characterised by a euphoric, upbeat instrumental, and an extremely catchy melody sung with an abundance of playful attitude. It’s definitely going to be nigh on impossible for listeners to make it through the track without at least humming along to the chorus, which details a girl’s dismissal of a love interest who has been unfaithful. At the heart of it all though, is aespa’s message to keep being unapologetically you, no matter who tries to bring you down.

Score/Outstanding: It isn’t easy for artists to keep outdoing themselves again and again with every new release, and yet aespa achieves this with no lack of self-assurance and confidence in their ever-growing abilities. Listeners can rest assured, knowing that these 4 girls will never let them down.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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If anyone is still in any doubt that the eight member boy group is not only on their way to dominating music charts but the world in general, then they have clearly not been privy to the astonishing week that Stray Kids have just had. With the release of ‘ATE’, the group resigning their contracts with JYP Entertainment, and the delight amongst fans at the band making it onto the soundtrack of this year’s hotly anticipated blockbuster ‘Deadpool and Wolverine’, the band are in the peak of their careers as industry juggernauts. Amidst all of this commotion however, the band proves with ‘ATE’ that their self-produced music is still at the forefront of their identity as a K-Pop powerhouse, and their quality of songwriting will continue to go above and beyond all expectations.

The album is kicked off in SKZ’s signature hard-hitting style with ‘Mountains’; a powerful guitar-based ode to the band’s widespread influence and sparkling reputation across the globe. Member I.N’s rousing vocalisations serve to hype listeners up upon the commencement of the track while leading seamlessly into an ear-worm refrain (“Head above the crowds stand tall for the hell of it”) delivered in turn by rapper Felix’s deep growl and singer Seungmin’s crystal clear croon. The group knows exactly what their fans want to hear, namely high calibre rap performances, and as always they give back in spades; the gritty rock soundscape of ‘Mountains’ providing the perfect backdrop for Changbin, Han, Hyunjin and Felix’s furious verses that speak of the group’s penchant for world domination. The chorus itself is as swaggering as ever as the members boast “Ain’t nobody stopping me, I’m walking like a titan” over a striking drum beat.

‘ATE’ title track ‘Chk Chk Boom’ is the album’s second track, and what a ride it is. Having previously expressed a desire to write something inspired by Latin music, which has had an undeniably pronounced impact on global charts, the boy-band finally succeeded in bringing a Latin banger filled with savage hooks to their diverse set of listeners. While the song does succumb to the recent K-Pop trend of songs being under three minutes long, the track is full of quirky vocal deliveries, snappy repetitions (Ra ta ta ta I’ma make it boom boom chk chk boom”) and suave harmonies that make it memorable. A ‘festival version’ of the song is also available on the album, which turns the whole song up to eleven with thumping club beats and a raging tempo.

Eccentric rap track ‘JJAM’ is also brimming with tongue-in-cheek lyrical quips paired with a bass-heavy electronic instrumental. Changbin’s sharp delivery of “I got no jam? You got no jam? We gotta jam” is a particularly catchy line in the chorus; ‘No jam’ refers to the Korean slang for ‘no fun’ and therefore proves that even after years of writing music, the group are still enjoying every minute.

The upbeat hip-hop track ‘I Like It’ cleverly places the members in place of a commitment-phobic character indulging in his hobby for casual relationships. Singer Lee Know’s honeyed vocals still sound lovely over the chorus’ defining line “Yeah, I love that I like you but I don’t wanna love”, which frames the character’s immature and nonchalant nature. The song is drawn to a close with an unforgettable vocal outro by rappers Han and Felix; immediately certifying ‘I Like It’ as an unapologetic anti-romantic anthem.

The energetic drum and bass track ‘Runners’ serves as the English language song of the album, while also promoting the members’ determination to keep striving for greatness as one of the industry forefronts. The group chant “I won’t stop running, I know that I’m becoming G-O-A-T I’m stunning” and asserts their unity as a group while dealing with challenges head-on.

Penned by rapper and producer Han, ‘Twilight’ is a much more subdued affair; substituting pounding bass and frantic tempos for a piano and guitar-led ballad containing delicately sung melodies. The lyrics paint a sombre picture in the wake of a breakup, but still stand out for their beauty in lines such as “In my room, a beautiful emptiness is left in the night again”. Though it may be subtle, ‘Twilight’ is an immensely enjoyable track characterised by its soothing late-night vibes.

‘Stray Kids’ will prove to be the emotional peak of ‘ATE’ with its many references to the group’s impressive rise from tentative beginnings to K-Pop giants with legions of global fans. With its drum and bass instrumental, heartfelt vocal harmonies, and lyrics reminiscent of all the band has gone through, long-time fans will be sure to shed a tear during this track.

Score/Outstanding: Another stellar album from undoubtedly the best of the K-Pop sphere. Honestly, by this point, this is what listeners can expect from the group – inimitable creativity, inspiring songwriting and of course an abundance of talent.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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6 months on since the release of the K-Pop quartet’s explosive 4th mini album ‘Drama’, fans were practically drooling over the hotly anticipated announcement of the group’s 1st full album. Now, after weeks of pre-release promotions, the 10 track ‘Armageddon’ has arrived with fierce momentum.

The beginning track ‘Supernova’, which was utilised as a pre-release for the album, is exactly the kind of weird and wonderful sound that aespa are known to deliver to hordes of awaiting fans. The song, which compares the power that aespa bring to the music industry to the effects of a supernova, starts with an instantly commanding verse and a strong beat that outlines the track’s confident lyrics “look at me go”. The pre-chorus contains perhaps one of aespa’s most catchy refrains; the girls’ sassy calls of “ay oh ay” echo underneath the members’ dynamic vocal lines. All four members’ vocals are captivating in the layers of personality that they can collate within the track; with Karina and Giselle contributing stylish raps and Winter and NingNing showing off their accomplished vocal prowess. The track’s glittery electronic touches in the instrumental are a highlight amid this supercharged dance bop, particularly when it comes to the bold synths in the chorus and dance break section.

The title track ‘Armageddon’ may not have as dramatically arresting an intro as previous hits such as 2022’s ‘Girls’ or 2021’s ‘Next Level’, but it serves up thrills and chills just as easily within its edgily experimental sound. With an unconventionally grungy hip-hop instrumental, ‘Armageddon’ radiates a subtle power that grows exponentially with the members’ larger than life vocal performances. Taking advantage of quirky lines throughout the slow burn track, such as the pre-chorus’ undeniably striking “Bang chitty bang bang, chitty bang bang”, ‘Armageddon’ serves as yet another reminder as to why aespa stand out among the masses of K-Pop girl groups.

The glitchy ‘Set The Tone’ is anthemic in its deliverance of aespa’s fiercely unapologetic brand of futuristic pop jams. With the girls smoothly adlibbing over a disjointed instrumental, aespa’s seemingly effortless ability to exude swagger and confidence is on centre stage here. The 4th track ‘Mine’ also uses this minimalist approach as the members’ vocals carry this deliciously dark banger. With NingNing landing some breathtaking Ariana Grande-like vocal runs and the group revelling in their impressive synergy, ‘Mine’ is a song that only aespa could execute to this sky high standard.

The group bring some light-hearted fun to the table in the sugary pop song ‘Licorice’. Comparing a crush to the sugar rush felt while indulging in the titular sweet treat, aespa add a lively dose of playfulness in the wake of the charismatic ‘Mine’. The song’s hook (“You’re just like licorice”) is simple but still sung with enough charm to immediately enchant audiences upon their first listen.

‘Bahama’ showcases the beachy vacation vibes that fans have no doubt been waiting on; sweeping vocal lines and saccharine melodies characterising this feel-good song of the summer. The lyrics themselves are dreamy and evocative of a tropical paradise and help transport listeners to a blissfully tranquil headspace.

On ‘Long Chat’, the girl group best known for exploring the realms between humans and AI is at their most down to earth on this uplifting track. Encapsulating the comforting feeling of catching up with old friends and set against a bubbly and harmony-heavy chorus, this track is soothing in its cheerful ambience. ‘Prologue’ taps into this same melodious soundscape with the group sending a motivational message to those struggling in the midst of their transition into adulthood.

aespa go pop-rock on ‘Live My Life’; an ode to the self-confidence and freedom that comes with breaking free of other’s expectations. The vocals are euphoric as ever here, and wonderfully embody a youthful joy that is at once enthralling to its listeners.

The final track ‘Melody’ is the perfect track to unwind to after making it through this momentous album. A sensitive love song, the group showcase just how their already impressive vocals have matured since their 2020 debut.

Score/Outstanding: Fans waited patiently for this album, and now is their time to bask in this golden moment knowing that aespa are no doubt one of the best in the business. For new listeners: prepare for a sonic explosion of gritty instrumentals and soaring vocals – for sure you will never look back.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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