STAYC STAY ALIVE era

JJ’s tone shifted upward. Korean fans, upon realizing that the lyrics of this song were about the friend zone, fell into confusion. A summary of the lyrics is as follows: - Circle around me like a satellite and fill me up - But don’t cross the line - Just make eye contact - This much is comfortable

Compared to before, the vocals show a clearer outpouring of emotion.

It is a song filled with lyrics that highlight both the individual members’ and the team’s ego. From the middle part onward, the tone becomes direct.

It contains reflections on Japan and a confession of love to the fans. The short rap is very pleasant to listen to, and Jae Yoon in particular recalls the 2024 “Go-Getters” collaboration. The lyrics feature the “Frog Prince” and “Lancelot.” The vocals overpower the sensuous song.

STAYC replaced the performance video with a rehearsal stage video.

The title track “MWUAH” had its music video released suddenly right after the showcase. The audio began opening on different sites a day before its official release. Rather than simply trying to capture public curiosity at this moment, the MV symbolizes that STAYC’s own memories with their fans are more precious. Some fans expressed dissatisfaction with the video’s visual composition. Japanese fans defended it, because the MV was a reflection on three years of STAYC’s activities in Japan.

“Lover, Killer” is distinguished by its magnificent build-up that lurks beneath the surface.

As a Korean, I anticipate that this song will have a distinctly J-POP style.

The classic framework of STAYC’s songs is clearly heard in their performances.

Even in this promotion, there was no stage for “LIT.” Could it be that they plan to bring it to Korea? Or is there a risky element in the choreography? If it is not performed within the next 20 years, perhaps one of the fans might even acquire an equity stake in the company just to make “LIT” happen.

“POPPY” holds a unique character even among STAYC’s songs. In Japan, it remains their most famous track to date, while in Korea it achieved such popularity that it was even used in commercials.

Japanese enka and Korean trot share similar origins, and STAYC’s song “STEREOTYPE” captures that sentiment well. From what I have observed, this song was the one through which the largest number of international fans solidified their affection for STAYC.

This song feels as if it could be playing from the cockpit of Evangelion. Beneath the surface, however, it unexpectedly resonates with the essence of Korean traditional folk heritage. Some listeners are afraid of the latter part of the chorus, saying its atmosphere feels like a horror movie. “Cheeky Icy Thang” is, so far, the highest-quality track that Korea has introduced to the world. However, because it is not gentle but rather firm in character, it failed to break through the barriers to chart entry and remained unknown even to the Korean public.

The most beautiful fan song, Stay WITH me, is also included in this album.

This striking choreography, like that of “BEBE” and “I WANT IT,” was also crafted by KOO JAE MO.

STAYC’s “STAY ALIVE” entered the Worldwide iTunes Album Chart at No. 167 and debuted at No. 5 on the Oricon Daily Albums Ranking. The title track “MWUAH” also entered QQ Music at No. 86.