With that long list out of the way, we've got a bunch of songs to get through, so let's get started! The entries are probably going to be shorter, since there's a lot of music here, but regardless, here's the Spotify playlist if you're interested.

Alright, time to gush over b-sides for a bit. 

While I felt like one of the very few people who found Neo Zone to be a... disappointing era for NCT 127, to say the least, "Elevator 127F" was by far the standout track from that album for me. It's fun, it's lightweight, and yet it packs a brilliantly funky punch thanks to that wonderful synth-led instrumental. It's a hell of a lot of fun, and definitely a great way to start or end the album - it's a great pick-me-up when you need it!

Now THIS was the big, bombastic release a lot of people were expecting from SuperM. If you pay close attention, you'll notice that a lot of Moonshine-produced content has ended up quite high on my lists this year, and with damn good reason. "Tiger Inside" is just one of their excellent songs from 2020, with a bombastic instrumental that's performative and so goddamn captivating in every way. The performances here exude charisma as well, making this by far SuperM's strongest track to date.

This album is already excellent, but "Stop" is by far my favourite song on The Book of Us: Demon. It's got this really potent guitar hook rolling along in the background, and it's by all means a song full of grit, spite and anger, whether it be under the surface or bubbling over. If you need to vent some frustrations for a bit, this is the song to do it with; it's got an amazing rollick from start to finish that draws you in and will make sure this is stuck in your head long after listening.

Hey Taeyeon, the James Bond producers called. They want their soundtrack back.

In all seriousness, I'm honestly so happy the Purpose repackage came out in January, because it means this absolute powerhouse of a song still gets to be on my year-end list. "LOL" is every bit as sultry and beautiful as the James Bond comparison would have you think, and if you haven't heard it, do yourself a favour and give it a listen. It's got the classiness of some of Taeyeon's past title tracks, but with that much more flair that makes it a showstopper. I hope we get some live performances of this some day!

Amidst all the praise for "Star" and "Oh (Yes I Am)", I was over here bopping to "OOPS!", the underrated gem of LOONA's releases this year. This is a banger from start to finish, playing with some of the more experimental sound LOONA have had in their title tracks as of late, and it works. It's the best song on 12:00 for me, and even though its placement on the EP may be weird, it's a ridiculously effective kiss-off that never fails to hit the right notes for me.

Also, this is Chuu's world and we're just living in it. That is all.

Man, if it was any group's year within K-Pop, it was Oh My Girl. "Nonstop" was a massive era for them, and thanks to some recognition from IU, "Dolphin" managed to blow up and become one of the biggest songs of this year - and it's so well deserved! The chorus is one of the strongest of 2020 (which is saying a lot), and the bright, playful nature of this song will warm even the coldest of hearts. It's that fun. 

"Dolphin" is one of those cutesy songs that hits all the right notes without coming across as pandering or over-the-top, and it's an absolute delight to listen to. Listen to this if you need a smile, because you'll basically be guaranteed to come out the other end happier than you went in.

Even though I think Fever was ATEEZ's superior album this year, "Precious" was by far my favourite b-side from them in 2020. If you had told me they would turn the intriguing interlude from their full-length album into an entire song, I would have laughed, but I'm so glad they did! "Precious" is goddamn mesmerizing, and the robust pan flute sample in the instrumental is just the cherry on top here. It's one of my favourite ATEEZ b-sides to date, and it's held up incredibly well throughout the year.

Well goddamn, consider me impressed. I was starting to worry that AleXa's concept was running a little stale after Do or Die's release, regardless of how much I liked that comeback, but "Villain" takes those concerns and throws them out the window. Alex really gets to show off her pipes here, and the instrumental is dark, stalking and so goddamn atmospheric you can almost taste it. It's one of her best songs yet, from what I personally consider her best era - while this little trilogy may be over, I cannot wait to see where AleXa goes next.

If you felt like this year was a little stale musically, or need something to really take your ears by surprise today, THIS is the song to do it with. "Pantomime" is one of the most fervently unique songs I've heard all year, and it walks the line between experimental and playful masterfully. It's a truly, truly special song that you just don't get every day, and it still finds new ways to blow me away each and every listen. It's a goddamn treat.

If there's something I didn't know I needed from Hwasa's solo comeback, it was a quirky collaboration with DPR Live! "I'm bad too" absolutely caught me off guard, since when I listened to the album for the first time, I expected "Why" to be my favourite (since anything Cosmic Sound touches is absolute gold in my eyes). But no, months after this album's release, this is the song I keep coming back to. Even though the song is about feeling down and not on top of your game, the cheery bossa nova influences make sure you're left feeling a bit more optimistic by the end of its short 2-and-a-half minute runtime; yes, the year has been awful, and we're all a little sad, but we'll get there. Maybe not now, but eventually.

I don't do rankings of my favourite choreographies before due to lack of time, but if I did them, this would 1000% be my favourite of 2020. Trust me when I say that these ladies make tutting look easy, but DO NOT, I repeat, do NOT attempt this choreography if you care about your arm muscles. It will be painful. This shit is no walk in the park, and "Naughty"'s choreography was considered one of the best choreos of 2020 for a reason. The level of effort and attention to detail here is astounding, and it's honestly among the ranks of songs like BoA's "Only One" in terms of choreo for me. It's that good.

Thankfully, the song itself is pretty damn good, too. Unlike "Monster", which was a bit more in-your-face, "Naughty" leans into the girls' sleeker, more modern and sophisticated side that they unexpectedly excel at. The vocal cadence in the choruses is mesmerizing, the charisma shared between both Irene and Seulgi is off the charts, and it all combines together to make one great final song that surpassed my expectations.

...but seriously, stretch your arms before attempting any part of this choreography. Mine still hurt.

Since 2020 was the year of me going outside of my comfort zone musically, I decided to pay more attention to Stray Kids' releases this year. That ended up being a very good decision, since not only were both title tracks excellent, some of the b-sides surprised me with their greatness, my favourite of which ended up being "Phobia". I wasn't sure what to expect from a song with that title, but I really do love this! It's got a very interesting sense of pace and buildup that work really well in its favour, the sections flow super nicely into one another, the harmonies are beautiful, and the vocal and rap performances are great (as always). I feel like "Phobia" is one of those songs you really have to listen to, because it's quite hard to describe, but trust me when I say it's worth it; it's by far my favourite song from both the Go Live and In Life albums excluding the title tracks.

This was by far one of the biggest surprises of the year for me! I'm normally not the biggest fan of ballads on an album; they can tend to feel shoehorned in, and simply thrown onto the end of the album because they're mandatory. This doubly applies to groups I don't normally listen to, since I'm not as engaged or connected with the artist and their discography. However, what TXT proved with "Maze in the Mirror" is that there are exceptions to every rule, because this is far and away my favourite song from The Dream Chapter: Eternity. 

Initially, "Maze in the Mirror" is deceptively simple; most of the song is basic piano notes, minimal yet pretty harmonies and a relatively consistent acoustic guitar line... but then you get to the bridge. The melody starts to soar, the harmonies become more complex, an electric guitar gets added to the mix, and then those drums kick in. It's one of the most magical moments I've had with any song this year, and it's so comforting and warm that it's become the song I listen to before going to bed every night. No, I'm not joking! This is absolutely one of my favourite hidden gems of this year, and I'm pretty sure I'll be listening to this far into the future - it's seriously beautiful.

Picking a favourite song from Travel felt like choosing a favourite child, but eventually, I settled on "Travel" itself. This is one of those songs provided something that felt missing to me in 2020 - the feeling of adventure and... well, travelling. Obviously, real-world travel is non-existant right now, so for MAMAMOO to release a song like Travel that's essentially a vacation in a bottle? Hell yes. 

"Travel" is honestly idyllic, with the acoustic guitars and gorgeous vocals just making this song that much better. It also helps that the girls themselves have more than enough likeability and charm to sell this song's friendly warmth, and then some. It's not just the namesake of this album, it's a wonderful little piece of carefree music that is guaranteed to lift your mood should you need it. "Travel" is escapism in the best way, and in 2020, that's something that was sorely needed.

Finding bad b-sides on a Dreamcatcher album is like finding a needle in a haystack. But at the same time, it's also really obvious to me when they outdo themselves and set a new standard I never knew they could reach. Enter "In The Frozen", the sister to last year's excellent "Silent Night" - it's another high-stakes EDM cut with even more ferocity and sheer willpower than the last. 

I didn't think "Silent Night" could be topped, but the first time that siren-esque drop hit, I was proven so, SO wrong. I am an absolute sucker for songs with a sense of poignance or strong emotion - melodrama, if you will. Melodrama may as well be "In the Frozen"'s middle name, because MY GOD those choruses are insane. And the bridge? Siyeon's legendary vocals, Dami's brief rap and Gahyeon's high note (yes, you read that right) leading into the double-time beat induces so many goosebumps every goddamn time I hear it. Put simply, you're missing out if you haven't heard this, and I can't recommend it enough.

I seem to like picking songs that go against the grain in terms of what everyone else likes. I'm always an apparent fan of the underdogs, the songs that don't get as much attention as the fan-favourites. When it came to THE ALBUM's release, while everyone else was fawning over "Pretty Savage" and "Love to Hate Me", I was losing my goddamn mind over "Crazy Over You" (no pun intended).

2020 gave me a lot of things I didn't know I needed, but by far my favourite was BLACKPINK tackling a horror concept. THE ALBUM gave them the chance to experiment with their sound, and "Crazy Over You" is absolutely the best example of that. It's pretty bare-bones, sure, but every single element of this song's lyrics, instrumental and performances add to that wonderfully creepy vibe - yes, even the rubber duck quacks. Not to mention, when the song does take it up a notch, it excels. Those pre-choruses are godly. 

It's off-the-wall, sure, but BLACKPINK's take on a creepier concept really impressed me, and I can only hope we get a full comeback someday with this creepier theming. Please. I would die of happiness.

Let me make one thing clear if this is the first time you're reading anything from this blog: first of all, hello, thank you for listening to my ramblings, and two, I adore EDM. And naturally, the kind of EDM I love is most often found in b-sides, since title tracks don't tend to go the full nine yards most of the time (with songs like T-ARA's "Sugar Free" being welcome exceptions). 

Monsta X's "Zone" is the EXACT kind of EDM I adore. Some people are going to write this off as noise, but I don't care - this grabbed me from first listen, thanks in no part to the amazing performances given by the members here. Sometimes I forget just how much of a force of nature Changkyun and Jooheon can be, but it's songs like "Zone" that remind me, because wow they bodied this. The instrumental drags you along for a wild ride that just keeps speeding up, and by the time the song's done, you'll either be exhausted or immediately want to listen to it again. I ended up in the latter category, and "Zone" quickly ended up on repeat. It's one of the best b-sides I've heard this year, and an absolute gem in Monsta X's discography for me.

The fact that "Enemy" has ended up not even in my top 5 should tell you how good this year was for music, because nearly a year later, this still hits hard. It's one of my favourite songs KARD have put out, even if it's just a unit track with Somin and Jiwoo, and continues to get better with every listen. It's not often that a song can feel brand new every time I listen to it, but every time I listen to "Enemy", it feels like the first time, and I mean that in the best way possible. Again, I do wish it was longer, but for what it is, it's an absolutely lethal b-side that deserved SO much more attention that what it got. Somin-Jiwoo subunit debut when?

The first time I heard NCT U's "Make A Wish (Birthday Song)", I was... admittedly a little disappointed. It had potential, sure, but it felt a little messy to me. However, the biggest point I remember making was that I wished that the breakbeat section in the bridge had been the full song... so imagine my surprise when I turn on the album and "Misfit" pops up.

Yeah, I nearly fell out of my chair.

Man, for a song that's exclusively rap-based, NCT surprised me with just how well they pull it off here. "Misfit"'s rapping is intense thanks to the genre they're going for, but not once does a member drop the ball or sound out of place. I've never thought of any NCT unit as a particularly rap-oriented group, but Resonance era has proved me wrong in a big way. Mark and surprisingly Sungchan in particular knock it out of the park here, and Johnny Suh has charisma for WEEKS. This is fun, bouncy and the best kind of surprise from NCT, and even though they technically already did it with "90s Love", I already want more retro-themed content from them!

When it comes to the music itself, there are definitely certain producers that more well-known within the K-Pop industry. You've got your Shinsadong Tigers and Black Eyed Pilseungs, but you've also got those that are more popular with the international fans, like Dem Jointz and Moonshine. One of the most notorious composing teams active in K-Pop right now is LDN Noise, who have gained quite a bit of notoriety over the years. But if I'm honest, aside from pretty much everything they worked on with f(x), I've never really gotten the hype behind them.

"Shadow" changes all of that. When I found out they produced this, I went in expecting an upbeat, EDM-inspired pop song - but what I got is one of the most shockingly stunning and atmospheric songs of 2020. "Shadow" has a sense of longing that you don't even need to read the lyrics to feel, and the girls' vocal performances are subtle yet powerful perfection. There's something about this song that's just so... melancholy, but also hopeful. It's shallow, yet endlessly deep at the same time, and ends up being the kind of song that I could wax poetic about for hours on end.

You know when I listen to a song for the first time and am immediately able to imagine a music video, outfits and all, that you've pretty much nailed the execution. "Shadow" struck a chord with me that few other TWICE b-sides this year did, and it's now one of my favourite songs in their discography. It's more mature and a little bit darker in a very poised way, and it's honestly just so ridiculously good. I could have this on repeat for weeks and I'd never get tired of it.

While I can definitely get into more subdued and minimal songs every now and again, I don't think it's a secret that I'm a fan of music at its most powerful. If a song can have some kind of weight or gravitas to it, chances are I'll either find it annoying or absolutely incredible. Thankfully, WayV's "Domino" falls into the latter category, because when I tell you this song feels like the best kind of slap to the face, I mean it. 

"Domino" feels like an event the first time you listen to it - the verses are minimal, yet feel like they're building up to something and then the chorus decks you across the face at high speed and it's amazing. I can't quite put my finger on what gives this song the ability to move mountains - I'm pretty sure it's the vocal layering in the choruses mixed with the chord progressions - but whatever it is, it's absolute gold dust. 

Regardless of its placement late on the album, "Domino" manages to single-handedly stand out as my favourite song from Awaken the World, which says a lot given the high quality of the album itself. If you haven't heard it, stick on a good pair of headphones or find your best speakers and blast it. The goosebumps are worth it, I promise.

Well, well, well, how the turn tables.

I'll be blunt - I hated Reminiscence. "DUN DUN" felt like the girl crush concept at its most abrasive and annoying, and the 'album' (if you can call it that, with its whole 4 songs) drives me up the wall. In fact, if I were to spotlight my least favourite b-side of 2020, it'd be "Player". It was not an era I enjoyed in the slightest, so seeing Everglow change it up again for their comeback with "LA DI DA" was certainly welcome. I really wasn't sure what to expect going into the album itself - I'm calling it Antarctica for handiness' sake - mainly because of how badly Reminiscence sat with me.

But ohhhhhhhhh man did that change when "GxxD BOY" started up.

If you've never heard "GxxD BOY", the best way I can describe it to you is that it'd be at the top of a hoe anthems playlist if I had one. Of all the songs on this list, this one arguably goes the hardest, and when I tell you that last chorus had me cheering out of sheer delight... I mean it. The way the song transitions from the second chorus to the bridge to the pre-chorus to the final drop with the instrumental cutting out for emphasis is honestly euphoric. It's the audio equivalent of a party popper, but with the force of an atomic bomb.

Thank goodness I was home alone when I first heard this, because I'm pretty sure I screamed a little. It's the best song on Antarctica, and in my opinion, it should be the standard for what Everglow do going forward. If they made songs like this for the rest of their career, I would stan so hard, y'all have no idea...

If you read my IT'z ME review, you knew this was going to be here. Just like with "Zone", "TING TING TING" is basically my ideal song, and it's an EDM/K-Pop fusion done masterfully. That's mainly thanks to Oliver Heldens, whose contribution is felt in spades, but ITZY's vocal performances here honestly elevate this song to perfection for me. This is the definition of a banger, and absolutely the last thing that I expected from an ITZY album. I've already ranted about it to death, so I'll leave it at this - it's one of the best songs of 2020, and if I throw any parties once this whole pandemic has died down, I'm including this in the playlist. It deserves it.

I didn't think Dream could top "Love Again". Oh, how I was so, so wrong.

Let's get right to the point here - "Love Again" was the best surprise I've had in ages, but "Déjà Vu"? "Déjà Vu" is perfection. The MINUTE that toy piano-esque sample kicked in, the chills I had were otherworldly. As great as the song is, I don't have that much I can say about it - it honestly never fails to render me absolutely speechless. Songs can do that to me every now and again, sure - ATEEZ's "Utopia" is one that springs to mind - but it's rare. That just makes this even more special.

This is mandatory listening if you're a K-Pop fan - hell, if you like good music in general. It is uplifting, riotous and absolutely fucking incredible. In any other year, this would be a list-topper for me. It's THAT good, and made me care more for the reunion of 7DREAM more than I thought I would.

...but it's only my number 2. What beats a perfect song? 

Well, not much. But to me, my number 1 this year sets itself apart, because not only is it a perfect song... it's a perfect song with my favourite kind of concept. As selfish as that sounds, let me explain.

I feel like 2020 was a great year for the horror/creepy concept. Hell, we've already had it on this list with BLACKPINK; there just seemed to be something in the water this year that encouraged groups to get a little darker with their music. ONEUS, Nature, Irene & Seulgi, CIX, VICTON, and so many more played into one of my favourite genres of entertainment this year, and it was a thrill to watch.

So, while there are a lot of songs on this list that I feel very passionate about, there's only one that has quickly become not just my favourite of the year, but one of my favourites of all time. I'm not even saying that as hyperbole, I mean it. It's got the power of songs like "Domino" and "Déjà Vu", but plays with the creepy concept in a way that puts it in a league of its own.

...and while some may see this as cheating, I would be lying through my teeth if I put anything else at the top of this list.

I have absolutely no idea how I'm going to put my love for this song into words that make sense, so bear with me.

Songs like "Villain" are a once-in-a-blue-moon thing for me. Music plays a very big part in my everyday life, so for a song to come along that ticks all the boxes, blows away all of my expectations, and grants every single wish I could have for it... That's rare. Not every single song I listen to is going to be a home run, and that's okay!

Because it means that songs like "Villain" shine even brighter.

This song came out in November 2020, and within a month, I had listened to it enough for it to end up in my Spotify Wrapped. It was at #35.

In the span of just under a month, I listened to this song more than 65 other songs in that playlist. THAT should tell you how hard this clicked with me. Honestly, I'm surprised it wasn't higher. I lived and breathed this song for a month, and I honestly kinda still do, albeit in a more subtle way.

Songs have a habit of wearing off on me over time - it's why I often worry that my year-end lists won't be accurate, or change as the years move on. But I can confidently say right here right now as I am writing this that "Villain" will forever be my favourite b-side of 2020. Hell, it's probably my favourite song of 2020 full stop. 

Where do I start with it? The instrumental is dark, stalking, sinister and just,,,, vicious. From the moment it starts, it never lets up once, and the atmosphere those synths and reverb create is enough to swallow you whole. I mentioned in my best albums list that I'm a fan of Madison Beer's vocal timbre, and THIS song is why I said that. She's got this beautifully husky tone that is honestly enrapturing, and while I'm definitely not a fan of her (or who she chooses to associate herself with), Kim Petras is no slouch here either. This really feels like a perfect introduction to and encapsulation of Evelyn, and that's saying something considering I've never touched League in my life.

But we need to talk about that instrumental more. I follow quite a few people on Twitter, all of whom were talking about the K/DA album when it dropped - but of all the discussion I saw, one Tweet still stands out to me. 

seriously, though. It's so well produced. Wear headphones because you can FEEL this song entrancing you. Incredible.https://t.co/Wsy2GOxOJ2

— ❄️ Faye Mata 💙 (@FayeMata) November 6, 2020

This is what makes "Villain" so crazily good to me. Not only is it a representation of Evelyn's vibe, what she's about - it shows you what she can do first-hand. But it doesn't just describe it - it lets you experience it. This song's use of buildup, instruments, multi-tracking and vocal panning are what sets it apart for me. It turns what would be a relatively simple, badass pop song into a completely mind-blowing three and a half minutes, and one of the best goddamn character studies out there. "Villain" always has a new trick up its sleeve, and every single one blows me away. It's magical in the darkest, most twisted kind of way and I cannot even begin to fathom how much I love it.

I could honestly write essays about why this song is perfect, but I'll leave it at that for now. It struck a chord with me that so few songs manage to, and I can guarantee that I'll have it on repeat for many, MANY more weeks and months to come. It's one of the songs that got me through the last part of 2020, and I cannot wait to see how it gets me through 2021. 

If I can find a song I love even a fraction of the amount that I love "Villain" in 2021, then... I guess it'll be an alright year.

Like. Wow. This sounds like a song that a pre-established artist would release mid-way through their career, only to be received with critical acclaim and everyone calling it "their best song". BUT IT'S JUST THEIR DEBUT SONG. WHAT. There are very few debuts that leave me speechless - (G)I-DLE impressed me, yes, but they didn't drop my jaw or anything. Everglow DID. If you've been seeing a lot of hype around this song, then trust me when I say it's for a fucking good reason. 

"Bon Bon Chocolat" is one of the most intense and powerful girl group songs I've heard in the past year or so. I had no clue what to expect going in, admittedly, but man this was a fantastic surprise. The instrumental, for starters, is fucking nuts. It's got this phenomenal 808 bass line that permeates the entire song, along with some really interesting bass drum beats and some gorgeous, vibrant synths to help boost the melody. It's a tour de force of momentum that just does not fucking stop, and I for one am in for the ride. The vocal samples are another standout, as well; the minute you hear those fast-paced adlibs at the beginning, that's when you know that this is going to be something special.

Speaking of vocals, that's probably my only gripe with this song. Each of the members' performances are layered with quite a bit of autotune, which I'm not the biggest fan of. But the more I listen to it, the more I feel like it works in the song's favor. Sure, it does make their voices less distinct and makes it harder for you to get a feel for the members' charms (which is important for a debut, in my opinion), but the song is so damn good that it actually ends up working. In a weird way. The fact that the girls are able to pull of this sound and concept without sounding like they're trying to be the next BLACKPINK is... amazing in my eyes. It's a trap so many rookie groups can fall into, trying to sound like a hugely popular and successful artist. But Everglow have their own charm, and it shines from start to finish.

Lyrically, this song is certainly invocative of a debut. It's got that sort of "you can do anything if you believe in yourself" message to it, but it's a very confident and fresh take. The charm and personality of the lyrics actually works, and is boosted by, the girls' performances and that amazing instrumental. They honestly elevate what would normally be some pretty standard lyrics into something more interesting and worth your time.

Oh, and guess what? The choreo is phenomenal as well. WHO WOULD'VE GUESSED, HUH.


Overall, this was fucking fantastic. I absolutely cannot wait to see where these girls go next, because if it's anywhere near as good as "Bon Bon Chocolat", these girls are going to go far.

STAN TALENT, STAN EVERGLOW.

DAEHYUN (대현) - YOU'RE MY (너는 내게)

Alright, I'll admit that this is a very indulgent pick for me. But shhhhh let me have my moment okay.

For those of you who haven't been keeping up with the latest bullshit going on over at TS Entertainment, you might not know that B.A.P ended up basically disbanding a few months ago. All of the members gradually left the label - thank FUCK - and now they've all gone their own separate ways to follow new paths. Although, as a BABY since debut, I really do think they'll come back at some point. The boys are all incredibly close, and I don't feel like they'd just want to stop being B.A.P just because they're not under TS anymore.

But the first thing a lot of the members have been doing is pursuing solo projects, a lot of which actually dropped in springtime. Yongguk released "Hikikomori (히키코모리)", Youngjae released "Another Night", and Daehyun released "You're My (너는 내게)". And while all three songs are fantastic - you should seriously go check them out if you get the chance, they're hidden gems that more people should know about - I decided to review Daehyun's for this comeback review. I'd love to do all three, but I've got enough songs to review as it is.

And that's mainly because... well, Daehyun's my ultimate bias. (Well, at least my ultimate male bias; Hyosung from Secret is my ultimate female bias). He was my first ever proper bias in K-Pop, and he's been my favourite in B.A.P since day one. So it was inevitable that I was going to be interested in whatever he releases. And it turns out that he really decided to play to his strengths here, because "You're My (너는 내게)" is a mid-tempo ballad that really gives his amazing vocals room to breathe. Now, whilst ballads are not generally something I seek out, I'll make certain exceptions if I really like the artists. And yeah, I was always going to make an exception for Daehyun.

This actually reminds me a lot of one of Kyuhyun's solo songs, "At Gwanghwamun (광화문에서)", and considering that that's another ballad I really like, that's a great thing! Both songs are relatively chill, relaxed and pleasant to listen to, with their own instrumental swells where it's deemed necessarily. But I do honestly prefer "You're My (너는 내게)" a little more in the end - mainly since I feel like it has a bit more impact. The instrumental really suits Daehyun here, and the strings and piano lines are perfect for his vocal tone. They're very warm and welcoming, which is one of my favourite qualities about his voice. Whereas Kyuhyun always goes for a slightly breathier tone, Daehyun is very well able to lean into full-on belts every now and again, and... yeah. I do prefer this overall. Daehyun's voice is just killer for me.

And yeah, as is to be expected from a ballad like this, the lyrics are quite sweet and emotional. They're even a little bit pensive in places. But with Daehyun, I have absolutely no doubt in my mind that some of these lyrics are aimed at BABYs as a whole. He's always been very clear about how much he loves and supports the fandom as a whole; seriously, go look at his Twitter and you'll see what I mean. He's a very grateful, very kind person, and that's reflected in a lot of these lyrics. Yes, they can be about romance, too, but considering this is his first time really venturing out on his own outside of B.A.P... it makes a lot of sense. It's very heartwarming. 😊




While "You're My (너는 내게)" is probably going to feel like just another ballad to some people, to me - and probably a lot of other BABYs as well - it'll stand out as a big moment for Dae. Wherever he decides to take his solo career from here, you can bet it'll be good. He's a genuinely great guy with some real talent, and I hope both he and the other members of B.A.P do well in their solo careers. They honestly deserve it. 😊

ITZY (있지) - DALLA DALLA (달라달라)

...where... the fuck... do I start with this.

Okay, so JYP. One of the big three. Of course, going into the next gen of K-Pop, they'll have TWICE and GOT7. But they're mainly 3rd generation groups. Stray Kids are going to need a sister group of sorts to go with them into the next generation, right? So they debuted Itzy! And adorable name aside, these girls had a lot, and I mean a LOT of hype around them coming up to debut. Need I remind you that Shin Ryujin won MIXNINE? Yeah, that's just the start of it.

But... as we all know, this was originally supposed to be a six-member group. Of course, Somi was originally going to be a part of Itzy. But she left, and recently started her own solo career (which will be in the summer comeback review). So that leaves the remaining five members of Itzy to push forward as a beacon of what K-Pop can be, of how different and unique and memorable it can be, right? They might end up being the face of the next generation!

...with a song like this? God, I... kinda hope not...

Yeah, this is going to sound harsh. But JYP, this is NOT how you debut a promising girl group. I'm sorry, but it needs to be said - if you like the song, good for you, I'm glad you can find things you find enjoyable here. But I cannot listen to "Dalla Dalla (달라달라)" and think of it as anything else other than a raging dumpster fire. The only way this song is even listenable for me is if it's rearranged. Which, yes, that's the version I've been listening to since the day it came out. The original version is just... awful. AND THAT'S SUCH A GODDAMN SHAME.

Say what you will about me hating on Itzy for doing something different, but I really do love the image and concept that they're going for here. They're not trying to blend in; they're their own thing, and they make that clear from moment one. But... jeez, "Dalla Dalla (달라달라)" rams that message into your face so hard that it already feels stale. What the fuck happened, JYP? You have five of the most talented trainees out there in K-Pop right now, and you give them this as their debut song?! Don't get me wrong, it has its merits - the verses and choruses are nice. They're fun, upbeat and are great examples of bouncy bubblegum pop. They sound lovely! And the "don't care what people say" bridge is gorgeous as well.

But... the rest of this song... it doesn't even sound like music. It sounds dissonant. It sounds messy. It sounds downright atonal. It's like a rollercoaster that's going way too fast because of a fault in its engineering. It's got this awful mess of synths and blaring samples that just... doesn't mesh. At all. and it ruins the song's ending ENTIRELY. It's so bad. Seriously. I can't imagine a world where I listen to it and find it entertaining. Who let Skrillex lose in JYP's studio?

And the lyrics... yeah, they're fine, I guess. For a concept that was trying to be so different and distinctive, you could've had your songwriters come up with some more interesting lyrics, JYP. They're nothing we haven't heard before. They're spunky, yes, and they suit the girls' age, but... are they really all that different?




Thankfully, there are two good things about this song in the end: number one is the girls themselves. The hype around the members was certainly justified if you ask me. Every single one of them has their own charm and personality, and they seem like they're going to develop into amazing performers; if they're this good now, then I can't wait to see where they are in five years' time. But the second good thing about "Dalla Dalla (달라달라)" is THAT. MOTHERFUCKING. DANCE.

TAEMIN (태민) - WANT

You're a twit, a man who knows only me
Like delicate Simcheong*
Look around once in a while
You don't realise how hurt you are

* = this is the folklore story I was talking about; DKDKTV did a great explanation of it here.

Following on from that, if there's anyone who knows how to have fun in a dance, it's Hwasa. And damn, does she have fun with the routine for "Twit (멍청이)".

ATEEZ (에이티즈) - SAY MY NAME

Man, we were speaking of B.A.P earlier, right? And I've seen an awful lot of hype going around for ATEEZ; apparently they've just really caught on and people see a lot of potential in them.

WELL IF SOMEONE HAD TOLD ME THEY WERE A MODERN B.A.P I WOULD'VE JUMPED ONTO THE HYPE TRAIN WAY FUCKING SOONER.

Seriously, I've been discussing this with a friend of mine, and this sounds pretty much exactly like something B.A.P would've released back in late 2012, during the "No Mercy" era. I can literally imagine what member would sing what part. But don't think that that's a bad thing - "No Mercy" is still a fucking phenomenal song, and "Say My Name" is just as good. Dare I say, a little bit better in some ways?

Like I said, I hadn't listened to ATEEZ before this - but damn, the hype is real. The potential these guys have is astounding. The instrumental here is big, it's bombastic, it's what you'd expect from a boy group. The trap snares and blaring trumpet synths are nothing new. But it's the little touches here that make it truly special, like the whistle melody, or the natural acoustic guitar line. On top of that, ATEEZ are some of the strongest rookie performers I've heard in a looooooong time. They impressed me about as much as Everglow did, and that's saying something. A killer vocal line plus a really fucking great rap line is just the perfect recipe for a boy group in my head, and ATEEZ are the definition of it. They have so much effortless charisma that a lot of boy groups will strive to achieve, but will never quite get. These guys just have it ingrained in them from the word go, and that's hard to find.

I picked this song to review over "HALA HALA" in the end, mainly because I did find "HALA HALA" a liiiiiiittle cringey. That's mainly because of the lyrics - the whole Suicide Squad thing kinda pulled me out of the song. (Jongho's vocals didn't though, good LORD.) But as for "Say My Name", the lyrics are actually VERY different than what I was expecting! I was expecting some sort of uplifting message about how we're going to overthrow society's self-inflicted patriarchy (although Stray Kids did deliver on that front with the MV for "Miroh"). But it's more about how they gain strength from their fans and their success, and how it encourages them to keep pushing and moving forward. They're surprisingly sweet, actually! There are some nice little details here and there that make them really heartwarming.




Another thing I'd heard a lot about ATEEZ is that their choreographies are top-class; these guys are apparently fantastic dancers.

And, uh... do... do they even have a main dancer? Or is that just something that's applied to the group universally? I'm... pretty convinced they don't have one at this point...

I've already seen this before, I feel so high
Everything goes blurry, 1, 2, 3
Now I'm blind, I don't know why
I know what it is even if I don't see it, a bad ending

So while there technically isn't a dance for this song (I mean, there will be soon, since EAST2WEST won the #NoirChallenge & that's going to become the official routine - which they deserve, they're amazing!), there's still a hell of a lot to look at here. And overall, this is a serious contender for one of my favourite songs of the year as a whole. Sunmi knocked it out of the goddamn park with "Noir", and I would LOVE to see her try a concept like this again some time. It really shows how much of a professional she can be, and "Noir" is straight-up my favourite thing she's done. I love it. 👏👏👏

MOMOLAND (모모랜드) - I'M SO HOT

I find it very ironic that we're going from a song that's pretty serious to one that's... not serious at all. Not even in the slightest.

I won't hide the fact that I liked "Bboom Bboom" quite a bit last year, and I found "BAAM" to be even better. (No, I don't think they sound the same.) So going into MOMOLAND's comeback, I was curious to see if all the hate they had been getting would affect their sound; would they change it up from what they'd found success with to appease the haters, or would they stick with something more light-hearted and fun?

They ended up doing the latter, and I'm very much happy with what we got! Honestly, "I'm So Hot" might be tied with "BAAM" for my favourite MOMOLAND song yet. It's incredibly reminiscent of some of what T-ARA released back in their prime; a simple yet fun song with some interesting elements to make it memorable. The trumpet sample in particular is something I really like; I've seen some people say it's fairly grating, but I can't help but love it. The ragtime pianos and old-school vibes here and there really sell it for me, too! It's just an upbeat, fun pop song that you can really just enjoy yourself with.

But what I DON'T get is why people hate on this song simply because they find it "boring" or "nothing new", or even just because it's MOMOLAND. (Yes, rant incoming.) 

Since when have songs like this lost their place in K-Pop? To bring back T-ARA as an example, everyone adored "Roly Poly", "Bo Peep Bo Peep" and "Lovey Dovey" when they came out because of how fun they were. Those songs didn't try to take themselves seriously; MBK just wanted to give T-ARA fun, bouncy songs that would stick in everyone's minds. And they did. So why are MOMOLAND getting hate for doing the same thing? These sorts of songs deserve to be here just as much as anything else does. People need to get over their goddamn hate boner for MOMOLAND and just move on. If you don't like the song, that's completely fine! If you hate on the girls for "copying themselves", "never doing anything original", and saying that "they're just trying to repeat the success of Bboom Bboom", fuck you. You're part of the problem. K-Pop isn't a contest, in contrast to what some Twitter stans might believe. Grow up, stop wasting your energy sending needless hate to artists, and move on. Rant over.

In terms of "I'm So Hot" though, it's nothing too insane lyrically - which is what you'd expect going in. Or at least you should. The title alone tells you that this is going to be pretty face-level and superficial. But hey, you need something to turn your brain off to every once in a while, and when the song's as fun as this, I can't really complain!

There's not a lot to go through here in terms of the dance, either - but again, I don't really mind it that much.

IZ*ONE (아이즈원) - VIOLETA (비올레타)