Okay bitches
here we go part 2 I definitely remembered to start writing this one up yup yup yup
It saddens me that Hi High is so down low on this list, like FavOriTe before it, but honestly it's because LOONA's title track as a group have not lived up to the extraordinary hype of the solos. That isn't to say that these tracks aren't amazing, which in comparison to every other girl group they are, it's just that they don't match up to the solos (well, most of them).
As far as LOONA songs go, this one is a little bit more generic, as the group aimed to go more public friendly with their debut. It's bright and airy and definitely a summertime song. It uses electronic sounds to create an almost magic effect (I mean that thematically). There's this rift that goes thorough the song that's just frantic and wonderful and gives a sense of both whimsy and fear.
The bridge does a great job of slowing things down before it gets back into the panic. Simply fantastic.
ALSO LISTEN TO THAT SNARE. What a great percussion line.
It's been a bad year for boy groups for me, I'm sorry to say. Like BTS and EXO, this is the only Wanna One track that you're going to see on this list. It's not even one of the well known tracks; I just really like it.
I can't even say anything too specific about this song even, except it's got a great percussion line and a fantastic electronic bass.
Also the chorus is simple. Simple and full and impactful.
Sunmi has had one miss and one hit for me this year. I didn't really like Heroine, even before all the plagiarism allegations happened; it just wasn't for me. Siren, on the other hand, is an amazing song that really gets across the message : "Get away out of my face".
As the title suggests, there's a really awesome siren sound that is utilized throughout the track. In general, this is another track that relies heavily on electronic sounds, and it fits with the siren noise. It give the impression of being in a high security prison in a sci-fi film or something. It brings back the message of "boy you better not come fucking near me", because if a boy came near Sunmi it seems like she would be in prison for murder.
One of the reasons why this song is so low down is because I hate the breakdown that happens after the second chorus. It's not a proper bridge, and it just feels incredibly jarring in the context of the song. It takes away nearly all of the delightful things going on in the melody and brings it down to a grating bass line.
On the plus side, I really like that Sunmi isn't the most technical or talented singer; no matter how much shit she gets from online trolls about it. If Sunmi was the be all end all to all singers this song wouldn't work. It thrives on the lower, more airy notes, and the theme would be diminished if Sunmi all the sudden started belting out high notes like she's Ailee.
Another rare boy group track. Nu'est W also was 50/50 for me this year. Deja Vu really wasn't my cup of tea, due to the fact that the song never seemed to rise to anything, but Help Me is a different case. It's full, cinematic, and interesting to listen to. This song also has the similar sci-fi prison vibe that Siren has.
This song has one of the most effective choruses in kpop this year. It takes the intensity up just enough to create the most subtle change, but it sure is effective.
If you listen closely to the instrumentals, especially during the chorus, you'll find that it's actually orchestral. I can hear a string line in there, and I'm pretty sure that it's real. I can 100% hear violas. In a year that was dominated by electronics, hearing the blend of electronica and orchestral here was satisfying.
This is another one of those songs that I like simply because it's light and airy and summery. It's just a pleasant listen. There's nothing incredibly exciting going on here, but it's nice nonetheless.
The singer is what really drives this song home for me. Listen, I know nothing about this group except for the fact that one day they just appeared out of nowhere and became huge. This is literally the only song I've ever listened to by them and it was a pure twist of fate that I did. But this singer. This singer is good. She has a voice that's reminiscent of IU, though a bit more nasally, and she does these nice flips at the end of words. It's super satisfying to listen to.
This song capitalizes on two trends present in kpop this year: electronic sounds and irregular song structures.
The electronic sounds are super present in this track, most notably in the robotic "I love you like" that repeats incessantly throughout the track. I actually initially hated this track because of that. It's just this omnipresent force throughout the song that's actually kind of unsettling. This is also the biggest use of autotune that I've seen EXID use in a while (it's especially present when Jeonghwa is singing).
The song structure will also be noticeable for even casual listeners; there's no bridge. The second chorus ends and the listener waits for a continuation of the melody that never comes. It's quit jarring. In pop music we expect certain things and a song without a bridge is not one of them. However, unlike other songs that change up the format (see: Oh My Girl's Remember Me), I Love You is a full attempt at a song, and feels complete even without the bridge.
Also EXID songs are worth listening to again now that Solji's back.
CLC killed it this year.
First of all, the snare in this song is killer. It's very sharp and hits you where it hurts. And then it's contrasted by this electronic snare in the beginning parts of the verses which is a super effective contrast.
Secondly, are you hearing the guitar in this? It sounds to me like an acoustic guitar with a little bit of effects over it. It's incredibly nice, and doesn't overshadow the vocals in the verses. I can tell it's a sample due to the repetitiveness, but man is it ever nice.
Finally, the vocals are amazing. CLC is a group that I have begun to associate with super loud, brassy vocals. That's not a bad thing because they always sound great doing that. This track takes their voices a little bit softer and fuller. Seunghee especially thrives in this environment. Distance allows her to really showcase her lower register and it's wonderful to hear. I wish more kpop groups did this.
Yeeun's rap also really fits here. I often find that in slower tracks that a rap can be superfluous, but here it actually works. This is mostly due to her tone, which is appropriately melancholic.
33. I'm So Sick - APink
Whoops, I accidentally published this without writing my review of this song.
This is one of the best APink songs in years mostly because it's not cutesy, the girls are finally age appropriate, and the song is actually good.
APink really utilizes unsettling electronic effects here, and it sets the mood of the song greatly.
Also interesting is the fact that I'm pretty sure this song is in a major key the entire time, and yet it's super unsettling and melancholic. It's a cool effect, without having to go too far in either directions. Most groups will utilize using a minor key in a happy way before doing it the other way around.
Also the percussion is snatched here. I love it. The bass is nothing to write home about, and I actually had to sit and listen for it to actually notice it.
To answer your question, yes, all of LOONA's mini is going to be present somewhere on this list.
As is well known, I am a sucker for any track that utilizes a marimba, or marimba like tone. I'm pretty sure that the verses on this track are using a super fancy xylophone rather than a marimba, but it's presence alone is enough to make me want to melt into the ground in a puddle of happiness.
Something that LOONA has proven themselves to be fantastic at is adding variations onto themes. In this song in particular, the last part of the verses differ from each other. When Chuu is singing it at 0:44, the instrumental is a little bare. But at 1:45, when Yves picks up the theme, the instrumental is flushed out with percussion. Details like this do a lot for moving the song along without it getting boring. This is yet another detail that pop music writers tend to miss out on, mostly because this isn't really a hard-sell detail for many listeners.
For the most part during this song, it's not actually a super frantic instrumental; it sounds oddly sparse. What is present is incredibly deep and full, but there's not actually a lot going on. The focus for most of the song is on the vocals, but the theme of sparse instrumentals continues on in the post chorus, where the girls aren't really singing. The deepness of the instrumental is nicely contrasted by the higher vocals of the girls.
I hope (G)I-DLE focuses on keeping this smooth, deep sound for awhile, because right now it's really working for me.
This is another song where not really much is happening in the instrumental. There's some super cool electronic effects throughout, but nothing so in your face that it stands out. The emphasis here is all in the vocals. Again, Yu Qi really shines here. This song is a little bit more mature in general, and her lower vocals fit in perfectly.
Seoyeon is another standout, because her rap is flawless here, yet again. Miyeon's vocals are also much more present here than in either of the group's title tracks. I've found that she hasn't really had much to do yet, but this track allows her to belt a little more, to the song's overall success.
That's it for today. Hopefully I can get two blog posts done tomorrow because I forgot it's New Year's Eve on Monday and honestly I just want to be really drunk that night and not writing up my thoughts on kpop songs.
here we go part 2 I definitely remembered to start writing this one up yup yup yup
40. Hi High - LOONA
It saddens me that Hi High is so down low on this list, like FavOriTe before it, but honestly it's because LOONA's title track as a group have not lived up to the extraordinary hype of the solos. That isn't to say that these tracks aren't amazing, which in comparison to every other girl group they are, it's just that they don't match up to the solos (well, most of them).
As far as LOONA songs go, this one is a little bit more generic, as the group aimed to go more public friendly with their debut. It's bright and airy and definitely a summertime song. It uses electronic sounds to create an almost magic effect (I mean that thematically). There's this rift that goes thorough the song that's just frantic and wonderful and gives a sense of both whimsy and fear.
The bridge does a great job of slowing things down before it gets back into the panic. Simply fantastic.
ALSO LISTEN TO THAT SNARE. What a great percussion line.
39. We Are - Wanna One
It's been a bad year for boy groups for me, I'm sorry to say. Like BTS and EXO, this is the only Wanna One track that you're going to see on this list. It's not even one of the well known tracks; I just really like it.
I can't even say anything too specific about this song even, except it's got a great percussion line and a fantastic electronic bass.
Also the chorus is simple. Simple and full and impactful.
38. Siren - Sunmi
Sunmi has had one miss and one hit for me this year. I didn't really like Heroine, even before all the plagiarism allegations happened; it just wasn't for me. Siren, on the other hand, is an amazing song that really gets across the message : "Get away out of my face".
As the title suggests, there's a really awesome siren sound that is utilized throughout the track. In general, this is another track that relies heavily on electronic sounds, and it fits with the siren noise. It give the impression of being in a high security prison in a sci-fi film or something. It brings back the message of "boy you better not come fucking near me", because if a boy came near Sunmi it seems like she would be in prison for murder.
One of the reasons why this song is so low down is because I hate the breakdown that happens after the second chorus. It's not a proper bridge, and it just feels incredibly jarring in the context of the song. It takes away nearly all of the delightful things going on in the melody and brings it down to a grating bass line.
On the plus side, I really like that Sunmi isn't the most technical or talented singer; no matter how much shit she gets from online trolls about it. If Sunmi was the be all end all to all singers this song wouldn't work. It thrives on the lower, more airy notes, and the theme would be diminished if Sunmi all the sudden started belting out high notes like she's Ailee.
37. Help Me - Nu'est W
Another rare boy group track. Nu'est W also was 50/50 for me this year. Deja Vu really wasn't my cup of tea, due to the fact that the song never seemed to rise to anything, but Help Me is a different case. It's full, cinematic, and interesting to listen to. This song also has the similar sci-fi prison vibe that Siren has.
This song has one of the most effective choruses in kpop this year. It takes the intensity up just enough to create the most subtle change, but it sure is effective.
If you listen closely to the instrumentals, especially during the chorus, you'll find that it's actually orchestral. I can hear a string line in there, and I'm pretty sure that it's real. I can 100% hear violas. In a year that was dominated by electronics, hearing the blend of electronica and orchestral here was satisfying.
36. Travel - Bolbbalgan4
This is another one of those songs that I like simply because it's light and airy and summery. It's just a pleasant listen. There's nothing incredibly exciting going on here, but it's nice nonetheless.
The singer is what really drives this song home for me. Listen, I know nothing about this group except for the fact that one day they just appeared out of nowhere and became huge. This is literally the only song I've ever listened to by them and it was a pure twist of fate that I did. But this singer. This singer is good. She has a voice that's reminiscent of IU, though a bit more nasally, and she does these nice flips at the end of words. It's super satisfying to listen to.
35. I Love You - EXID
This song capitalizes on two trends present in kpop this year: electronic sounds and irregular song structures.
The electronic sounds are super present in this track, most notably in the robotic "I love you like" that repeats incessantly throughout the track. I actually initially hated this track because of that. It's just this omnipresent force throughout the song that's actually kind of unsettling. This is also the biggest use of autotune that I've seen EXID use in a while (it's especially present when Jeonghwa is singing).
The song structure will also be noticeable for even casual listeners; there's no bridge. The second chorus ends and the listener waits for a continuation of the melody that never comes. It's quit jarring. In pop music we expect certain things and a song without a bridge is not one of them. However, unlike other songs that change up the format (see: Oh My Girl's Remember Me), I Love You is a full attempt at a song, and feels complete even without the bridge.
Also EXID songs are worth listening to again now that Solji's back.
34. Distance - CLC
CLC killed it this year.
First of all, the snare in this song is killer. It's very sharp and hits you where it hurts. And then it's contrasted by this electronic snare in the beginning parts of the verses which is a super effective contrast.
Secondly, are you hearing the guitar in this? It sounds to me like an acoustic guitar with a little bit of effects over it. It's incredibly nice, and doesn't overshadow the vocals in the verses. I can tell it's a sample due to the repetitiveness, but man is it ever nice.
Finally, the vocals are amazing. CLC is a group that I have begun to associate with super loud, brassy vocals. That's not a bad thing because they always sound great doing that. This track takes their voices a little bit softer and fuller. Seunghee especially thrives in this environment. Distance allows her to really showcase her lower register and it's wonderful to hear. I wish more kpop groups did this.
Yeeun's rap also really fits here. I often find that in slower tracks that a rap can be superfluous, but here it actually works. This is mostly due to her tone, which is appropriately melancholic.
33. I'm So Sick - APink
Whoops, I accidentally published this without writing my review of this song.
This is one of the best APink songs in years mostly because it's not cutesy, the girls are finally age appropriate, and the song is actually good.
APink really utilizes unsettling electronic effects here, and it sets the mood of the song greatly.
Also interesting is the fact that I'm pretty sure this song is in a major key the entire time, and yet it's super unsettling and melancholic. It's a cool effect, without having to go too far in either directions. Most groups will utilize using a minor key in a happy way before doing it the other way around.
Also the percussion is snatched here. I love it. The bass is nothing to write home about, and I actually had to sit and listen for it to actually notice it.
32. Heat (9) - LOONA
As is well known, I am a sucker for any track that utilizes a marimba, or marimba like tone. I'm pretty sure that the verses on this track are using a super fancy xylophone rather than a marimba, but it's presence alone is enough to make me want to melt into the ground in a puddle of happiness.
Something that LOONA has proven themselves to be fantastic at is adding variations onto themes. In this song in particular, the last part of the verses differ from each other. When Chuu is singing it at 0:44, the instrumental is a little bare. But at 1:45, when Yves picks up the theme, the instrumental is flushed out with percussion. Details like this do a lot for moving the song along without it getting boring. This is yet another detail that pop music writers tend to miss out on, mostly because this isn't really a hard-sell detail for many listeners.
For the most part during this song, it's not actually a super frantic instrumental; it sounds oddly sparse. What is present is incredibly deep and full, but there's not actually a lot going on. The focus for most of the song is on the vocals, but the theme of sparse instrumentals continues on in the post chorus, where the girls aren't really singing. The deepness of the instrumental is nicely contrasted by the higher vocals of the girls.
31. Maze - (G)I-DLE
I hope (G)I-DLE focuses on keeping this smooth, deep sound for awhile, because right now it's really working for me.
This is another song where not really much is happening in the instrumental. There's some super cool electronic effects throughout, but nothing so in your face that it stands out. The emphasis here is all in the vocals. Again, Yu Qi really shines here. This song is a little bit more mature in general, and her lower vocals fit in perfectly.
Seoyeon is another standout, because her rap is flawless here, yet again. Miyeon's vocals are also much more present here than in either of the group's title tracks. I've found that she hasn't really had much to do yet, but this track allows her to belt a little more, to the song's overall success.
That's it for today. Hopefully I can get two blog posts done tomorrow because I forgot it's New Year's Eve on Monday and honestly I just want to be really drunk that night and not writing up my thoughts on kpop songs.
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