‘Tunnel Vision’ — ★★★★

ITZY

After a yearlong release hiatus, ITZY returned to the K-pop scene in November 2025 with its first full-length studio album. “Tunnel Vision” is exactly the well-rounded comeback I had been eagerly anticipating from the girl group. In the style of its 2024 extended play, “Born to Be,” the album is full of high-energy songs that complement the group’s performance-heavy concept. 

The title track features a captivating prechorus, and ITZY continues its established aesthetic in the song’s powerful choreography. Lighthearted tracks like “Flicker” showcase the group’s exploration of different styles, adding more third-generation K-pop sounds to balance out the intense, dance-forward sound throughout the rest of the album. 

The initial hype for this comeback faded a bit too quickly after its release; “Tunnel Vision” deserved more attention. Unlike previous projects that had staying power as fan favorites, this release struggled to sustain the momentum I anticipated from ITZY. I know some argue that this project lacks the signature beat drops and buildups the group is known for, but it still hit the top of my recent repeats. The energy and style of “Tunnel Vision” has kept me an ITZY faithful. 

‘UXLXVE’ — ★★★​​★½

XLOV

For all its merits, the K-pop scene is not known for gender fluidity. In an industry where gender stereotypes still define the norm, the recent rise of XLOV has been exciting to witness. XLOV aims to subvert K-pop’s strict gender stereotypes by embracing increasingly “genderless” concepts with each release. 

I find myself drawn to XLOV’s signature R&B and techno-blended sound when I need a change of pace from my normal listening routine. As with its last release, “I ONE,” I was excited to see both the group’s most recent interpretation of androgyny and the industry’s reception of it. The group usually performs intense and technically challenging choreography featuring acrobatics and precise movements to accompany its music — a distinguishing characteristic I was particularly interested in seeing again in this comeback. 

Though some quick-hit tracks like “Rizz” or “Biii:-P” are clearly catered to a TikTok audience, the rest of the project flows smoothly, showcasing the group’s ability to create a seamless listening experience for both longtime fans and newcomers. The album is not singularly grabbing at TikTok virality; the group’s skill is still on full display on this album, especially in the ballad track “Kiss and say goodbye.”

While XLOV has room to expand in terms of song variety and production quality, I nonetheless enjoyed the catchy earworm songs on “UXLXVE.” And most of all, “UXLXVE” stays true to XLOV’s concept of defying and reinventing expectations of gendered groups through its predominately feminine aesthetics and choreography styling. This comeback solidifies XLOV’s emerging role as a group that goes against the grain, bringing a challenging yet refreshing aesthetic to K-pop while allowing the group to explore its artistry free of stereotypes and industry pressures. 

‘NOT CUTE ANYMORE’ — ★★​​★½

ILLIT

ILLIT made its comeback with single “NOT CUTE ANYMORE” in November 2025. I don’t often listen to ILLIT, so I was surprised by how much I ended up liking this track. I found that the softer styling and aesthetics of ILLIT’s live performances aligned exceptionally well with its sonic experience. 

Unfortunately, like XLOV, the production of “NOT CUTE ANYMORE” also reeks of maximizing TikTok trend potential. The choreography is simple to follow and suits the slowed-down, cutesy vibe of the track. While “NOT CUTE ANYMORE” isn’t necessarily one of my favorite ILLIT tracks, I enjoy the song’s coziness — whenever it appears on my feed, I’ll always let it play.

I applaud ILLIT for fully embracing its concept as a cute girl group. However, like XLOV, I would like to see ILLIT broaden its artistic depth and produce more substantial tracks alongside TikTok-bait. With more emotional depth and intentionality in its discography, I could see myself becoming a more regular listener.