Let’s get this out of the way: Riizing: Epilogue, released to celebrate the one-year anniversary of Riize’s debut, is a repackage (with only one song added) of EP Riizing, which was released twice with barely different covers and track lists on April 28, 2024 and June 17, 2024 respectively, which in turn was largely made up of previously promoted singles. Therefore, branding Epilogue as Riize’s first mini album is frankly, insulting.
It also, perhaps unintentionally, highlights how small Riize’s current discography is in comparison to peers in age and popularity like BoyNextDoor and ZeroBaseOne. Nevertheless, as a compilation of all of Riize’s songs to-date, barring only their debut tracks “Get a Guitar” and “Memories,” (a re-recording of pre-release “Siren” is included), Epilogue provides a unique opportunity to consider Riize’s rookie year in its entirety.
“Combo,” Epilogue’s sole original song, embraces that spirit of reflection. Though ostensibly a love song, the track’s lyrics are ambiguous enough that the titular combo could be interpreted romantically, as referencing the bond between Riize, or as the members will likely emphasize in interviews, the connection between Riize and their fans. Lines like “my time has come it seems,” and “it’s time to stir it up” also invoke a youthful can-do spirit, gesturing towards Riize’s bright future.
The MV, largely made up softly lit shots of individual members and the group hanging out, including a good chunk of home video-style footage, continues Riize’s pattern of infusing their visuals with nostalgia. That vibe hits home even harder in the context of an Epilogue, marking the end of one era before launching into the next. In this sense, “Combo” is a fitting goodbye to rookie times.
One caveat is that, musically, “Combo” is not super interesting. The verses all blend together, and some of the yelling-adjacent rapping and singing verges on grating. The exception is the track’s punk/emo rock-tinged chorus, with the delivery of the line “I’m such a loser, she’s such a weirdo” by Sohee and Wonbin going especially hard. If “Combo” is hinting at a punk-inspired Riize period to come, the song’s chorus indicates that would be something to look forward to.
Genre experimentation is already something Riize are very familiar with, as the rest of Epilogue’s track list, order ripped directly from Riizing (sigh), demonstrates. In fact, nearly every song has different genre influences, from house, to soft rock, to r&b, to K-pop’s classic ‘noise music.’
Riize showcase impressive versatility in how they adapt to each new soundscape, but Epilogue (and by extension, Riize’s discography) is a little chaotic. Abrupt mood and tempo shifts characterize the album. While contrast is unavoidable given the album’s contents, Epilogue yearns for a more thoughtful tracklist order. For example, if the album opened with its set of sweetly high-energy songs (“Combo,” “Love 119,” “Impossible,”), then transitioned into mid-tempo b-sides (“Honestly,” “9 Days,” “One Kiss”), and closed with its most theatrical tracks (“Talk Saxy,” “Boom Boom Bass,” “Siren”), there would at least be a tonal rhythm for listeners to follow. Instead, Epilogue listened from top-to-bottom is a study in whiplash.
That being said, Epilogue is not devoid of cohesion. In spite of the diversity of Riize’s musical experiments, there are common threads, especially thematically. From the very start of Riize’s career, members and SM Entertainment have pushed the idea of “emotional pop.” Explanations have varied, but the gist seems to be that Riize want to make emotive songs about relatable experiences, pulling epic meaning from everyday feelings.
Unlike so many other ambitious and marketable SM concepts, Riize have actually stuck to this one so far, and with excellent results. Despite the wide gulf between some of their songs musically, they share a common no-holds-barred earnestness and youthful optimism that defines them as Riize-like. It is, in fact, fascinating to see how Riize interpret their central concept in different forms. Bombastic teenage confidence is the driving force behind the maniacally fast-paced “Siren,” and its hollered raps and sharp percussion, but it is also the source of the dreamy, joyful soundscape of dance song “Impossible,” probably Riize’s most fully realized and celebrated rookie comeback. Likewise, “Combo,” “Love 119,” and “Honestly” all present unique musical interpretations of the angst of young love.
Perhaps to make space for all these emotions, there is a sonic commonality between all the songs on Epilogue, and that’s focused, clean production. Most obviously, “Boom Boom Bass” and “Talk Saxy” center their titular instruments (for the record, that still doesn’t justify “talk saxy” existing as a phrase) and keep the surrounding production simple and complimentary. Other tracks also avoid K-pop’s penchant for walls of sound, opting instead for a steady beat and a handful of clearly identifiable instrumental and electronic accompaniments.
This approach is largely a home run, giving Riize a distinctive and fresh sound. Their songs instantly stand out from their peers, and their comparatively old-school production approach evokes a sense of wistful fondness that particularly suits nostalgia-tinged tracks like “Impossible” and “Love 119.”
Every style has its downsides, however, and Riize’s love of simplicity can occasionally land them in boring, childish territory. For example, rhythmic b-side “9 Days” suffers from a dearth of interesting elements. The track’s plodding beats, staccato chorus, and pretty but predictable melodies make it seem more like a kids’ TV show theme than an actualized song. Notably, similarly sweet and mid-tempo track “One Kiss” manages to have greater heft, perhaps because it features more impressive and evocative vocals. It’s a thin line between clean and dull, but Riize mostly stay on the right side.
Riize attempt a similar balancing act lyrically, in this case between straightforwardness and obviousness, and between earnestness and cringe. The success rate is lower, but not dismal. “Boom Boom Bass,” Riize’s most recently promoted comeback, is a good example of the group’s typical borderline cheesy approach:
Pitch keeps going flat, but hey it’s fine
Between us, keep going make a bassline
You’re also kinda rushin’ the tempo
Come along, this timeline is just for us
Hands in the sky, yeah, you know what I like
It’s very possible that some finesse is being lost in translation, but taken as a whole, Riize are not in danger of being accused of lyrical profundity or ingenuity. You could argue that the off-the-cuff, clunky nature of Riize’s lyrics adds to their youthful vibe, and with upbeat and charming songs like “Boom Boom Bass,” the effect is largely endearing. However, when a song has a more mature musical or tonal bent, the balance can get thrown off. For instance, the over-obvious lyrics of “Talk Saxy” read as downright sleazy when combined with the track’s NSYNC-reminiscent 90s sound. Riize don’t need to abandon their penchant for sentimentality and playful cheesiness, but as they continue to evolve, it would be worthwhile to refine and expand their lyrical capacity.
Besides being a stellar mid-tempo vocal showcase, b-side “Honestly,” provides a window into what a more lyrically sophisticated Riize could look like. A softly melancholy breakup song, “Honestly” also stands out as the only track on Epilogue that is not wholly hopeful. It still has a slightly un-refined quality, and that’s a good thing, but there are several strong individual lines and an overall message that feels more thoughtful than Riize’s norm:
Ironically, it feels like everything’s turning out well
I’m giving my love to myself
Because I will change
I’ve done my best, so I have no regrets
You’re no longer a priority in my life
It’s clear now
Epilogue ends Riize’s rookie era by showcasing the surprising range of their first-year efforts, their success in establishing an engaging and unique identity, and the musical and lyrical issues they are still grappling with. Another outstanding item as the group head into their second year is the prolonged hiatus of seventh member Seunghan. The fact that his voice can be heard on Epilogue’s “Talk Saxy” but not on “Siren,” the two album tracks he promoted with the group, is indicative of SM Entertainment’s wishy-washy approach to his scandal; According to publicly available information, his great crimes include dating in high school and smoking a cigarette. As usual, SM Entertainment’s management leaves much to be desired, and unfortunately, this likely won’t be the last time Riize pay the price.
Despite lingering uncertainties and inevitable artistic imperfections, Epilogue marks a year worth celebrating for Riize. Undoubtedly one of K-pop’s most exciting young groups, Epilogue captures the flawed but considerable sum of Riize’s efforts so far, and points to the kind of exciting future Riize so joyfully capture in their songs.
(Billboard [1][2], YouTube[1][2]. Lyrics via Genius, YouTube[1][2]. Images via SM Entertainment.)
