The K-Pop summer season is heating up, and July sees one of the industry’s most intriguing and often complex acts, idntt, make their return with sub-unit itsnot5ver’s new project, “Kids Return.” Known for their dynamic lineup changes and genre-bending sound, each idntt comeback sparks considerable fan discussion, not just about the music but the intricate creative forces behind it.
For the second July in a row, producer EL CAPITXN has been very busy. He spearheaded the vast majority of AHOF’s mini album released last week and has done the same for the new idntt project. Of course, in this era of K-pop there’s never just one producer attached to a track so there’s no telling how much of this work is his alone, but it’s still nice to see some level of streamlined creative vision fueling these comebacks.
EL CAPITXN & The idntt Universe: A July Rush
It’s clear that EL CAPITXN is having a particularly productive summer. His consistent involvement across multiple high-profile releases, from AHOF to now idntt, speaks volumes about his influence and the demand for his touch in the K-Pop landscape. While K-Pop production is undeniably a collaborative effort, with numerous composers and arrangers often credited, the steady presence of a key figure like EL CAPITXN hints at a deliberate artistic direction. This kind of continuity can be a double-edged sword: offering a cohesive sound for fans but also potentially limiting sonic exploration, pushing artists into a familiar sonic box.
As for idntt itself, the group’s structure remains a fascinating puzzle for even the most dedicated fans. With itsnot5ver inviting five new members while supposedly retaining existing sub-units on the album, it’s a lot to keep track of! The ever-evolving lineup can be daunting, but ultimately, what truly matters is the music, and idntt has a track record of delivering compelling soundscapes. Their last release, “Pretty Boy Swag,” certainly raised expectations, and “Kids Return” steps up to the plate with a similar, yet evolving, vibe that promises to keep the energy high.
As usual, the configuration here is somewhat confusing. Kids Return is the work of idntt sub-unit itsnot5ver, which invites five new members into the fold. But from what I’ve read, all of the existing sub-units are also present on the album in some form. All I really care about is whether the music is good, and idntt’s last release delivered on this front. Despite coming from a different sub-unit, Kids Return feels like a sonic continuation of Pretty Boy Swag, adopting a similar hip-hop sound. This time the chorus is slightly more melodic, but there’s still plenty of chant-rapping to go around.
“Kids Return”: A Familiar Yet Evolving Sound
Building on the foundation laid by “Pretty Boy Swag,” “Kids Return” confidently leans into a hip-hop dominant sound. Fans who enjoyed the energetic, rap-heavy delivery of previous tracks will find much to appreciate here. The noticeable shift towards a slightly more melodic chorus is a welcome evolution, hinting at a desire to broaden appeal while maintaining the group’s signature edgy sound. This balance between raw, intense chant-rapping and moments of vocal harmony is a tightrope walk that many K-Pop groups attempt, with varying degrees of success. For itsnot5ver, it certainly provides a dynamic feel, adding layers to their established identity.
Navigating the Noise: Production & Performance
This is where “Kids Return” encounters some turbulence. While the ambition is clear, the execution occasionally feels overcrowded, especially given the multitude of performers. The sheer number of voices is a factor, of course, but the instrumental itself can come across as overly complex, losing its sense of direction in a sea of sounds. That peculiar “strangled goose” effect completing each chorus, for example, is a bold choice that unfortunately detracts rather than enhances, preventing the track from settling into a natural, irresistible groove that could carry the song more effortlessly.
Above all else, Kids Return comes across as oddly busy. Obviously, there are many voices on the track, but the instrumental is equally cluttered. I could do without the strangled goose sound that completes each chorus, for example. This hinders the track’s ability to catch a natural groove while also making the production feel big enough to accommodate so many performers. A stronger, more straightforward melody is needed to cut through all this noise and anchor us to the song, but alas strong melodies are not easy to find in K-pop these days. Instead, Kids Return struggles to find its footing. Its strongest moments are enjoyable enough to pull it over the line, but this should have been an easy slam dunk.
The critique points to a common challenge in contemporary K-Pop: the struggle to balance intricate, maximalist production with truly memorable melodic hooks. “Kids Return” suffers from this, its immense potential undermined by a lack of a clear, strong melody to anchor the listener amidst the numerous elements. While the track has its enjoyable moments and clearly demonstrates the talent involved, it ultimately feels like a missed opportunity for a truly impactful comeback. It crosses the finish line, but not with the decisive slam dunk its potential promised, leaving fans with a solid, albeit slightly muddled, experience.
Hooks
7
Production
8
Longevity
8
Bias
8
RATING
7.75
Grade: C+
