It’s been gratifying to watch DKZ’s (formerly Dongkiz) glow-up. Their ascent has nothing to do with the quality of their music and everything to do with member Jaechan’s sudden popularity as an actor. But, that’s just how the K-pop industry works. However they needed to do it, I’m happy DKZ have found success. But, I’d be even happier if this success came paired with a fantastic song.
This spring’s Cupid was a grower, buoyed by a rollicking chorus that screamed summer. But, the group’s agency couldn’t leave well enough alone and decided to drastically shift concepts for new single Uh-Heung (호랑이가쫓아온다). I guess we can’t just let bright boys be bright!
K-pop history is littered with successful transformations, and during Uh-Heung’s first verse it seems as if DKZ might pull this one off. Its propulsive beat and sexy guitar make a satisfying brew, heightening a sense of melodic drive. Then, things get messy.
From here, Uh-Heung plays like a master class in “how to ruin a perfectly good track.” The producers have attempted a huge hype song in the vein of Stray Kids, Seventeen or BTS. But, Uh-Heung devolves into boisterous shouting with no form or purpose. It’s obnoxious and borderline amelodic. The mixing is terrible. Even the sung pre-chorus is pitched at a grating level, as the pots-and-pans instrumental undoes all potential from verse one. It feels weirdly cheap, especially compared to a track like Stray Kid’s Miroh (an obvious inspiration). Uh-Heung may be bursting with energy, but it’s hard to get through and spits in the face of the group’s excellent debut-year work.
| Hooks | 7 |
| Production | 6 |
| Longevity | 7 |
| Bias | 6 |
| RATING | 6.5 |
The Bias List // K-Pop Reviews & Discussion 
Its like a three-fold mashup of Pentagon’s “Cosmo” and Stray Kids “Miroh” with every shouty track ever that we never asked for, when they just should have stuck with making this year’s version of “Cosmo”.
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the verses gave me 2nd-3rd gen kpop somehow, which I liked but then the chorus came and ruined everything
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I was reminded of miroh too. i kind of like this as a whole but yeah, it would’ve been better if they kept the vibe of the first part.
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why are we bringing back the “robot farting into the mic” chorus from vamos?
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anyway just waiting for baejaehoon’s rage comment
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Me too. That is, if bae~ is still between the “anger” and “bargaining” stages of grief. Bae~ may have moved onto “depression” and is in hiding binge watching old kdrama.
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haha I don’t think it ever left!
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Nah, I like it a lot!
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I don’t love all the shouting, but i’m a sucker for that chorus (after all, MIROH was one of the first songs I liked when I first got into kpop back in 2019)
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I like it! I also love that it still stays true to who dkz are which is a group who can try it all
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as a long-time dkz/dongkiz stan (even before the whole semantic error thingy) i have to say i’m very disappointed by this song. doing something different is not inherently wrong but… when you’re the same group that released hits like fever/all i need is you/blockbuster it really hurts to see them do a 180 turn. their new in-house producer is doing everything i do NOT want to see in their music?!
not to mention they only get one song per comeback, at least if they released a mini album i could try liking the b-sides if the title wasn’t good. their company is doing the bare minimum for their songs while going all out in maximizing sales through fansigns/bulk orders
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They got the first win with this song so it’s predictable that they will make the same other songs with this one in the near future, or even more horrible, till they end their contracts.
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