Sam Fang
There are few things more difficult for a K-pop idol than stepping away from a group that made you famous and figuring out who you are when the group name is no longer attached to yours. For EVAN (Lee Hee-seung) that question arrived sooner than most.
After first rising to prominence as a member of ENHYPEN, he departed the group in March 2026 and has now re-emerged as a soloist with his first mini album, Death of Me. And if the EP feels a little all over the place at times, that might actually be the point.
Rather than presenting one perfectly polished sonic identity, Death of Me sounds like an artist trying on different versions of himself and figuring out which one fits.
EVAN Is Still Finding His Voice Without ENHYPEN
The title track “Death of Me” is probably the most obvious statement of intent from EVAN. Vocally, he sounds confident throughout, delivering the song with the kind of assurance you’d expect from someone who has already spent years performing on a major K-pop stage. But there’s something particularly interesting about the lyric “It’s my time to go crazy,” arriving just before the chorus.
Given the circumstances surrounding this new chapter of his career, it feels almost like a mission statement. Then comes: “It’s in the stars, the start of my destiny.”
That’s surprisingly profound for a K-pop title track, and perhaps especially fitting here. EVAN isn’t simply releasing another solo single. He’s trying to establish an entirely new trajectory, one where the past is inevitably part of the story but doesn’t have to dictate the future.
The music video itself is fairly straightforward. Its cinematography is polished and the overall aesthetic works, but it isn’t necessarily the kind of visual that will stick with you long after the song ends. There are moments that feel vaguely familiar, even calling to mind the aesthetic of fellow HYBE artist Yeonjun’s solo work, particularly “Fucking Star.”
That comparison isn’t necessarily a criticism. Yeonjun is considerably further into his solo journey, and Death of Me feels more like the beginning of EVAN’s than a fully realized destination. But the outro makes his intentions pretty clear. “Ain’t the death of me.”
Not a bad way to announce yourself…
Still, Death of Me Gets Off to a Noisy Start
The EP actually opens somewhere quite different than its title track. “Not Enough” begins with melancholic R&B production, built around the feeling of never quite being satisfied: “Unsatisfied with mine / Still I need the next shot / My throat is still dry, as it’s burning.”
It’s catchy, atmospheric and gives EVAN plenty of room to showcase his vocals. Then “Noise” arrives and… well, it certainly lives up to its name.
The reverberating vocals and production create an intentionally grating quality, though at times it feels like the song sacrifices some of its listenability in the process. EVAN’s delivery in the second verse is considerably stronger, giving the track a much-needed injection of energy.
“I don’t care about the noise around / I tune it just…fine,” he sings, turning the concept into something more introspective.
It’s not groundbreaking, but there’s something appealing about the willingness to experiment. “Noise” feels like one of those songs that could potentially make considerably more sense in a live setting, where the sheer volume and energy of the performance could transform what occasionally feels abrasive on record into something genuinely exciting.
EVAN Is Down For His Ride or Die Fans
“Ride or Die” is where the EP really starts to hit its stride. The production is darker and more anthemic, with an immediately commercial quality that makes it feel tailor-made for radio. “Just take my heart, it’s naive but I promise,” EVAN croons, pledging to drive alongside his ride or die “til the end of time.”
It’s a familiar pop sentiment, but the execution works. Interestingly, the progression from “Not Enough” to “Noise” to “Ride or Die” is fairly chaotic. Each track seems to exist in its own little sonic universe, making the opening stretch feel more like a collection of experiments than a particularly cohesive project.
Whether that’s a flaw or simply an accurate representation of an artist experimenting with his newfound freedom is debatable. Either way, things get considerably stronger as Death of Me continues its onward march.
Death, Apparently, Is Only the Beginning
Placed fourth on the tracklist, “Death of Me” feels almost like a reset button.
Its more somber pace provides a welcome contrast to “Ride or Die,” and the title suddenly takes on a little more weight when considered alongside the project’s larger themes of change, uncertainty and destiny.
But it’s the next track, “Twilight,” that really feels like EVAN finding the sweet spot. “Starry night in your eyes, when our eyes meet / There’s nowhere left to hide, I am in this feeling” introduces a romantic atmosphere, while the production finally gives listeners the kind of balance the earlier tracks occasionally struggle to find.
It’s commercial without feeling generic. It’s big without overwhelming the vocals. Most importantly, it sounds comfortable. And that might be the most important quality on a debut solo project.
EVAN Learns to Spread His Wings with Death of Me
“Immature” takes another unexpected turn, bringing a rock influence into an EP that has already moved through R&B, pop and darker electronic territory. Somehow, it works.
The rhythmic lyrical patterns in the verses give the song a propulsive quality, while the lyrics embrace the idea of accepting yourself rather than constantly trying to appear perfectly polished.
“I don’t mind the immature me.” and then: “I put on wings without fear, so shut up and watch me fly.”
It’s a little corny, but it’s also kind of great. The production occasionally recalls the more accessible side of fellow Korean rock bands like Xdinary Heroes, albeit in a considerably tamer package. And again, the stylistic detour works because EVAN commits to it.
For an artist still establishing his identity, experimentation is arguably more valuable than consistency.
Death of Me Takes an Emotional Detour
“Overflow” brings things back down to earth with a more acoustic-leaning pop sound and a familiar heartbreak narrative.
Normally, this would be the point where I’d check out. I am not, generally speaking, a sad-song person. But EVAN’s vocals here are gorgeous enough to make a convincing argument for the genre.
Lines about losing hope and feeling stranded alone give him plenty of emotional territory to work with, and his delivery makes the sentiment feel considerably more affecting than the relatively familiar lyrics might suggest.
It’s one of those tracks where the vocalist becomes the reason to stay.
Lastly, “Going Home” closes the project with another introspective moment, although it doesn’t quite reach the emotional strength of “Overflow.” Still, its placement at the very end makes sense.
“In my sharp-edged dreams / I’m left alone with a mic and all alone up on the stage.” That’s an unexpectedly fitting way to end a debut solo project. The former group member is now standing alone onstage, and no one truly knows what the future has in store.
Death of Me isn’t a perfect debut. Its opening stretch is inconsistent, and the project occasionally feels like EVAN throwing different sounds against the wall to see what sticks. But by the time we reach “Ride or Die,” “Death of Me,” “Twilight” and “Immature,” that experimentation starts paying off.
In fact, that middle stretch is easily the strongest part of the EP, where it truly finds its bones and settles into itself. EVAN is establishing himself as a solo artist after leaving one of the biggest groups in K-Pop. He doesn’t necessarily need to arrive with every detail of his identity already figured out. He needs to demonstrate that there is an identity worth exploring, and thankfully, Death of Me does exactly that.
The title track’s declaration that this isn’t his death feels increasingly appropriate as the project unfolds. This isn’t an ending. It’s an artist figuring out how to stand on a stage by himself.
And by the final track, he isn’t quite alone anymore, even in the lyrics. He’s looking toward the audience – and their support will ultimately be what makes or breaks his solo endeavors. Because Death of Me proves that EVAN can’t be pigeon-holed into one single sonic identity – and sometimes that fearlessness to experiment is just what’s needed to make a lasting impression.
