It has been more than 3 months since I have written in my blog, and I am quite disappointed in my inability to make time for my hobbies when I entered university. I was overly burdened by the extreme workload and fast pace of my university’s curriculum, while also putting too much pressure on myself to perform my very best. In the process, I have left myself behind. Things need to change- and it will (at the very least, manifesting that it will), starting with the creation of this post.
Amidst my hefty schoolwork, I have tried my best to keep up with K-pop releases, knowing that I still fully intend to write a ‘Best of 2023’ K-pop post. Despite my inactivity on my blog, I was very pleasantly surprised to find that my blog still received much more weekly views than I expected it to, much more than ever did actually. This gives me more motivation to push through and continue writing into the next year.
The general consensus within the K-pop review community is that 2023 was not the strongest year for K-pop, with some even stating that they believe it is the worst yet. I don’t hold the same opinion. In particular, my personal Kpop highlight of the year, watching the MNET survival show, Boys Planet, both produced some of my favourite songs of year from the show itself, its affiliated groups (such as NINE.i and other newly-debuted groups), and of course, ZEROBASEONE. Not to mention, other boy groups such as The BOYZ, TREASURE, &TEAM, and RIIZE also pleasantly surprised me, launching them up my bias list. While commercially, girl groups like NewJeans, IVE, G(I)dle, and aespa still dominated, I found that boy groups managed to produce more potent earworms overall.
A small disclaimer: I may have sneaked one or two songs here that are arguably not ‘K-pop’, and instead fall into ‘J-pop’, but because I have reviewed them in my blog before, I decided to just keep them. They are too good, at least in my opinion, to let go.
Another disclaimer: This post is split into 5 parts so the webpage will not lag when loading it, because this is an issue I found when creating my ‘Best of K-pop 2022’ post.
Without further ado, let’s proceed!
100. QUEENCARD – (G)I-DLE
‘QUEENCARD’ not only deserves a spot on this list for its sheer cultural impact and empowerment message, but for its genius vocal-direction, hard-hitting production, and outlandish and over-the-top English lyrics that are something fun to chant along to- almost as a guilty pleasure- until you realise that they managed to capture the general public as well. Perhaps, there are many stronger songs on the list, but ‘QUEENCARD’ will never be forgotten, and that is for sure.
99. Ay-Yo – NCT 127
‘Ay-Yo’ takes its sweet time to revel in its charms in its excellent production, through its moments of silence, bareness, and instrumentals that feel utterly fulfilled in the producer’s vision for the song. Its melodies do not have the staying power that I expected, but it is still a noteworthy release. I personally gave it bonus points thanks to Jaehyun’s alluring rapping voice, but I genuinely believe it is worth checking out.
98. Die For Love – B.I ft. Jessi
This song is more atmospheric than melodically substantial, but when the atmosphere is crafted so meticulously through the combination of well-chosen vocal filters and production choices, I can forgive the slight weakness of melody, enabling ‘Die For Love’ to just make it to the top 100. I particularly like the different tone and variation that Jessi’s voice adds to the track as well.
97. One and Only – BOYNEXTDOOR
The unconventional tempo increase in the chorus makes ‘One and Only’ memorable amidst the many summer bangers that K-pop delivered this year. The Zico-esque vocal delivery of the members give it a unique flair, though the song may become slightly cloying if overplayed. Nevertheless, the commitment to performing this song is absolutely commendable, as BOYNEXTDOOR completely sell its laid-back vibe and atmosphere like a senior artist would.
96. Attitude – fromis9
Effortless and self-assured, ‘Attitude’ feels like fromis9’s full showcase of how far they have come as performers and individuals in this sleek, inventive dance-pop banger for the ages.
95. Like It – SHINee
There is nothing much really to be said about ‘Like It’, except that it is just SHINee doing SHINee things. On a more serious note, the vocal arrangement and lush production makes for a rich listening experience. SHINee’s strengths as performers reassert themselves within this track- not that they need more validation given their vast experience.
94. Broken Melodies – NCT Dream
‘Broken Melodies’ may be the most anthemic NCT Dream have ever sounded. Its melodies are skillfully written, with every note, melodic phrase, and vocal execution imbued with emotion. Its bridge is a notable standout that takes its time to build to incredible heights that most K-pop songs can only dream to reach. The plodding nature of the chorus still bothers me from time to time, but the song is successful nevertheless.
93. MELTING POINT – ZEROBASEONE
‘Melting Point’ is the epitome of warm and fuzzy in a song. Its verses and its post-chorus being particularly strong, with the former being particularly entrancing and captivating, while the latter, with its suspended chords, manifesting the perfect expression of a warm hug. I have some reservations about how the chorus somewhat restricts the song’s momentum, but overall, it is quite the charming track.
92. The Way – Jeon Somi
This b-side by Somi embraces the 80s New-Wave synth sound that other artists like Dua Lipa do wonderfully, offering a strong vocal performance and shimmering and vivid synths that pulsate through the entire track.
91. BITE ME – ENHYPEN
In spite of all my misgivings that still ring true for ‘Bite Me’, such as its lack of bridge, short run time, and somewhat jarring transitions between sections, one cannot ignore the power of melody. Its repeating motif is remains undoubtedly one K-pop’s catchiest melodies the whole year, and its re-inventive pre-chorus that plays with the tempo with flair only helps fuel it to make the top 100.
90. Talk Saxy – RIIZE
While not as successful as ‘Get A Guitar’, ‘Talk Saxy’ has an understated appeal that needs repeated listens to draw out its charm. The second half of the chorus slides down very easily. This is because it is wittily contrasted with the talk-chanting of the first half, making the song indelibly satisfying, playing the pull and push game with the listener- ultimately coming out on top.
89. #menow – fromis9
Fromis9 sound sleek and confident in their latest offering of feel-good pop music. It is inoffensive, but not bland, aging gracefully to be a 2023 standout. The album is incredibly cohesive, and is one of this year’s best, too.
88. GODS – NewJeans
NewJeans showcase their potential in other styles besides their easy-to-listen to bops in this bombastic 2023 League of Legends World Cup anthem. While it could have benefitted from a stronger vocal performance, one cannot deny the satisfying melodic progression and the almost primordial-sounding grand backing vocal that uplifts the entire track
87. EXCEL – 8TURN
Excel’s verses are rather mediocre, but the chorus is an absolute standout, fully leaning into its rock influences that wallops with unabashed energy unable to be matched by any other K-pop song this year.
86. Drama – aespa
‘Drama’ is intense and outrageously punchy, which sublimates rather cringy lyrics into something worth believing in. Aespa give their all in their performance, and it feels like their most confident era yet. Together, they gives this song some bonus points.
85. HEARTBEAT – TAN
Objectively, this song should probably be higher up the list, but it does not fully match with my taste. However, it is undoubtedly sleek in its production that delivers unexpected punches that keeps the listener gripped, and the vocal performance of the post-chorus certainly delivers.
84. ZERO – NewJeans
‘ZERO’ received quite a big backlash from the K-pop community with its chorus, but I still think that the musical choices, particularly the rhythm of the instrumental within its verses, make it one of NewJeans most unique songs, and it pops among all other K-pop songs out there. Check my full post dedicated to analysing why I believe the song works here.
83. BOUNCY(K-HOT CHILLI PEPPERS) – ATEEZ
The high-pitched vocal effect lathered in the second half of the chorus has been quite the divisive element among the K-pop community, but I find that it gives it that extra oomph that enables it to stand out as a song, not merely because of how excellent ATEEZ are as performers, as I have praised several times within my blog.
82. Soñar (Breaker) – NMIXX
Its all-killer no-filter delivery forcefully convinces you to be enamored by this track, as NMIXX returns to mixpop in full-form, only more realised than all their attempts so far. I like where they are going with this, and I hope they continue to lean into this cinematic, larger-than-life approach they took in this pre-release within their upcoming title track.
81. Blue Blood – IVE
Blue Blood’s use of medieval instruments and siren-like vocal delivery creates quite the evocative and trance-like atmosphere, seemingly a spiritual successor to last year’s Love Dive. Unfortunately, I still feel like its melody could a bit more compelling overall.
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