Listen, I never promised consistency in posting.
I hope everyone had a good New Year's celebration. I drank a shit ton of wine, ate lobster, and smoked just the tiniest bit of weed while getting rejected by men on online dating sites. Here's hoping that in 2019 I can actually keep up with writing this blog.
20. To Heart - fromis_9
While the way I wrote about Glass Shoes made it seem like that track was fromis_9's debut, they really didn't debut until January 2018 with To Heart. The track, for the most part, just sounds like a stereotypical APink-knockoff that wouldn't really turn heads. And it really didn't, considering that the song itself didn't have a lot of success.
Now I like this song for a few reasons. Firstly, there's a real string section! You can hear real violins! It's fantastic. It's even lampshaded in the video itself with Gyuri playing the song on her violin. It's absolutely fantastic and sets the mood for the entire song.
I also like how vocal tones are played with. This is especially apparent during the verses, where there a few parts where two girls sing at the same time. You're able to hear very clearly that the voices aren't autotuned to all hell because you can distinguish the two voices. Oftentimes in pop music the decision is made to make the voices sound more similar in order to increase cohesion. I hate that. fromis_9 also implements this in the chorus, where it really sounds like what would happen if all the girls sang it live at once. Not many other groups implement it. The best example I can think of off the top of my head is Super Junior's Magic.
One final small thing that I like is Seoyeon's rap. She's easily one of the most talented girls in the group, and the way she approached those 4 measures is very nice. She hits it with a very cheeky and playful attitude, which really suits the mood of the song. Had she taken it too much softer the impact would have been completely lost.
19. Home - JBJ95
Have I mentioned yet that I'm a mod over at r/jbj and that you are more than welcome to join all 5 of us in our little fantasy world there? Because you can.
So this song really isn't much to write home about, but for me it doesn't need to be. I was just thrilled that this was released due to my love of JBJ following Broduce 101 and my sadness following their disbandment. The fact that it exists at all, especially with my bias, Sanggyun, being involved made me incredibly happy. Sanggyun and Kenta were the two I was most worried about after JBJ fell apart, career-wise, so having them stick together made me super happy. We love best friends.
I was a little disappointed, however, that Sanggyun's rap is relatively weak on this track. In many spots he sounds almost whiny, which is definitely a downgrade from what I know he's capable of. But for the most part, I love the contrast that occurs between Sanggyun's raspier voice and Kenta's lighter vocals. So while the song itself isn't groundbreaking, it's wonderful enough for me.
18. Yes or Yes - Twice
No, fuck you, this song is 100% one of the best things Twice has put out in recent years. They're at their finest when they do something bright and upbeat. None of that vocal, ballad-y shit.
Again, nothing much to say about this song. Jungyeon gets deserved attention, the chorus is light and fun, and it doesn't sound like Cheer Up. It makes me happy for all the right reasons.
Also, the pace is kept incredibly high throughout the track, with them basically hammering it into you after Mina's cheesy, English intro. It gets your adrenaline pumping.
17. Black Dress - CLC
As previously mentioned, CLC killed it this year. Black Dress takes notes from last year's fantastic Hobgoblin, and takes it up to 11. Where Hobgoblin came off as rather frantic and somewhat mess, Black Dress is a little more refined and polished.
One fantastic thing that this song does is plays a game of push and pull with the listener. The verses are split up into 3 parts. The first part retains the pace of the song as a whole. The second part brings it up a little faster. Finally, the third part brings it down to a pace slower than the first part. When the song finally transitions into the chorus, the original pace set up at the start of the song feels both more energetic and more subdued when compared to the second and third parts of the verses.
This song also really plays up the minor key it's in. This is done by most of the musical patterns in the song going in a downwards manner. The main electronic motif heard throughout the backing track moves down the scale rather than up, which gives the impression of the music being a little more thematic. This also presents itself in the vocals. Most of the vocal parts end with the girls singing the last syllable of a word on a note lower than the previous, when most spoken words inflexion tends to go up. This is incredibly present during the "You okay/ I'm okay" part in the chorus.
Interestingly, the parts of the music where the notes move upwards are generally used as background noise. It's an interesting, thematic, and bold composition, to be sure.
16. 22 Century Girl - fromis_9
fromis_9 has been one of the most consistent girl groups this year. All three of their title tracks have been bangers (including DKDK, which narrowly missed the top 50), and all three of them have shown off different strengths of the group. However, 22 Century Girl is not a title track; it's a b-side, and an effective one at that.
The electronic riffs are by far the most incredible part of this song. They're used in a way to evoke fantasy, but in a futuristic sense. This ties into the theme of the girls being from the future. They're your fantasy, but your futuristic fantasy. These high pitched riffs, like in Lovelyz Lost N Found, are utilized in a way that you might hear a violin or flute in a composition using more traditional instruments.
I also very much appreciate the vocals here. fromis_9 exists, currently, as an ultra cute group. This song is a very nice contrast to this. In particular, Hayoung's more sombre sounding tone is very much at home in this more mature sounding, melodic track. Even Nakyung's voice is given the chance to be super melodic, and I think this song more than any other showcases how much she's grown since "Idol School".
15. Flower Garden Gfriend
The past year has been full of musical growth for Gfriend, as they explore a fuller sound in their music. And as far as Gfriend tracks go, this is certainly one of the most orchestral.
The people who compose for Gfriend have never been shy when it comes to using real instruments, and this song is no different. In this track I can hear a full string section, chimes, and real electric guitar. The electric guitar is something in particular that I'm happy to hear. It's such a quintessential feature for a Gfriend track, as it was present in their first few title tracks. The orchestral aspects of this song, however, are not outdone by their electronic counterparts, which do exist on this track. Unlike other songs, this track allows the real instruments to be front and centre on the backing track.
Speaking of instruments, the piano melody is actually the most impressive part of the back track for me. As it comes in at the beginning, it's acts as a mood setter in tandem with Eunha's voice. If you listen closely, Eunha's voice actually follows a pattern set by the piano literal seconds before she sings the part. It's not a perfect mimic by any means (and doesn't even sound like it), but the rises and falls in the piano melody are what's being captured here.
The vocals are also incredibly full. While for some of the girls (Umji and Eunha in particular) this has just been a result of consistent improvement in singing, much of this is done by subtle and effective vocal manipulation. The vocals are given a slight echo effect (from what I can tell) to make them stretch out a little more without the girls straining their voices trying to do so naturally. While this is common in a lot of kpop tracks, it's incredibly noticeable here for all the right reasons.
Lastly, I'm generally not a fan of songs using the chorus at the beginning of a track. I often find that it's not utilized correctly. Here it's done really well as it's not the actual chorus, but a variation on it. It's more stripped down and it's not the full chorus. It acts as a precursor for what's to come.
14. That Day - Lovelyz
I generally don't go out of my way to listen to Lovelyz tracks, as I often don't find them that good. It's mostly by happenstance that I not only listened to both of their tracks this year, but liked them.
What I really appreciate about this song is that it's a mood maker, rather than actively trying to be a piece of art. Even without knowing what the lyrics mean, the song brings up a sense of hope. That Day came out as I was ending my last semester of university, after devoting 6 years of my life to school. It's cheesy, but it's actually one of the songs I listened to during my most stressful moments during that last week. Seriously though. This song came out a week before I presented what was essentially a mini-thesis.
Most of this mood making is achieved by having most of the musical motifs ascend on a major scale. This is literally the oldest trick in the book. If you play something happy ascending people like it. All of the more hard-hitting vocal phrases also end with the line going up rather than going down.
I'm also a huge fan of the theming. I feel that Lovelyz can be overbearing at times, with many of their songs going too far into the dramatic. However, here their vocals are more airy than normal, which fits onto the theme of the wind blowing away your troubles. This is emphasized by the 'ha' and 'hoo' of the chorus. I know this is an overtly deliberate effect, but I still like it.
In the end, I don't know if I like this song because it's genuinely good or because it came out at a time when I needed to hear a song like this, but I also don't give a fuck about the reasoning if I actually like the song.
13. La Vie En Rose - IZ*ONE
I'm going to be real honest with y'all: after the second eliminations I stopped watching "Produce 48". I kept up with it and watched all the performances, but I couldn't actually sit down and watch it anymore. My number one, Yoo Minyoung was horrifically eliminated after giving the rap performance of her life much like how my love Kim Namhyung was whisked away from me during the second elimination of the second season. They were both rappers who wore beanies, and therefore doomed to fail. I did decide, however, to make a conscious effort to listen to whatever songs IZ*ONE came out with. The result was something that should have been given to IOI.
La Vie En Rose is unlike all of my expectations for this girl group. Due to the age range, I was expecting for them to go full cutesy considering there's a 14 year old in this group. This was a remarkably mature concept for them to go with, while still maintaining age appropriateness, or as close you can get in kpop. The song is smooth, and the enunciation of words hits in all the right places.
This song also does a good job building up to the chorus. The pre-chorus is one of the hardest hitting parts of the song, and it makes the drop to the incredibly stripped down chorus amazing. In reality, the drop should be more jarring because they're two extremes in the reverse order to what we generally hear in pop music, but it works because the theme has already been set; the start of the verses are also stripped down, with all the focus being on the vocals.
I think it says a lot about the quality of the song when my main gripes with it are the fact that they're singing about making things red when the song title literally translates to "life is pink" and the fact that Yena's rap sounds like Lim Nayoung which makes me just want to hear IOI sing this song. Yes, I'm bitter and, yes, I'm sad.
12. Lil' Touch - Girls' Generation OH!GG
This was a song that I was not expecting to come out this year. I knew that all hopes for an OT8 (without even mentioning OT9 in my heart) SNSD reunion were fruitless. I knew that we would be getting solos from the remaining members (except for Sunny, apparently. Fuck you SM). I did not know that we would be getting a track from the remaining 5 girls left at SM. I believe there were rumours, but I didn't trust them. I've been waiting for f(x) to comeback for 3 years now so I have no more faith left in SM. I was proven wrong. Fuck you SM.
This is another song that starts with the chorus that I don't outrightly hate. Again, like Flower Garden, this has more to do with the fact that this iteration of the chorus is stripped of its instrumental. That's basically all I have to say about that.
This song is so much different than any other SNSD track because of the vocals. The group in the company has essentially been ripped of the majority of their main vocal players. The group originally had 5 dedicated vocalists (with dance line being sub-vocals) and now they're down to two. This means that the group had to change the sound slightly in order to still presently a musically coherent song. This song relies a lot on vocal percussion rather than true singing. The during the verses are more like spoken word, with all the tonality coming from the lower register. Due to new reliance on Yuri, Hyoyeon, and YoonA, this is absolutely integral.
This theme is mirrored in the backing track as there is no true musical melody in the instrumental. The backing track consists mostly of bass and percussion, and only gains true depth in the chorus. The only time that there's ever something that could be considered a musical melody is during the break between the second chorus and the bridge, but even then that's pushing it. It's just so interesting and eerie and you can't help but play it over and over.
In the end, what I love about the song is that 1) it's Girls' Generation, and 2) it's so completely different not only from their existing discography, but from the discography from most kpop acts this year.
11. Perfect Love - LOONA
For any Go Won enthusiasts out there, I have to apologize because this is the last LOONA song present on this list. For as much as I'm currently obsessed with them, pure chance has kept them out of the top 10. So if there was anyone hoping that Go Won's One&Only was going to make this list, I have to apologize. Out of the 93 songs that went into the running for this list (meaning, these were the 93 songs that I actually listened to enough to have an opinion on), One&Only came in at a pathetic 90th place. love4eva came in at 73. Wasn't really feeling either of them this time around, though love4eva got some decent play time from me.
Perfect Love was the shining star of LOONA's debut mini, which was an incredibly strong album in itself. All the songs except the intro made it onto this list.
This is another song that I can't really go off on a huge tangent on the musical elements that make this song great; it's actually a really weird song. Listen to the backing track. Not only are there squeaky mattress sounds, but there's also water drops. It's just really random and weird in a way that works. It also utilizes snapping for a major portion of the song as it's percussive sound. I'm really just quite dumbfounded because normally I would hate all of this unless it thematically makes sense. And it doesn't make sense with the theme. It''s frustrating that this song sounds so good. I think I like it out of pure spite.
The only part of this song that's not weird is the chorus, and it's a pretty damn good chorus. I don't know if that's because it follows all basic conventions of pop instrumentation or what, but it's absolutely fantastic. There's nothing even remotely outstanding in this chorus, but it still works. I'm in love with this chorus. The best thing about the chorus are the tight harmonies in the vocals, that you can't even hear properly half the time because it's drowned out by the main note. Absolutely bonkers.
This song is a weird blend of bananas and the conventional, and I absolutely hate that it sounds amazing.
Jury's out for when the final part is going to be posted. Knowing my current pattern of procrastination you might see it next week. I hope not though, because I have a lot to say about these final ten songs.
I hope everyone had a good New Year's celebration. I drank a shit ton of wine, ate lobster, and smoked just the tiniest bit of weed while getting rejected by men on online dating sites. Here's hoping that in 2019 I can actually keep up with writing this blog.
20. To Heart - fromis_9
While the way I wrote about Glass Shoes made it seem like that track was fromis_9's debut, they really didn't debut until January 2018 with To Heart. The track, for the most part, just sounds like a stereotypical APink-knockoff that wouldn't really turn heads. And it really didn't, considering that the song itself didn't have a lot of success.
Now I like this song for a few reasons. Firstly, there's a real string section! You can hear real violins! It's fantastic. It's even lampshaded in the video itself with Gyuri playing the song on her violin. It's absolutely fantastic and sets the mood for the entire song.
I also like how vocal tones are played with. This is especially apparent during the verses, where there a few parts where two girls sing at the same time. You're able to hear very clearly that the voices aren't autotuned to all hell because you can distinguish the two voices. Oftentimes in pop music the decision is made to make the voices sound more similar in order to increase cohesion. I hate that. fromis_9 also implements this in the chorus, where it really sounds like what would happen if all the girls sang it live at once. Not many other groups implement it. The best example I can think of off the top of my head is Super Junior's Magic.
One final small thing that I like is Seoyeon's rap. She's easily one of the most talented girls in the group, and the way she approached those 4 measures is very nice. She hits it with a very cheeky and playful attitude, which really suits the mood of the song. Had she taken it too much softer the impact would have been completely lost.
19. Home - JBJ95
Have I mentioned yet that I'm a mod over at r/jbj and that you are more than welcome to join all 5 of us in our little fantasy world there? Because you can.
So this song really isn't much to write home about, but for me it doesn't need to be. I was just thrilled that this was released due to my love of JBJ following Broduce 101 and my sadness following their disbandment. The fact that it exists at all, especially with my bias, Sanggyun, being involved made me incredibly happy. Sanggyun and Kenta were the two I was most worried about after JBJ fell apart, career-wise, so having them stick together made me super happy. We love best friends.
I was a little disappointed, however, that Sanggyun's rap is relatively weak on this track. In many spots he sounds almost whiny, which is definitely a downgrade from what I know he's capable of. But for the most part, I love the contrast that occurs between Sanggyun's raspier voice and Kenta's lighter vocals. So while the song itself isn't groundbreaking, it's wonderful enough for me.
18. Yes or Yes - Twice
No, fuck you, this song is 100% one of the best things Twice has put out in recent years. They're at their finest when they do something bright and upbeat. None of that vocal, ballad-y shit.
Again, nothing much to say about this song. Jungyeon gets deserved attention, the chorus is light and fun, and it doesn't sound like Cheer Up. It makes me happy for all the right reasons.
Also, the pace is kept incredibly high throughout the track, with them basically hammering it into you after Mina's cheesy, English intro. It gets your adrenaline pumping.
17. Black Dress - CLC
As previously mentioned, CLC killed it this year. Black Dress takes notes from last year's fantastic Hobgoblin, and takes it up to 11. Where Hobgoblin came off as rather frantic and somewhat mess, Black Dress is a little more refined and polished.
One fantastic thing that this song does is plays a game of push and pull with the listener. The verses are split up into 3 parts. The first part retains the pace of the song as a whole. The second part brings it up a little faster. Finally, the third part brings it down to a pace slower than the first part. When the song finally transitions into the chorus, the original pace set up at the start of the song feels both more energetic and more subdued when compared to the second and third parts of the verses.
This song also really plays up the minor key it's in. This is done by most of the musical patterns in the song going in a downwards manner. The main electronic motif heard throughout the backing track moves down the scale rather than up, which gives the impression of the music being a little more thematic. This also presents itself in the vocals. Most of the vocal parts end with the girls singing the last syllable of a word on a note lower than the previous, when most spoken words inflexion tends to go up. This is incredibly present during the "You okay/ I'm okay" part in the chorus.
Interestingly, the parts of the music where the notes move upwards are generally used as background noise. It's an interesting, thematic, and bold composition, to be sure.
16. 22 Century Girl - fromis_9
fromis_9 has been one of the most consistent girl groups this year. All three of their title tracks have been bangers (including DKDK, which narrowly missed the top 50), and all three of them have shown off different strengths of the group. However, 22 Century Girl is not a title track; it's a b-side, and an effective one at that.
The electronic riffs are by far the most incredible part of this song. They're used in a way to evoke fantasy, but in a futuristic sense. This ties into the theme of the girls being from the future. They're your fantasy, but your futuristic fantasy. These high pitched riffs, like in Lovelyz Lost N Found, are utilized in a way that you might hear a violin or flute in a composition using more traditional instruments.
I also very much appreciate the vocals here. fromis_9 exists, currently, as an ultra cute group. This song is a very nice contrast to this. In particular, Hayoung's more sombre sounding tone is very much at home in this more mature sounding, melodic track. Even Nakyung's voice is given the chance to be super melodic, and I think this song more than any other showcases how much she's grown since "Idol School".
15. Flower Garden Gfriend
The past year has been full of musical growth for Gfriend, as they explore a fuller sound in their music. And as far as Gfriend tracks go, this is certainly one of the most orchestral.
The people who compose for Gfriend have never been shy when it comes to using real instruments, and this song is no different. In this track I can hear a full string section, chimes, and real electric guitar. The electric guitar is something in particular that I'm happy to hear. It's such a quintessential feature for a Gfriend track, as it was present in their first few title tracks. The orchestral aspects of this song, however, are not outdone by their electronic counterparts, which do exist on this track. Unlike other songs, this track allows the real instruments to be front and centre on the backing track.
Speaking of instruments, the piano melody is actually the most impressive part of the back track for me. As it comes in at the beginning, it's acts as a mood setter in tandem with Eunha's voice. If you listen closely, Eunha's voice actually follows a pattern set by the piano literal seconds before she sings the part. It's not a perfect mimic by any means (and doesn't even sound like it), but the rises and falls in the piano melody are what's being captured here.
The vocals are also incredibly full. While for some of the girls (Umji and Eunha in particular) this has just been a result of consistent improvement in singing, much of this is done by subtle and effective vocal manipulation. The vocals are given a slight echo effect (from what I can tell) to make them stretch out a little more without the girls straining their voices trying to do so naturally. While this is common in a lot of kpop tracks, it's incredibly noticeable here for all the right reasons.
Lastly, I'm generally not a fan of songs using the chorus at the beginning of a track. I often find that it's not utilized correctly. Here it's done really well as it's not the actual chorus, but a variation on it. It's more stripped down and it's not the full chorus. It acts as a precursor for what's to come.
14. That Day - Lovelyz
I generally don't go out of my way to listen to Lovelyz tracks, as I often don't find them that good. It's mostly by happenstance that I not only listened to both of their tracks this year, but liked them.
What I really appreciate about this song is that it's a mood maker, rather than actively trying to be a piece of art. Even without knowing what the lyrics mean, the song brings up a sense of hope. That Day came out as I was ending my last semester of university, after devoting 6 years of my life to school. It's cheesy, but it's actually one of the songs I listened to during my most stressful moments during that last week. Seriously though. This song came out a week before I presented what was essentially a mini-thesis.
Most of this mood making is achieved by having most of the musical motifs ascend on a major scale. This is literally the oldest trick in the book. If you play something happy ascending people like it. All of the more hard-hitting vocal phrases also end with the line going up rather than going down.
I'm also a huge fan of the theming. I feel that Lovelyz can be overbearing at times, with many of their songs going too far into the dramatic. However, here their vocals are more airy than normal, which fits onto the theme of the wind blowing away your troubles. This is emphasized by the 'ha' and 'hoo' of the chorus. I know this is an overtly deliberate effect, but I still like it.
In the end, I don't know if I like this song because it's genuinely good or because it came out at a time when I needed to hear a song like this, but I also don't give a fuck about the reasoning if I actually like the song.
13. La Vie En Rose - IZ*ONE
I'm going to be real honest with y'all: after the second eliminations I stopped watching "Produce 48". I kept up with it and watched all the performances, but I couldn't actually sit down and watch it anymore. My number one, Yoo Minyoung was horrifically eliminated after giving the rap performance of her life much like how my love Kim Namhyung was whisked away from me during the second elimination of the second season. They were both rappers who wore beanies, and therefore doomed to fail. I did decide, however, to make a conscious effort to listen to whatever songs IZ*ONE came out with. The result was something that should have been given to IOI.
La Vie En Rose is unlike all of my expectations for this girl group. Due to the age range, I was expecting for them to go full cutesy considering there's a 14 year old in this group. This was a remarkably mature concept for them to go with, while still maintaining age appropriateness, or as close you can get in kpop. The song is smooth, and the enunciation of words hits in all the right places.
This song also does a good job building up to the chorus. The pre-chorus is one of the hardest hitting parts of the song, and it makes the drop to the incredibly stripped down chorus amazing. In reality, the drop should be more jarring because they're two extremes in the reverse order to what we generally hear in pop music, but it works because the theme has already been set; the start of the verses are also stripped down, with all the focus being on the vocals.
I think it says a lot about the quality of the song when my main gripes with it are the fact that they're singing about making things red when the song title literally translates to "life is pink" and the fact that Yena's rap sounds like Lim Nayoung which makes me just want to hear IOI sing this song. Yes, I'm bitter and, yes, I'm sad.
12. Lil' Touch - Girls' Generation OH!GG
This was a song that I was not expecting to come out this year. I knew that all hopes for an OT8 (without even mentioning OT9 in my heart) SNSD reunion were fruitless. I knew that we would be getting solos from the remaining members (except for Sunny, apparently. Fuck you SM). I did not know that we would be getting a track from the remaining 5 girls left at SM. I believe there were rumours, but I didn't trust them. I've been waiting for f(x) to comeback for 3 years now so I have no more faith left in SM. I was proven wrong. Fuck you SM.
This is another song that starts with the chorus that I don't outrightly hate. Again, like Flower Garden, this has more to do with the fact that this iteration of the chorus is stripped of its instrumental. That's basically all I have to say about that.
This song is so much different than any other SNSD track because of the vocals. The group in the company has essentially been ripped of the majority of their main vocal players. The group originally had 5 dedicated vocalists (with dance line being sub-vocals) and now they're down to two. This means that the group had to change the sound slightly in order to still presently a musically coherent song. This song relies a lot on vocal percussion rather than true singing. The during the verses are more like spoken word, with all the tonality coming from the lower register. Due to new reliance on Yuri, Hyoyeon, and YoonA, this is absolutely integral.
This theme is mirrored in the backing track as there is no true musical melody in the instrumental. The backing track consists mostly of bass and percussion, and only gains true depth in the chorus. The only time that there's ever something that could be considered a musical melody is during the break between the second chorus and the bridge, but even then that's pushing it. It's just so interesting and eerie and you can't help but play it over and over.
In the end, what I love about the song is that 1) it's Girls' Generation, and 2) it's so completely different not only from their existing discography, but from the discography from most kpop acts this year.
11. Perfect Love - LOONA
For any Go Won enthusiasts out there, I have to apologize because this is the last LOONA song present on this list. For as much as I'm currently obsessed with them, pure chance has kept them out of the top 10. So if there was anyone hoping that Go Won's One&Only was going to make this list, I have to apologize. Out of the 93 songs that went into the running for this list (meaning, these were the 93 songs that I actually listened to enough to have an opinion on), One&Only came in at a pathetic 90th place. love4eva came in at 73. Wasn't really feeling either of them this time around, though love4eva got some decent play time from me.
Perfect Love was the shining star of LOONA's debut mini, which was an incredibly strong album in itself. All the songs except the intro made it onto this list.
This is another song that I can't really go off on a huge tangent on the musical elements that make this song great; it's actually a really weird song. Listen to the backing track. Not only are there squeaky mattress sounds, but there's also water drops. It's just really random and weird in a way that works. It also utilizes snapping for a major portion of the song as it's percussive sound. I'm really just quite dumbfounded because normally I would hate all of this unless it thematically makes sense. And it doesn't make sense with the theme. It''s frustrating that this song sounds so good. I think I like it out of pure spite.
The only part of this song that's not weird is the chorus, and it's a pretty damn good chorus. I don't know if that's because it follows all basic conventions of pop instrumentation or what, but it's absolutely fantastic. There's nothing even remotely outstanding in this chorus, but it still works. I'm in love with this chorus. The best thing about the chorus are the tight harmonies in the vocals, that you can't even hear properly half the time because it's drowned out by the main note. Absolutely bonkers.
This song is a weird blend of bananas and the conventional, and I absolutely hate that it sounds amazing.
Jury's out for when the final part is going to be posted. Knowing my current pattern of procrastination you might see it next week. I hope not though, because I have a lot to say about these final ten songs.
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