ONEUS debuted in 2019 under RBW Entertainment (home of Mamamoo, Purple Kiss, and “brother group” ONEWE) with six members: Hwanwoong, Leedo, Keonhee, Seoho, Xion, and Ravn, the last of which left the group after controversy in 2022.

Here are my credentials: To be honest with you, I don’t know that much about ONEUS. I became a fan of ONEWE through a review I did of them last year, and ONEUS has been on my list to cover since. I’ve heard a handful of their songs through recommendations, but I moved this review up after seeing some very impressive clips of their performances on the competition show Road To Kingdom, and I’m excited to see more. So, let’s get into it!

Single #1: Last Song

Considering the whole reason I started this review has to do with ONEWE, it seems only right to start with their collaboration with ONEUS, Last Song. It’s solidly in the “slice of life” rock pop category, very Day6, and I was head bopping from the beginning. Having ONEWE there definitely lends itself to more of a band song, but the fusion between the two–which ends up, naturally sounding like a band version of a mainstream kpop song—really worked for me. The way the whole thing just explodes at the end is great too.

(Also, funny story: I didn’t actually know until this that Dongmyeong of ONEWE and Xion (real name Dongju) of ONEUS are twins, but once I saw them next to each other I was like: “well, duh, Anna.” I like to joke that the difference between my reviews in the summer and during school is that I’m at least 65% more dumb after September, so, clearly, this is that in action. Anyway, moving on.)

EP #1: Light Us

Valkyrie is ONEUS’ first official song, and I was seated from the start. Its verses are on its feet with a snapping percussion that sets it apart from the crowd, especially in an era of kpop dominated by noise music. The verses and chorus are very different from each other, so much so that I didn’t realize I knew the song until the main part of the chorus kicked in. Its titular hook is very catchy, despite being so light, a hard balance to strike, and yet it works. I’d say it’s like the whole song doesn’t touch the ground, perhaps apt for its name. My one gripe is that, while I like the bridge, its opening doesn’t quite gel with the rest of the song for me, and every time I hear it, it takes a minute for me to adjust. Overall, though, I liked the song, and I’m intrigued to see where they go.

(Side note: a quick thank you to whoever did the subtitles for letting the audience know who’s singing, cannot overstate how helpful this is whenever I do a review. Much love to all the subtitlers / translators out there!)

From the EP, I enjoyed the intro’s interesting off-kilter sound, the EDM sound of ZigZag, the surprisingly gentle and smooth vocals of Red Thread, and the electronic hook of Hero.

EP #2: Raise Us

While Valkyrie is a slow burn of a song, Twilight doesn’t waste any time before just rushing in to the crux of things. The main hook comes out swinging, even before the gentler first verse starts, a choice that I think works quite well without sacrificing the sound that I’m starting to see is characteristic of ONEUS. Something about this song is otherworldly; the mix between this distorted, almost…bubbly electronic sound and this deeper, more serious-sounding one only adds to the feeling. It’s a bit like the lighter side of Aespa’s or Stray Kids’ discography. I wish it had a greater payoff at the end, like Last Song did, but all in all, that’s a small issue.

As for the MV, it’s certainly a step up from Valkyrie, shot inside and around the grounds of a palace reminiscent of Versailles. The sense of grandeur combined with the unsettling feeling brought on by the interior being empty (both of people and of any objects) works very well with the song. I’d also like to mention my appreciation of the flowiness of the choreography, another thing that was unusual for this time in kpop, that was more focused on hip-thrusting and heavy movements rather than the ballet elements shown here. I think this is a song that, while good on its own, is very much made what it is by the music video.

This EP was definitely an interesting one. The intro felt slowed, which added this factor of otherworldliness I mentioned in the single, and I admit laughed out loud at English Girl, from the “I don’t know what you’re saying” to “I..I can’t speak English well, I’m sorryyyyy”, it reminded me a lot of Blind by ATEEZ. My hidden gem was Bing Bing, which goes for a spaghetti western style sound and catchy whistling hook.

EP #3: Fly With Us

With its interesting string background based on traditional Korean instrumentation and a set that would make the designers of Mr. Queen proud, Lit is another departure from the typical 2020s pop sound. It does a great job of melding tradition with kpop hallmarks: the outfits that have hanbok-like tops and leather pants, the drums and flutes with very modern EDM, and the core anti-drop hook tailored to a Joseon-era war cry chief among them. I admit that the song as a whole isn’t for me, and I probably won’t be listening to it outside of this review, but I can appreciate the clear amount of work in it and I really respect it for trying something new (or, in this case, old).

From the EP, I thought that the quasi-tango piano beat of Plastic Flower was a lot of fun, and I enjoyed the string-led Stand By too, especially with its emphasis on vocals. The rest of it wasn’t so much for me. 

Single #2: In Its Time

As a writer (someone drags me off stage), I confess I was excited for A Song Written Easily just because its title is great. But it wasn’t long before the rest of the song won me over too. Its whistling hook and light tropical pop beat shouldn’t work so well but they really do. ONEUS’ power, I’m starting to think, is taking a song that, on its face, seems too simple to be interesting, and making it just…work. I’m on record as often not being a fan of instrumental hooks (see any review I’ve written…ever), as I think they often feel like a cop-out, but this one really proved me wrong. This song feels like the kind of thing you’d listen to on a road trip along the coast, the kind of thing that sounds best when it’s combined with a nice breeze and the sunset behind you, and that’s the best compliment I can give it.

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