ENHYPEN are a part of the 4th generation of k-pop, debuting in 2020 with seven members: Jay, Sunoo, Sunghoon, Jake, Heeseung, Ni-ki, and Jungwon, and are what I’d consider pretty popular. Also, confession time: I had a full-on crisis when I realized that I’m actually older than most of them. Cue a whole “what am I doing with my life” moment.

But, seriously, here are my credentials: I don’t know much about ENHYPEN, but unlike what’s usually true, I actually know more about them as people than their music. I’ve seen an interview of a few of them (Jay and Jake, I think) with Eric Nam and couple learn-about-the-members videos that came up on my recommendeds. I know a couple titles from them, but I’m excited to learn more. Let’s get into it!

EP #1: Border; Day One

Given-Taken is the first of their 2020 debuts, and has a much more gentle opening than I expected for a group I think of as more on the EDM side. But, when that chorus took over, I was brought along for the ride, and ended up quite liking it. I think that the verses are a little too light, and sometimes the transitions between them and the choruses aren’t the smoothest. I did like the bridge a lot, though, and also that very creepy choreography where they all move as one.

20 Cube is the other single from this first release, and it seems like ENHYPEN are determined to surprise me, because I didn’t expect it to start with an “I wanna be your boyfriend” or to become a pretty classically k-pop love song. That paired with the odd music video is a strong contrast that I did enjoy, but I was a little too confused to fully appreciate the track itself.

From the EP, Border: Day One, I enjoyed the hazy distortion of intro Walk The Line, the sharp percussion of tropical 10 months, and the unsettling waltz of outro Cross The Line. It’s a very solid sound for a first release.

EP #2: Border; Carnival

Drunk Dazed is up next, and is probably the song of theirs that I knew best before my review. Right from the outset, it has this great, creeping energy like a horror movie where you know that something is very wrong but you aren’t sure what. Then that chorus comes in like a sledgehammer, having the distinction of being one of the few sort-of anti-drops that I honestly love. And that outro? Such a great way to finish everything; it always makes me want to go for a run. The entire track is a masterclass in creating an atmosphere, and though I don’t listen to it everyday, when I’m in the right mood, it just hits.

Fever, the other single, is both smoother in delivery and lighter than Drunk-Dazed. At first I was worried that I would have the same issue with it that I did with Given-Taken, but instead, the verses have just a bit more heft and the chorus is just a bit more understated. This is a solid combination, brought to life by some pretty captivating vocals and another interesting dance—this time a partnered somewhat tango that really emphasized the queer energy the song gave me. Please tell me I’m not the only one who immediately goes “say what now?” when a song says “I can’t have you, I can never touch you, please stop, no, don’t stop.”

From the EP, Border: Carnival, I didn’t have a hidden gem.

Album #1: Dimension; Answer

Tamed-Dashed is more upbeat than ENHYPEN have gone before, and reminded me a bit of Golden Child in their schoolboy heyday. It wasn’t until getting to the chorus that I realized I’ve actually heard this one before—or at least the “hot summer” hook—and it was nice to put a face to a name. Yet again they surprise me, because I was expecting to include another of my rants about sticking to a specific style, but this track somehow still feels like an ENHYPEN song, with its intentional distortion, EDM base, and fritzy energy, and I actually really liked it.

Blessed-Cursed had my attention right away, with that excellent guitar riff, before going into their usual EDM-heavy style, which usually isn’t for me. My favorite parts of the song were when they really leaned into the rockier elements, which didn’t happen as often as I would’ve liked. Besides that, though I’m not really a sing-talk person, I did like how expansive the chorus was, and I thought all the different parts added some much-needed texture.

From the album, Dimension: Answer, I enjoyed the harmonizing in the hook of Just A Little Bit, the light synths and expansive chorus of Go Big Or Go Home, Yeonjun of TXT’s piercing rap feature in Blockbuster, and the easygoing catchiness of Polaroid Love (which I have heard before, but can’t for the life of me remember where). My hidden gem was definitely the fun-loving pop-rock Attention Please with its great summery guitar. I also enjoyed Blessed-Cursed more in the context of the album.

EP #3: Manifesto; Day One

Future Perfect (Pass The Mic) also had my attention right away, but for the opposite reason to Blessed-Cursed: that incredibly autotuned hook. As mentioned, I’m not a fan of sing-talk or the less melodic tendencies of it, so I didn’t like the verses very much. Also, I could do without the cultural appropriation, thanks. I did like the vocalizing in the pre-choruses, but other than that, I don’t think I’ll be relistening to this one.

From the EP, Manifesto: Day 1, I enjoyed the switching of languages between Korean, English, and Japanese in Walk The Line, the fun feeling of Paradox Invasion’s “come on, come on” post-chorus, and the soft rock percussion of That Feeling When, which reminded me of Day6 in the best way. My hidden gem was Shout Out, though, by far. Number one, it’s a sappy song about their friendship, which is almost always a win for me, and number two, it’s just so catchy, with an anthemic pre-chorus that just makes you want to smile. This is definitely my favorite release so far, which is pretty funny since it has my least favorite title.

Next time, we’re onto Part 2. Tschüss!