Basically, any title track released in 2020 is eligible for this list - that includes pre-release singles and the like. I also limit myself to one song per artist on the list proper, since if I didn't, it would be dominated by a few specific groups and my tastes would be even more obvious than they already are.

Before I start rattling off the list itself, I do want to include some honourable mentions in no particular order:

Putting some of those songs as honourable mentions really hurt, but hey, if I didn't limit myself to 50 songs, we'd be here all day. With those out of the way, here's the Spotify playlist - let's look at the 50 songs that I feel made 2020 a little less awful!

This one admittedly took a while to grow on me, but when it did, it grew fast. "Not By The Moon" has the kind of whimsical, high-fantasy yet really eloquent concept that reminds me of older songs from VIXX and 2PM. While I do still feel like the instrumental doesn't pull its weight in places, the rest of what's on offer here is honestly really beautiful and powerful when it wants to be.

Speaking of songs that grew on me, you would think this would be an instant hit with me thanks to my love of EDM. But no, "Cool" felt a little too scattered and all over the place when I first heard it; but as it had time to sink in, and as I saw the absolute power WeMe had in the performances, this ended up growing on me a lot. It's a party anthem through and through, and yes, I do still feel like it's messy overall, but I'll be damned if it isn't fun.

Also, short green hair Lua world domination. Holy shit.

Back when I got into K-Pop, I used to love following the smaller rookie groups; the nugus, if you will. As time went on, I fell out of this habit, but every now and again I'll stumble across a group that just blows me away with how underrated they are. ENOi are this year's example of that for me - while not all of their music is for me, "Cheeky" absolutely is. It's funky, raucous, and will get stuck in your head for days if you let it - this deserves SO much more attention than what it got. 

Drama OSTs are something I tend to stay away from, since they're normally the type of flowery head-over-heels-in-love ballads that I've never really enjoyed. But listening to "Gotta go", I often forget it's a drama OST at all! It sounds like it could be a fully-promoted title track from Sunmi, and it's a great reminder of just how show-stopping she can be when she's in her comfort zone. This feels like a slap to the face that I never knew I wanted (or needed), and it's definitely one of my favourite surprises of 2020.

Girl crush concepts have always been a favourite of mine within K-Pop, regardless of how many people say they've gone stale. However, overexposure to a certain concept doesn't mean it's gone stale, just as 3YE have shown with their discography so far. While "Queen" wasn't for me, "YESSIR" is a very welcome return to form that grabs you from the first second and doesn't let go. It's also got one of my favourite choreographies of the year, just for the sheer spectacle of it all - having that many backup dancers at once is hard, but it's done flawlessly here. This still goes as hard as it did when I first heard it, and it's probably my favourite 3YE title track to date!

Well, this one was a surprise! It's one of the last amendments I made to this list, and for good reason. Treasure's debut was hyped up to the moon and back, but if we're being honest... I'm sorry, I hated "Boy" and "I.L.U (사랑해)". And yes, I actively hated them. They felt way too over the top and messy for what they were trying to do, and felt like such a letdown - but thankfully, "MMM" is way more up my alley. It's a surprisingly slick concept for such a young group to pull off, but it's handled so well, with the straight-up hypnotizing sample and clicking rhythms really selling the whole song. And, just like we'll see with a good few songs on this list, the bridge in this song is amazing - by far the highlight for me. I really hope I can like more of Treasure's music going forward, because "MMM" is too good of a song for it be a one-time thing. 

Continuing on from the surprise of Treasure, SF9's "Summer Breeze" is one of those songs that made me happy I expanded my horizons a little in 2020. I've been well aware of SF9 up until this point - "Easy Love" and "Now or Never" are still phenomenal - and when they had their first win with "Good Guy", I got curious to see if they would change their sound. Well, they had two more comebacks in 2020, and this is by far the one I loved the most. The instrumental feels monumental in its stature, and the sweeping melodies only serve to make the goosebumps even stronger by the time you get to the end. Don't let this one go forgotten, because it's so, so more than just a summer-themed comeback - it's honestly great!

Just as I said in my b-sides list, 2020 was absolutely Oh My Girl's year, and "Nonstop" is the song to prove it. It's got the exact kind of bubbly, energetic atmosphere that the summer of 2020 was lacking due to... current events, and it honestly feels like happiness in a bottle when you listen to it at the right time. It's incredibly chipper, happy and normally the kind of song I'd dislike, but the playfulness of it all alongside Mimi's absolutely killer rap sections sold me on this from the first listen. I really do hope Oh My Girl continue going up from here, because "Nonstop" shows they have all the star power they need to keep rising.

2020 was the year the MAMAMOO members ventured more into solo projects, leaving a full group comeback until the second half of the year. (We'll get to that later, trust me.) To me, this was a great idea - coming off of their Queendom win, it gave the girls a great chance to show off their individual charms, regardless if they've done solo releases in the past. Hwasa was the last member to release her solo project this year, and if I'm being honest, I actually prefer this to "Twit". "María" is a song that I really don't think could be sung by anyone else; not only are the lyrics deeply personal to Hwasa's experiences, but the vibe and general confidence needed to pull this off are something only she has. It's a really impressive song that capitalizes on everything a solo release should do, and even though it's no surprise, I'm really happy to see Hwasa flourishing and essentially being Korea's it girl of 2020. Long may it last!

I very much missed out on the Wanna One craze back after Produce 101 Season 2, and after everything that happened surrounding that show this year, I'm honestly... kinda glad I stayed out of it. However, just because I didn't keep up with the group doesn't mean the individual members have released nothing of interest to me - no joke, "Who U Are" blew me away from the get-go. It's a surprisingly dark concept for Kang Daniel, who seems to be no stranger to the boy next door concept, but jeez, he pulls it off incredibly well! I've mentioned before that I'm a sucker for strong moombahton rhythms when they're done right, and this is absolutely a great example of that. I get the feeling this concept isn't something Daniel's going to stick to for long, but I really hope I'm proven wrong, because "Who U Are" really shocked me in the best way possible.

2020 was the year of growers for me, and surprise! "Jungle" is yet another song that grew on me massively since the first time I heard it. I'll admit, I'm still not the biggest fan of that very awkward half-melody in the choruses, but I don't know, I feel like the more I listen to it, the more I don't really mind it. Also, the bridge → dance break → final chorus left me speechless. This still unironically slaps, and I'm glad it grew on me the way it did!

I always love it when a group goes from releasing something I don't enjoy to something I absolutely do, and that just so happened to be the case with Seventeen's releases in 2020. After how much I loved "Fear", "Left and Right" felt like such a step back. Yes, it was meant to be fun, but to me, it just felt too shallow, and like it missed the point of what it was going for. But we wouldn't be here if Seventeen didn't release something I enjoyed in 2020, and "HOME;RUN" is exactly that. It absolutely pays tribute from Seventeen's earlier, more bombastic sound, with boundless amounts of energy and a swing/jazz-influenced style that is ridiculously infectious. It's the exact kind of redemption arc I was looking for from Seventeen, and I'm so glad they pulled it off the way they did.

2020 was the year of a lot of trends within K-Pop, but one of the most welcome to me was the surge in horror-inspired concepts. If a group comes back with a dark or creepy concept, you can bet your ass I'm going to absolutely love it, and "Dr. Bebe" is no exception to that rule. Its cadence is the biggest indicator of the concept here, with the members themselves really selling the concept with their vocals and performances across the song. It's desperate and clingy in a creepy way, which was always intended to be the point, and it really hit the right notes for me. While I did tend to forget about it a bit as the year went on, I'm glad I revisited it for this list, because I was reminded of just how much I enjoy it.

Somi's "What You Waiting For" is the next song on this list that, while I was initially a bit disappointed by it, I really warmed up to it over time. Similar to "Not By The Moon", I still feel like the instrumental doesn't quite pull its weight where it's needed - but that leaves room for the surprisingly effective sample and Somi's charming vocals to steal the show. She's growing as a performer more and more with each release, and while I was one of the few that unironically liked "Birthday", I do admit I enjoy this more. It's a surprisingly mature step in the right direction, and I really hope she only continues in that direction into the future.

Looking back on 2020, it feels like BLACKPINK are finally getting the chance to capitalize on the star power they have, and "Lovesick Girls" was, for many, the best example of that this year. It's very much a return to their pink concept, with the flashbacks to "Playing With Fire" and especially "As if it's your last" being clear in everyone's minds. Of course, that meant the song went down a treat with pretty much everyone, but as someone that sill prefers their confident, black concept a lot more, this just ended up as pretty good for me. That's by no means a bad thing, though - the vocals here are gorgeous, and the instrumental has one of the best senses of tension and momentum I've heard this year. It's the cherry on top of a great year for the girls, and I can sincerely hope they're given the opportunity to keep pushing forward like this into the future - even though it's not one of my favourite title tracks of theirs, "Lovesick Girls" is still great.

Back to the creepy concepts with this one, and from TXT of all groups! Considering how brilliant "Run Away" was and still is, I was shocked to see them taking a slightly creepy direction for their next comeback. But this was it. "Can't You See Me?" is unstable and off-kilter in all the best ways, and it's definitely got a much darker (yet still quite playful) vibe than any of TXT's title tracks to date. The vocal production is a particular highlight for me as well, with the layering of harmonies and textures really adding to the vibe. Admittedly, it's one of those songs you have to listen to to really understand, and it's probably my favourite title track from TXT conceptually. It's absolutely a song I revisited a lot in 2020, and it only grew on me with every listen. 

Yes, you're reading that right. Let me explain.

While I do prefer "More & More" era overall for TWICE, "I Can't Stop Me" ended up being my favourite title track of theirs in 2020. At first, the shitty YouTube audio quality made me feel like the song lacked punch, but thankfully, the more I listened to it outside of the album and MV, the more I fell in love with it. It's a great example of the retro revival that took place across K-Pop in 2020, and just how potent it can be.

But surprise! I'm choosing the English version for this list!

No, seriously. I really do prefer the English version - not only do the girls sound great with near-flawless pronunciation, it really feels like the stakes are raised to dizzying heights in this version. This is meant to be a song of temptation and danger, and say what you will about JYP pushing some of the girls (i.e. Nayeon) out of their vocal range to achieve that, but the English version knocked it out of the goddamn park in that regard. It's not my favourite TWICE title track, sure, but it's still a great song overall, and the English version absolutely seals the deal for me.

Of all the surprises I had in 2020, this one by far feels the sweetest. Not only is "Soul" a brilliant example of deep house done right, Hangyul and Dohyeon have some of my favourite voices - and charisma - of any group I listened to in 2020. Hangyul really stands out to me, in particular - that raspy, unique vocal tone of his is downright gorgeous. But Dohyeon's no slouch when it comes to rapping either, and the way he slides between English and Korean feels different from when other groups and idols do it. It feels more special, and more eloquent, and honestly, that's what I'd say about "Soul" overall. It's got a very special place in my heart, and to say it blew my expectations out of the water is putting it lightly. I feel like this would be in my top 10 any other year, so please make sure you've heard it - it's so good.

If there's one prevailing thought I had coming out of 2020, it was that most of the rookie groups that debuted didn't do much to impress me. Don't get me wrong, the members themselves are pretty much never the problem - most of the time, it's something else, whether it be the company, the concept, or just the music in general. With Secret Number, it was the third option - while everyone seemed to love their debut with "Who Dis?" the god-awful production was too much for me to see past. It was too big of a barrier of entry for me, even though the girls themselves seemed super talented and more than ready to be idols.

Well, I'm glad to report that their agency seem to have either changed their music production team or upped their budget, because "Got That Boom" is the debut Secret Number SHOULD have had. It's an welcome callback to the pop/club era of the early 2010s, with trumpets, synths and catchy melodies scattered throughout. The chorus is absolutely one of the most anthemic of 2020, and that post-chorus is incredibly sticky - not to mention Denise's absolutely stunning vocals being a particular highlight for me. K-Pop's fourth generation just keeps blowing me away with its vocalists, and she's another amazing addition to the list!

Should their agency keep up this improvement and give the girls more budget going forward, I can really see Secret Number turning into the monster rookies their international fandom affords. "Got That Boom" was an incredibly welcome step in the right direction, and I can only hope these girls' careers are long and successful - if their music keeps being this good, I'll definitely be at least keeping an eye on them.

The sigh of relief I let out upon hearing "LA DI DA" for the first time was HUGE. It's no secret that I despised "DUN DUN" - it's definitely my least favourite song of 2020 - but "LA DI DA" feels like the best kind of turnaround from that era. To say this song is powerful is an understatement - the instrumental is, in my opinion, the best example of the retro revival we saw in K-Pop this year, with the glittering synths and beastly power chords making this sound like it came right out of the 80s synthwave era. This is an absolute showstopper, and I am SO glad to see Everglow back on top form. Please, Yuehua, never go back to giving these girls songs like "DUN DUN", because "LA DI DA" shows that Everglow are clearly capable of being the 4th-gen monsters everyone accredits them as.

Even though I'm a MooMoo, I've got to be biased here and say that "Eclipse" is my favourite MAMAMOO solo from 2020. They were all good, sure, and I definitely found something to love in each one, but Moonbyul honest to god blew my mind with "Eclipse". This feels like a three-and-a-half minute epic in musical form, and when I say this song is huge and imposing, I mean it. It was such a great way for Byulie to show what she's capable of, and it honestly seems like it got a little overshadowed by Solar and Hwasa's releases this year - don't let that be the case, because this is too good to go overlooked. Go listen to it if you haven't already!

It always feels particularly special when a song comes into your life when you need it most. Even though I enjoyed "ON" and still regard it as one of my favourite BTS title tracks to date, I'd be lying to you if I said I haven't fallen absolutely head over heels in love with "Life Goes On". 2020 was a rough year for pretty much everybody, and even though I don't have that much of a connection to BTS, this struck such a chord with me, and continues to every time I listen to it. It's got the same kind of peaceful vibe that something like "Jamais Vu" or "00:00 (Zero O'Clock)" does, but in a way that feels like the kind of warm hug we all need right now. The year may have been awful, and there's no certainty that it'll let up any time soon, but songs like "Life Goes On" make it a little easier to stomach, at least for me.

Back when Hani, Solar and Luna's "Honey Bee" came out, it basically rocked my world for that year. And yet, as good as it was, it seems to have been pretty much forgotten. If you're reading this forgetting that song existed, go listen to it, it's just as good as you remember it being - but in 2020, we got another one of those dream-like collaborations thanks to the variety show "How Do You Play?", or "놀면 뭐하니?" The day I saw Lee Hyori saying she'd like to form a group with Hwasa, Jessi and Um Jung Hwa, I got ridiculously excited, but immediately brushed the idea off. It didn't seem plausible, right? Well, I don't think I've ever been happier to be wrong, because this is exactly what I wanted from a supergroup like this one. This deserves to be one of the biggest moments of this gen on sheer star power alone, and the music itself just so happens to be great too! "Don't Touch Me" is fun, surprisingly substantial and the exact kind of collaboration the world needed in 2020. As slim as the chances are, I really do hope this isn't just a one time thing, because this was honestly such a treat from start to end.

Remember what I said about horror being prevalent throughout K-Pop in 2020? Well, to me, this is the song that did it best. "Girls" isn't just one of those rare occasions where the music video gets people talking from the extreme visuals alone, it's an example of my favourite thing about K-Pop - the weaving together of music and concept. "Girls" almost feels like a trick that's being played on you, because while the lyrics and sound may seem innocent and relatively harmless - infantile, even - watch the video and you'll quickly realise that's far from true. The music video got a reputation for all the right reasons, explicit version or otherwise, but the song pulls its weight perfectly and makes for a surprisingly excellent comeback from Nature. I've never paid them much attention before, but I'll absolutely be keeping a closer eye from here on out, because "Girls" is fucking awesome.

Hey, let's get another great horror comeback out of the way, because uh. Wow. This was not what I expected from ONEUS. "A Song Written Easily" seemed to imply they were going in a more lightweight direction with their concept, but "To Be Or Not To Be" is quite literally the hardest U-turn they could've taken. It's got this fascinating, almost tribal rhythm in the choruses, and while the song itself feels like a spectacle, my favourite thing about it has to be that post-chorus. The blown-out electric guitar and layered, haunting backing vocals seal the gothic concept in stone. This was a surprise in just about every way, and it still surprises me with each new listen - I seriously cannot wait to see where they go with this concept next!

In any year, there are going to be releases that end up being less popular than they should be. Unfortunately, thanks to some barely existent promotion from SM, it felt like Taemin's releases in 2020 continued that trend. Don't let its overlooked status fool you, though, because "Criminal" is the exact kind of slick, glossy, knife-edged song that Taemin excels at. It's also sexy, because, y'know, it's Taemin. Of course it is. The lyrics are particularly potent here in terms of how they play into the concept, and the song itself has such a great buildup that leads into one of my favourite crescendos of the year - Taemin's adlibs over the last chorus never fail to give me intense chills. "Criminal" is, for lack of a better word, criminally underrated, and really deserved more love than what it got - if you missed it, fix that. You're missing out.

While Secret Number got off to a bit of a rough start in 2020, there was one rookie group that absolutely didn't - StayC. Right from the get-go, these girls had hype behind them thanks to the involvement of Black Eyed Pilseung, and honestly? Their debut lives up to it. "So Bad" is the dream rookie girl group song - it's catchy, moves at a breakneck pace, and the variety of vocal tones between the members give the group an intense sense of presence from the get-go. Sieun in particular might end up being one of the strongest female vocalists in 4th gen, mark my words - I have no idea where she's been this whole time, but my god, she is fucking incredible. 

All in all, STAYC's debut got a lot of worthy hype, and I really hope they keep their upward momentum moving forward; they might just be the group to really shake things up as K-Pop's 4th gen continues to unfold.

This is definitely going to be an unconventional pick, but screw it, I really couldn't lie to myself and put any other NCT U song here. Don't get me wrong, I love "90's Love" with a passion, and "Make a Wish (Birthday Song)" certainly grew on me, but "Work It"? "Work It" is the best NCT U lineup we've had since "Boss". Every member here comes into this song with so much effortless charisma and charm that it's tangible, and when I tell you this song's happiness is contagious, I mean it! To me, "Work It" feels like "Fire Truck"'s more fleshed-out, energetic younger sibling; it's experimental, like many NCT title tracks are, but it pays off in spades. In a year that really lacked vim and vigor, "Work It" had the right kind of upbeat energy I was looking for, and was just... so much goddamn fun. This is NCT at their loosest and most casual, and it absolutely left me wanting more.

Man, 2020 had some divisive comebacks. For every release that was loved by pretty much everyone, it always felt like there were a handful causing mini fanwars. Sure, that might just be a side effect of how reliant on social media K-Pop has become, but that's another discussion for another day - THIS discussion is about how much I like "Oh my god" by (G)I-DLE, and the short answer is a lot. I've well established my love for dark concepts, and sure, this song does follow the exact same structure as lion. But there are very few songs (with maybe the exception of "I Can't Stop Me") that have their stakes as high as this one; gay love story or otherwise, "Oh my god" will all but smother you in its lustful yet dangerous atmosphere; the girls' performances are just the cherry on top. I love it when (G)I-DLE really get conceptual with their releases, and "Oh my god" is no exception. More gothic concepts please and thank you!

Do WayV count for this list? Maybe not. But are they a subunit of a Korean group under a Korean company? Yes! So I'm including them here anyway, because "Turn Back Time" surprised me too much to talk about. I've always been more of a backseat listener when it comes to WayV; their "Moonwalk" performance at MAMA 2019 clued me in on the fact that I might be missing out on something in that regard, and I'm so glad I changed that for the release of Awaken the World. It's not only one of 2020's strongest albums (seriously, check my b-side list for more of that praise) but one of the strongest NCT-related releases of 2020, at least in my opinion. 

With a title like "Turn Back Time", it would be very easy to not live up to the hype and grand expectations I had going in, but holy shit I'm so glad that WayV stuck the landing here. This is epic in every sense of the word, and if you haven't listened to it for whatever reason, you're missing out - that last chorus still gives me intense chills!

The more I get into this list, the more I'm starting to doubt my disappointment with the rookie groups of 2020; sure, the vast majority of groups disappointed me, but the highs were dizzying at best. Even though it didn't quite hit me at first, aespa's "Black Mamba" has definitely become another example of this for me. Just like everyone else, I remember being... honestly pretty annoyed with SM when they started trying the virtual group thing; it just felt like it would hinder whatever potential aespa had for the sake of SM trying to experiment with their weird ideas. And on first listen, that fear was realised for me, with how ridiculously corny "Black Mamba"'s lyrics are. No, SM, I don't know what a kwangya is, and I don't necessarily care.

But you know what? I think I'm starting to see why this was called "Black Mamba", because holy shit this song snuck up on me HARD. This should be a headphones-only experience as far as I'm concerned, because some of the production and backup vocals on this song are insane. This song is incredibly commanding and littered with hypnotic synths, and for a rookie group to have a debut of this scale - even under a Big 3 company - is staggering. The production and general scale here is enormous. 

If anything, I wished they leaned harder into the dark, almost witchy concept they seem to be decorating this song with, but that could very well come in the future. For now, even though it took a while to really work for me, when "Black Mamba" clicked, it clicked hard. This has been on repeat for a while now, and I don't see it leaving my playlist any time soon.

I had a really hard time deciding if this song was eligible for this list. Sure, it was released as a pre-release single for Dreamcatcher's comeback, but it was then added to Dystopia: The Tree of Language as a b-side, so should it be on the b-sides list instead?

In the end, I decided to include it here thanks to its status as a pre-release single, since that's what came first. And I'm so, so glad I get to talk about "Paradise". Ballads are not necessarily my thing, but when an artist can take a ballad and make it unique or add their own flair in some way, that really gets my attention - and with Siyeon being as talented of a vocalist as she is, it's no surprise to me that "Paradise" hits all the right buttons with me. I feel like it's the kind of song that really speaks for itself; the production has more of an electronic edge that makes it much more interesting than just simple ballad pianos and strings, the vocals are (as expected) ethereal, and the lyrics can really hit hard if you're able to relate to them. Like, really hard. 

If you overlooked this because you heard it was a ballad, be sure to give it a try. It's a serene, beautiful song that might even makes me cry every now and again - it's really something special.

Similar to "Black Mamba", "Helicopter" was a song that grew on me over time. Initially, I felt like it got rid of a lot of the interesting experimentation CLC got up to on "Devil", and while I'm always up for a good powerful concept, this felt a bit too repetitive and... strangely off for me. I couldn't quite put my finger on what it was, but I'm very glad I warmed up to it. In hindsight, I don't quite know how the production didn't slap me across the face immediately - as is fitting for the title, this song goes hard and it absolutely soars by its end. That bridge and final chorus with the double time and Seunghee's adlibs is incredible. Yeeun really delivered in terms of her raps this era too, with her off-beat, playful flows really making this that much more of an interesting listen.

So while it's not my favourite CLC release by any stretch, "Helicopter" still manages to pack one hell of a punch and really leave a lasting impression. I could probably talk about how underrated CLC continue to be, but you've probably heard that argument before, and you should know to listen to this if you haven't already. These girls are thoroughly deserving of all the hype they get!

2020 was the year I started trying to pay attention to more groups in K-Pop - if I was aware of them, I tried to at least check out their title tracks when they made a comeback. And while "Fantasia" felt a bit too messy and all over the place for me to enjoy, I knew as soon as I saw the teaser pictures for "Love Killa" that I would love it - and thankfully, I was right! I'd even say it's my favourite Monsta X title track as of right now. 

It's got the sauve, normally pretty sexy men in suits concept that I really enjoy, even if some argue it's gotten old. But hey, Monsta X are an incredibly diverse and talented group, so it's no surprise that they were able to put such an interesting spin on that concept. It's high-fashion in a way, but unhinged in another; it's got scale, intimacy and pretty much everything else you would want from a song like this one. "Love Killa" is groovy as hell, and that chorus has been stuck in my head for weeks - fingers crossed they're able to release more like this in the future!

Two words: FUCKING FINALLY.

I have been waiting with bated breath for the day that ZBLabel let AleXa really sing. She's got the dance ability, she's got the charisma, and even a bit of rap skill - the only thing we really had to see Alex do was prove her vocal ability, and I am so, SO glad that "Revolution" finally gave her the chance to do that. Not only is this her largest-scale comeback yet - which is saying a lot considering this is AleXa we're talking about here - but it's far and away her best yet. This feels like the best kind of mixture of a song and a war cry; it's music, sure, but if you don't want to bust down a door after listening to this, you're not listening to it right. The beat is pounding, the instrumental has such a natural sense of momentum and climax, and the VOCALS. THE VOCALS. THIS GIRL CAN SING. I honest to god nearly cried the first time I heard that ending!!

This is what K-Pop does best, in my opinion - the really high-concept comebacks that are so focused on a particular vision or theme. In this case, "Revolution" is not only an example of a high-concept comeback, but one that really shows why you should like AleXa in the first place. If I wasn't in for the ride with her already, I absolutely am now - this girl deserves every bit of success coming her way, and I am SO glad she got the chance to shine like she did here.

There were a few songs that really defined K-Pop in 2020, and for most people, one of them was Stray Kids' "God's Menu". That was a comeback that was so uniquely suited to Stray Kids, yet it also showed off what K-Pop can be at its best - but that's not the song I'm putting on this list.

Nope, I chose "Back Door" to go here instead! Yes, that means I like "Back Door" more than "God's Menu", and no, I'm not sorry. If anything, "Back Door" feels like a really good, natural followup to "God's Menu"; it's like its more eager, enthusiastic cousin, if that makes sense. It's got Stray Kids' usual sense of spunk, but this time, with a bit more a swing and funk-inspired touch. THAT is why I ultimately prefer "Back Door" - it's an evolution of  Stray Kids' sound in a really fun way, and honestly? I just fucking love how bouncy and energetic it is. It's addicting, it's energizing, and that outro is perfection.

This is the kind of song I listen to when I'm having a particularly sleepy day, or I just need something to wake me up a little bit. "Back Door" delivers on not just that aspect, but also just in terms of being a really fun, inviting listen. I'll admit, I was initially a little skeptical of Stray Kids' popularity, but now? I get it. This is great!

Ah, yes. The Dreamcatcher entry.

What, you were expecting for them not to be on this list? It's me, what did you expect?

I don't have much to say about "Scream" that hasn't already been said. While it was strange and a little saddening having an OT6 comeback, when I tell you "Scream" impressed me on every level, I really do mean it. This is one of Dreamcatcher's strongest title tracks in my opinion, and it blows my mind how Leez and Ollounder are able to keep finding inspiration for this group's music. The sense of jauntiness and brightness in this song's melody and instrumental are just a front for the incredible darker touches and gothic vocals, and hey, it's Dreamcatcher, what do you expect? Of course they're going to knock it out of the park. But I just didn't expect them to do it quite like this!

Even though 2020 had a great year in terms of dark concepts, that was to be expected with Dreamcatcher. VICTON, however, are not a group I am familiar with at all. Apart from following a few pretty passionate ALICEs in the collecting community, I had never listened to their music or really heard much else about them.

That meant "Mayday" hit me like a fucking boulder.

This isn't a straight-up horror concept or anything like that - rather, it's a song full of unease and uncertainty. The distorted vocal filter alone sold me on this song from moment one. It's one part of an incredibly well-oiled machine that's slowly starting to break down and decay due to overuse. This song feels like a breaking point and a cry for help, but not in the overdone, angsty way.

Long story short, I love everything about "Mayday" and the fact that it's not higher is almost scary. 2020 was that good, I guess. But damn, PLEASE keep releasing music like this, VICTON. You'll make a fan out of me if you do!

...alright, fine, I'll keep this short.

To say 2020 has made me a BLADE is... putting it very, VERY lightly. Shit, they've quickly become one of my favourite groups in K-Pop AND THEY'RE TECHNICALLY NOT EVEN REAL.

K/DA's comeback was everything I didn't know what I wanted and more (no pun intended). "POP/STARS" was good, sure, but "MORE" blows it out of the fucking water. I've already gushed more than enough about this album as a whole, so if you want my thoughts on it, go check out my best album and b-sides lists. 

But if I could say anything about "MORE", I'll say this - please make K/DA comebacks more frequent than just once every two years. I physically cannot wait that long, especially if the music is THIS good. 

That is all.

Sometimes, I'll forget how much I really like a song until I revisit it for my year-end lists. That's exactly what happened here - why did I ever stop listening to "Red Moon" in the first place?! 

"Red Moon" felt like a massive tonal and conceptual shift for KARD, and I swear if I see one person complain that their concept is stale after this era I'm going to lose it. "Red Moon" is a switch-up in every sense of the word; the beat change is in-your-face and pretty amazing once you get used to it, the members have better vocal chemistry than ever, and Somin is rapping. 

Pretty sure that tells you everything you need to know. 

"Red Moon" is THE song to show someone if you're introducing them to KARD - not only is it a good example of what KARD can really do, but it's also one of their absolute best releases to date.

When SM said we were finally going to be getting an Aseul unit release, I DIDN'T FUCKING THINK IT WOULD BE THIS.

...seriously, I'm still shocked over what "Monster" turned out to be. Red Velvet have done creepy concepts, sure, but full-on horror?! "Monster" is the musical personification of when the final girl goes apeshit in a horror movie. This song does not fuck around - if you had told me someone had a nightmare and used it as inspiration, I would believe you! 

Don't get me wrong, I mean every word of that as the highest of compliments. I've seen so, so many horror concepts in K-Pop try and fail to convey the sheer power, force and honest to god fear you need to instill in listener of for it to work - but this? THIS is how you do it. "Monster" is the creature that lives under your bed at night, and I love every single inch of it.

Out of all the horror-inspired songs on this list, there was only ever going to be one that ended up being my favourite. And boy, if you had told me that it'd be from CIX, I probably wouldn't have believed you. Before 2020, I didn't really pay attention to any of the groups from the various Produce seasons; they just didn't interest me, especially after how IOI basically got the short end of the stick compared to everyone else. Wanna One in particular didn't really keep my attention past "Energetic", so I kinda just gave up and moved on after that.

But as it turns out, that was very much the wrong decision on my end, because, uh... CIX have become one of my top groups in a matter of months.

"Movie Star" was a really interesting debut. It's arguably the most generic of their title tracks, given that it's the same slick suave and confident concept boy groups often fall into. "Numb", though... "Numb" is special. I'm a sucker for songs with a real message, especially when I can relate to that message - and the point that song makes about the stress young people are under because of their education got right to my heart. It's by far my favourite title track of theirs... but I'd be lying if I said that "Jungle" wasn't my second favourite.

When I saw the music video for this song for the first time, it honestly left me speechless. Sure, high-fashion horror concepts, if you want to call them that, have been done before by a multitude of other groups (looking at you, VIXX). But "Jungle"? "Jungle" feels... different. It feels as though there's this mountain you need to climb, these chains that are holding you back, all while there's a pack of wolves nipping at your heels ready to devour you. It's frantic, it's smothering, it's desperate...

...and the fact that I'm able to wax poetic about a song's concept like that should tell you how much I adore it. 

By every meaning of the word, CIX hit me as a truly talented group. They're diverse in a way that keeps their comebacks interesting, and each of the members is so distinctive that I honestly had a hard time picking a bias. And hell, if their comebacks keep being as good as "Jungle", I will absolutely not regret stanning them any time soon. I'm honestly annoyed with myself that I didn't get into them sooner, because... Wow, this was amazing.

In case you haven't noticed, we've now gotten to the part of this list where I just start gushing. Heads up - that's not going to stop any time soon. The thing is, number 8 has... changed on this list, and it's changed a LOT. 

Chungha is, without a doubt in my mind, the strongest K-Pop soloist since BoA. She's a one-woman powerhouse at this point. So, naturally, I had a LOT of hard decisions to make when choosing which of her excellent pre-release singles to put on this list proper. "Stay Tonight" was, for many, the sequel to "Gotta Go" we'd been waiting for, and while it didn't quite reach that height for me, its inclusion of explicitly vogue, glamour and queer cultures just... made my soul happy. She did that shit for the girls, gays and theys, nobody else.

However, "Dream of You" was the song I REALLY had a hard time with. I love it to pieces - she's so effortlessly sexy and charismatic that the style of song suits her perfectly, and I'm pretty sure that the first time I heard her sing "I'll keep you so turned on", my wig flew to a previously undiscovered galaxy. It took up this spot for quite a while.

But "PLAY"... No matter how much I kept coming back to it, this song just... feels special to me. 

"Stay Tonight" and "Dream of You" are good, if not great, songs. But "PLAY" isn't just a song to me - it's something that elicits some incredibly intense emotions, all of them good. I've never been the most synaesthetic person, but this song feels (and sounds) like a carnival - it's bright, almost blinding, and at times it almost feels too loud, but at the same time, it's so fucking euphoric that you don't care. There's something about the way the melody dips into Chungha's higher range before the bridge eventually builds and she finally gets to belt in the final chorus that just... touches something for me. It's celebration in its most primal form. It's like fireworks going off in my ears, and I wouldn't have it any other way. And the best part is, that hasn't gotten old! I thought when I first heard it that that feeling would fade - it hasn't. If anything, it's gotten stronger. 

And THAT is what I love about "PLAY". I could gush about it forever, but by god, you can bet I'll be listening to Chungha's album. This woman is a fucking powerhouse and I cannot wait for her to single-handedly leave her mark on the industry, not that she hasn't done so already.

So what can beat something like "PLAY"? Oh, just my favourite group in the industry, no big deal.

I have always been a staunch advocate for MAMAMOO's sexy concepts - I don't know what it is about it, but they just pull them off so well. They honestly ooze charisma when they get a title track like "Egotistic" or even "Decalcomanie", and while I love their playful, cheery side, their sexy side always gets me.

So, uh, yeah, "AYA" is my shit.

Say what you will about it being scattered or messy - I understand this song isn't for everybody, and a lot of people preferred "Dingga". And that's fine! But me? This started off as an 8/10 for me, and it's honestly gone up to a 9 over time. It's addictive - that acoustic guitar in the back is subtle, but prominent enough to provide a nice backing; the pan flute in the choruses is distinctive and really makes the song stand out; the sauntering rhythm gives you something that's not quite relaxed, but not quite angry either; and then, in that final minute, the whole thing kicks into overdrive and you get this explosion of what I can only describe as MAMAMOO - it's got this samba rhythm to it, but also far too much bombast and attitude to be anything other an a part of one of their songs. 

I've felt like RBW has been really good at picking and creating songs for MAMAMOO as of late, both for the member solos and for the group releases - anything the girls have performed in the last year or two has felt more like them than ever. That's not to say that older songs don't feel like MAMAMOO title tracks, but "AYA" is exactly what I mean. It's a sexy concept, but it's a MAMAMOO sexy concept. It's a breakup song, but it's a MAMAMOO breakup song. It's a title track, but it's a MAMAMOO title track. And that's precisely why I've always loved them - they effortlessly take what they're given, add their own style to it and then proceed to perform it in a way that leaves me speechless every single time. 

It might not be my absolute favourite title track of theirs - let's be honest, that's "Egotistic", and that's like an 11/10 for me - but goddamn, "AYA" comes close in quite a few ways. I really hope 2021 treats these girls well, and they continue flourishing like they are now, because they really, truly deserve it.

...holy shit, this isn't even in my top 5...

On the amount of times I have replayed and listened to a single song in 2020 and nothing else, "WANNABE" is my song of the year. It's my most listened to song of 2020, IT'z ME is my most listened to album, and I even fucking cut my hair the same length and style as Ryujin's. No, I'm not kidding. This song, and this era, defined my 2020.

BUT THERE ARE STILL SONGS I LIKED MORE. HOW.

I've already gushed more than enough about "WANNABE" on this blog, so I'll keep it short: in an where groups are continually more impressive, and where everyone keeps declaring certain moments as "iconic", this song - and specifically Ryujin's fucking incredible intro - will be remembered as the moment ITZY really came into their own. It should be, because that's what it deserves. This era and this song are so incredibly special to me, and it's my new benchmark for not just ITZY releases, but this kind of teen crush concept in general. 

If you're going to do a self-empowerment anthem, THIS is how you do it.

If we're going off of title tracks and b-sides, "Deja Vu" was by far my favourite NCT Dream song of 2020. But in terms of title tracks? Well, they only had one, and it turns out it's by far my favourite title track they've ever released, sooooo I guess that works!

Jokes aside, I cannot begin to tell you how loudly I screamed when I listened to this song for the first time and that first chorus kicked in. Not even yelled or gasped, screamed. I can't quite put my finger on why, even still! There's something so... exciting, so invigorating about "Ridin'", especially the instrumental - the member performances are great, but this song's vibe and concept as a whole are done so fucking well I can't help but be in love with it. 

You have racer concepts, and then you have "Ridin'". This song is in a class of its own, and I still have a hard time wrapping my head around how grandiose it feels. That's why I don't necessarily have that much to say about it; I absolutely love it to pieces, but can I put that love into words? No!

...but am I going to listen to it a thousand times over and gush about my love for it anyway? Of course, that's a stupid question. SM please keep giving Dream songs like this thank you very much.

Hey, mom! I'm cheating again!

Most of the time, there's a difference between what I think is my favourite era of a group, and what my favourite era is. They can be the same thing, sure, but that's quite rare - but as it turns out, it's not necessarily as rare when you have two title tracks. It's also not as rare when you're talking about my ult boy group.

ATEEZ have impressed me since day one - it's why I stanned them in the first place. But in the run up to ZERO: FEVER EP.1's release, I was a staunch, and I mean a STAUNCH advocate for "THANXX". "INCEPTION" sounded like it would be a bit more generic, and I was afraid ATEEZ were going to start falling into that dreamy flower boy loved-up title track trend that I don't necessarily like. So I voted for "THANXX", because that was by far my favourite of the two.

As it turns out, not only is "THANXX" my favourite title track of theirs, but "INCEPTION" is what I consider to be their best title track. So it's a two for one deal!

"THANXX", I've already gushed over. It's every single little tiny thing I love about ATEEZ's style of music crammed into three minutes of what I can only describe as the best fucking party you've ever attended. Its pace is breakneck, and once it starts, it never stops - but I never want it to. I'd be perfectly happy to just let it sweep me away, and to 춤을 춰 into the sunset.

But "INCEPTION"... "INCEPTION" hits different. Since this era was ATEEZ's first comeback since the end of their Treasure series, I was worried about how KQ, and specifically Leez and Ollounder, would handle it musically. And as it turns out, I really need to put more faith in them, because "INCEPTION" is magical. It's a love song where somebody's longing for another person, sure. But in a similar way to CIX's "Jungle", it's so much more than that - it's emotional and desperate in a way that's only conveyable by listening to it. And if the rest of the song hadn't sold you, that bridge into the final chorus alone should be able to show you what I'm getting at here. It really is something special, and it's almost cinematic in how it gets its theme across. The more I listened to it, the more I felt so awful in my gut about just putting "THANXX" on the list.

So I'm cheating and putting both here! I mean, can you blame me? 2020 was a killer year, and this just so happened to be both my favourite and the best era for ATEEZ in general. I can only hope that continues in 2021, because if they're able to keep up with - or even some how outdo - the shift in sound and concept they've achieved with "INCEPTION" and "THANXX", then holy shit, they might just kill me. May as well start prepping now, I guess!

If you frequent this blog, you'll probably know a few things about me. My favourite concepts are confident or girl crush concepts, I'm not the biggest fan of cute or magical concepts, and I generally don't stray too far outside of that. BUT. And that's a big but. If a group is able to take a concept that I don't like and make it interesting to me in some way, I will play that shit on repeat until the day I die.

Enter APRIL, and "LALALILALA".

Absurd title aside, when I say I don't like magical concepts... THIS will be the exception to that rule. Sure, this song is magical, and it's got all the elements of a classy, elegant and slightly cute girl group concept; but when their company gave them the magical concept, it looks as though the girls of APRIL took it seriously, because... Holy fuck. There is something so graceful and delicate about this song, and yet... It hits like a truck.

I think it's the musical influence, honestly. The entire instrumental is full of these glitzy, disco-esque synths and instruments that make this song sparkle in the most inviting kind of way. But at the same time, the way it's written is honest-to-god masterful - everything seems so poised and perfect on the surface, but it's like wiring a bomb. It's a delicate process, but holy shit, does it make an impact when it all explodes.

...that's a bad metaphor, but you get my point.

This song never, and I mean NEVER fails to give me chills. There's just something about the way the predominantly minor melody builds and rises, and the way the harmonies interlace with the girls' vocals to just... overwhelm you. It's colourful, it's bright, it's almost too sweet, but it's offset by the power that this song holds. It's the BEST kind of musical experience for me. 

"LALALILALA" is special. Very, very special. And it breaks my heart to think I could have missed it. I'm so glad I didn't, because if there are gems in the rough, this is a diamond. 

Coincidentally, I'd say my number two pick also follows the rule of a magical concept, but with a LOT more power and general show-stopping qualities about it that make me love it. So, let's discuss that, shall we?

When this song first started up, I audibly said to myself, "OH SHIT GIRL CRUSH IZ*ONE".

While that didn't end up being entirely accurate, the "oh shit" part was definitely correct, because it's been literal months since this song came out and it still scalps me every damn time I hear it.

I've talked about it before, but it's so good that I'll talk about it again: the last minute and a half of this song is what heaven sounds like. Yuri's high note into the dance break, into Chaeyoung's adlibs, into the instrumental cutting out to emphasize the drop into the final chorus with the double time drum rhythms... 

 Sometimes it feels like "Secret Story of the Swan" has so much power and so much force behind it that it's going to make me deaf, but y'know what? If that's how I lose my hearing, I'm okay with it. IZ*ONE might not have that long left on their contract, but by god, I will ALWAYS remember them for "Secret Story of the Swan". This song is an event.

So, what could beat it? Well, firstly, I feel like it should be obvious if you read this blog.

And second of all... I just gave you your answer.

This is one of my favourite K-Pop songs of all time. 

I mean, even just listening to it while typing up the entry for this list, I'm getting chills from the intro. THE INTRO.

"So What" is a song that, even though it's pretty loud and abrasive, never feels loud enough in my ears. I still can't quite comprehend the fact that this is a LOONA title track, let alone the fact that this song exists. The bridge into the final chorus and ending honestly does not even feel real. When I talk about music making me feel things, this song is the pinnacle of it - if AleXa's "Revolution" makes me want to kick down a door, "So What" makes me want to start a fucking uprising and dismantle the patriarchy with an army at my side.

"So What" is powerful, forceful and all-encompassing - but the thing is, it's also a battle cry. When 2020 got rough, what song did I turn on? What song do you think I started listening when I couldn't muster the energy or motivation to do online college work, or when I didn't feel like there was anything to look forward to, or when I felt like there was no light at the end of the tunnel? 

THIS. SONG.

"So What" pushed me through the absolute shithole that was 2020 for a reason. This song is what I turned to when I didn't have the passion, when I didn't have the will to keep going, when I didn't see a point to anything I was doing - as overdramatic as it may sound, the energy this song gives me single-handedly got me through the year. It's the true definition of a tour de force - screaming this at the top of my lungs whilst home alone was one of the most special experiences with a song I had in 2020, and I don't know if I would have gotten through in quite the same way without it. 

While the world burned, LOONA told us to burn ourselves. And I'm so glad I did.