Top 40 Best K-pop Songs of 2024

It’s been far too long since I’ve last written in this blog. I won’t try to make excuses. If you happen to be a long time reader, revisited this blog over last half a year in hopes of seeing a new post, I would like to offer you my greatest apologies. Of course, you don’t have to accept it either. Whatever the case, you are here, reading, and so I’m grateful. This new year, I have resolved to post at least once a week. Somehow, I will make it happen. Not only that, but following the establishment of a consistent routine, I’ll strive to post more frequently.

Diverting our subject matter to the Best K-pop Songs of 2024, while I have consistently kept up with K-pop throughout the year, I felt that there were less songs overall that feel worth writing about. And no, I promise this is not a manifestation of my inherently lazy tendencies. The pattern I noticed as that while there are a couple of artists whose music I’ve found myself to consistently enjoy, such as TWS, RIIZE, BOYNEXTDOOR, ZEROBASEONE. What you may also notice is that they are all boy groups. Again, I wish to clarify that this is not a reflection of a gender bias against girl groups. There are select girl group songs from the likes of Kep1er, Red Velvet, and Itzy that placed in the highest ranks of my countdown. But as a whole, I did feel that girl group output felt weaker this year. Please keep in mind that this post is a mere manifestation of whose music I enjoyed this year. Moreover, the lesser amount of songs is in accordance to my attempt to try to be more consistent when writing and setting more realistic expectations and goals for myself, and work up from there.

Without further ado, let’s get to the list!

Some Honorable mentions
– HEYA – IVE
– One Spark – TWICE
– dummy – ARrC
– H!Teen – The WIND
– Earth, Wind & Fire (and the rest of the album OUR), Nice Guy, Dangerous – BOYNEXTDOOR
– Whiplash and Armageddon – aespa
– Brought the Heat Back (and the rest of ROMANCE: UNTOLD) and Lucifer – ENHYPEN
– hey hey!, BFF and Double Take – TWS (honestly, their entire discography can be an honorable mention)
– Sticky – KISS OF LIFE
– SHEESH – BABYMONSTER (relatively interesting for a song in the ‘YG formula’)
– Ice On My Teeth – ATEEZ
– Aoarashi and Koegawari – &TEAM
– Boom Boom Bass – RIIZE
– Smart and Crazy – Lesserafim
– Fuego – TNX
– Popcorn – D.O
– Untouchable – ITZY
– Now – ONEUS (original by Fin.KL)

40. SWEAT – ZEROBASEONE

Despite some initial misgivings with the song as I articulated in my review (here), SWEAT even managed to beat out songs such as Boom Boom Bass which I had initially anticipated to appear in the top 10 of this year’s countdown! It isn’t the most innovative or experimental song out there, but on the merit of its solid melody and great vocal delivery, it has remained to be one the year’s best.

39. BLACK MIRROR – DRIPPIN

I worry for DRIPPIN‘s future, and so I try to promote them whenever an occasion comes to it. Many preferred this sleek, polished b-side over their title track Beautiful Maze, and for good reason. Rare is a k-pop song that sounds so straightforwardly funky and carries itself on its own rhythm.

38. Run For Roses – NMIXX

Run For Roses is quite unlike any k-pop song, meshing country with pop sensibilities. Some of the most musically interesting production and vocal arrangement of any song released this year is present within it, as well as rather iconic vocal chops (Lily’s riff, hello?).

37. Girls Never Die – tripleS

While I have some reservations about the strength of this song’s verses, some of the most emotive, solemn, yet simultaneously empowering melodies I’ve ever heard, particularly in the song’s chorus, make itself known through this song. Ultimately, it is enough to push it right into the countdown.

36. first hooky – TWS

TWS‘s debut album is easily not only one of the strongest K-pop debut albums I’ve had the pleasure of listening to, but one of the best k-pop albums, ever. Every single song could have easily appeared in this top 40, but I’d rather not crowd this list with too many songs from the same artist. But please, go listen to it if you haven’t. first hooky is one of the album’s best, sporting one of the most developed chorus melodies of the year.

35. Fatal Trouble – ENHYPEN

Fatal Trouble has one of the greatest melody lines I’ve ever listened to in my life. Every line has embedded itself in my head on the first listen. The melody is inherently emotive in itself, but the stellar vocal delivery of the ENHYPEN members, who have since debut, grown tremendously as vocalists, simply brings this to another realm. If only this song was a tad more developed, I would bump this up much higher in this list.

34. Magnetic – ILLIT

Okay, I relent. While some may not be a fan of ILLIT‘s sound, one cannot deny the song’s enduring influence. If hang around the K-pop side of Tiktok, Youtube shorts, and Instagram reels, escaping it is impossible. But its catchiness is not its sheer merit—its production, dreamy and spacey, with some RnB influence, is genuinely one of the best instrumentals K-pop has given us the past year.

33. Walk – NCT127

Although NCT 127 only released 1 album (and title) in the entirety of 2024, ‘Walk’ maintains their steady streak of title tracks. While its rather repetitive talk-sang chorus may be grating to some, few other K-pop tracks are more groovy than this. This song is the manifestation of years of experience in the industry, and the members to totally sell it. NCT‘s exquisite vocal and rap performance is only the cherry on the top. On a side note, this song, overall, sounds so wonderfully smug. That gives it bonus points (chuckles).

32. Youth2Youth – EPEX

I’m always a sucker for emotive pop songs. Youth2Youth is one of the year’s strongest examples, boasting an exceptional chorus and interesting production to match. Particularly, the stripped back pre-chorus, consisting only of piano, stands out within the K-pop industry where hearing stand alone piano only happens when listening to ballads.

31. Love or Die – CRAVITY

Technically, Love or Die also falls in the same vein as Youth2Youth as an emotive pop song, but I just find this to be slightly stronger on the merit that its production more relentlessly charges forward with essentially no breaks in its momentum. I’m also quite fond of the general vocal performance here.

30. Beautiful MAZE – DRIPPIN

At this point, you guys should be seeing a pattern. Again, another emotive pop song. However, what makes it slightly better than the latter two is that it touches me deeper on an emotional level. The production creates a very specific, evocative atmosphere that stands distinct. Moreover, I do have a soft spot for DRIPPIN, having witnessed their career trajectory since debut.

29. unplugged boy – TWS

On a technical lens, this song should probably rank much higher. TWS‘s producers are truly on crack. This song truly encapsulates the feelings of a adjusting into a new environment, the hesitance forming connections, and ultimately resolving the dilemma by concluding that it is better to deal these anxieties with someone else. The relentlessly catchy melodies and polished production throughout the song also help its case.

28. Deja Vu – TXT

On the flipside, this song should probably rank lower by technicality, but the chorus has already engraved itself so deeply on my heart from the first listen that it managed to propel itself to this position. Honestly, I’m embarrassed enough as it is, because I am hyper-aware of the song’s inadequacies (no bridge, could be more dynamic). Regardless, the moment I hear Yeonjun sing, “gi-eoghae,” I relent. Few choruses are more cathartic than this.

27. Midas Touch – KISS OF LIFE

Midas Touch is the definition of a modern throwback. If you don’t think that the first few moments of the song’s instrumental don’t bring you back to the best of 2000s pop (echoing greats like Britney Spears’ iconic Blackout), then perhaps you haven’t lived long enough. Moreover, the vocal performance is strong and full of personality. Particularly, Belle’s Ariana-esque riffs and technique add the modern flavor to this song. This is one to keep for the ages.

26. DASH – NMIXX

DASH is NMIXX as their most polished. It is exquisitely produced, void of the weird mixing that plagued much of their earlier work. The vocals are crisp, a perfect showcase as to why they are the strongest vocal group among the newer generation of K-pop. Not to mention, they did not give up their signature NMIXX switch-up, placing it in the bridge, making it a seamless integration. This is IT.

25. KILL THE ROMEO – ZEROBASEONE

CINEMA PARADISE is easily ZEROBASEONE‘s strongest album to date, and KILL THE ROMEO is merely one of its highlights. It is relentlessly catchy, and the percussion work in its instrumental is something to marvel at. This song falls more into a ‘darker sound,’ which typically utilize a certain group of tropes that plagued a lot of post-NCT boy group releases. However, this song makes these tropes sound fresh and avoids the most momentum-killing choices (like a second verse breakdown, which frequently detracts rather than adds to a song), making it a very streamlined and focused piece of pop. And of course, the stellar vocal delivery is the cherry on top.

24. 9 Days – RIIZE

As Nick from thebiaslist said, RIIZE‘s first full album RIIZING feels like a collection of their greatest hits. I would wholeheartedly agree. While I may not like 9 Days as much as he does, it hits the sweet spot for nostalgia for youth. I’ve said it once in this blog and I’ll say it again, RIIZE‘s signature sound is what I would call ‘nostalgic pop.’ From the very first second of the instrumental, I feel transported to better days. The delicate vocal delivery of the verses, particularly from Sohee, seals the deal. I envision this sounding fresh over the decades.

23. I’ll See You There Tomorrow – TXT

Easily TXT‘s strongest song they’ve released in 2024, it carries an indelible sense of groove, riding on the boppy rhythm of its instrumental. I would say its only real flaw is the extremely repetitive nature of the chorus, but there have been far worse offenders. That hasn’t stop me from coming back for more.

22. Lucky Girl Syndrome – ILLIT

In my original review, I put out the rather controversial opinion that this song reigns superior to Magnetic. I continue to maintain this opinion. While Magnetic may have a more technically interesting production, the melodies of Lucky Girl Syndrome have significantly more longevity. It also helps that one can better hear the individual vocal colours of the members here, and I really gained an appreciation of how they complement each other. I look forward to what ILLIT shall put out in 2025.

20. Supernova – aespa

aespa have really been on a roll in 2024. While I do not think that Supernova is their best song, it was very validating to have them experience a resurgence using their classic wacky electropop sound that made me a fan to begin with. They delivered every line with just the perfect amount of sass and confidence that really showcased how much they have come into their own as performers. This really bleeds into how the song comes off. In particular, the song’s bridge/dance break is a yearly highlight, incessantly catchy, weird and wonderful in all the best of ways.

19. Trigger – The BOYZ

I strongly suspect you may not find this song in other similar lists thanks the weird position that The Boyz occupies in the general K-pop space—popular and known, but not really ‘mainstream’ either. Trigger feels like the second coming of SUPERM‘s iconic Jopping. I mean it in the best of compliments. Indeed, it still carries a lot the ‘noisy’ boy group tropes that have not garnered the best reputations due to the hit-and-miss nature of the final result (as I’ve mentioned earlier). But what makes this song transcend these tropes is how its production has infused a lot of what I call SM-isms, namely features that make songs feel genuinely larger-than-life and truly epic productions in their own right. This is what has made the likes of NCT (and by extension, SUPERM) so good. Indeed, Trigger feels slightly messier than these aftermentioned counterparts, but I have space for at least one ‘noisy’ and ‘messy’ boy group song. What also helps is that I have been growing fond of The Boyz over the last year. All these factors together have led it earning this spot.

18. Can’t Get You – Jaehyun

As a hardcore Jaehyun fan, I have been waiting for the day when he would drop his solo album. If I let my bias get too in the way of creating this list, I would definitely add a couple more songs from his debut album. This this bossa nova highlight which acts as beautiful showcase of his rich lower register that stands distinct from most of the industry. I also love the inclusion of female backup vocalists (whose performances added a sense of dynamism and tension to the song), which made it feel more authentic. Overall, the song is sleek, seductive, and a perfect match for Jaehyun‘s musical sensibilities.

17. Plot Twist – TWS

Well well well. The title track that spearheaded one of the strongest debuts in K-pop history. What more to say, really? It was the perfect introduction to TWS‘s concept, sound, and the members. The production and vocal delivery are at such perfect synergy here. One cannot feel even a tinge of disconnect. This song was made for them and they were made for the song. Best of all, the melodies feel absolutely timeless.

16. DRIP – BABYMONSTER

This is the (second) best YG offering of the year, for good reason. This song contains perhaps the best beat drop in K-pop the whole year. That surely is enough to make it noteworthy, but there is more to it. BABYMONSTER, up to this point, have always felt like a group whose songs don’t quite match up with their talent. They have such a diverse range of vocal tones and a plenty of attitude and charisma, but it never feels like it is on full display. DRIP gives them a space to showcase their talent which they have deserved from day one, and I personally cannot be happier for them. Everything is just splendid. Even though I still have reservations about Ahyeon’s high note, it works for the song. Bop, bop, bop.

15. Roses – Jaehyun

Angsty desperation stemming from deep obsession is perfectly conveyed from this song that feels like a twisted rendition of Bruno Mars iconic When I Was Your Man. It’s drama with a capital D. It’s toxic gaslighting at its finest. Honestly, it is quite amusing that a man who looks that good can be this desperate. Moving on to the technicalities, this song has a great atmosphere. But don’t get me wrong, his voice is still the commanding star here. While Can’t Get You puts more spotlight on his lower register, Roses acts as a splendidly showcase of his mixed register and falsetto. And of course, it’s splendid.

14. Last Festival – TWS

TWS’s latest album, Last Bell, is generally a change of sound for them. For one, the songs there are no longer outwardly ‘bright.’ In Last Festival, the brightness present in their first two mini-album reconfigures itself into an undercurrent hopeful, yet simultaneously solemn nostalgia. Considering that the concept of this album is intended to be the end of a trilogy, where the TWS have ‘graduated’ from being school boys, it totally makes sense. Not to mention, this nostalgia paired with the rather upbeat, dance-pop tempo makes for an interesting listening experience, as if conveying a certain sense of insistence to keep ‘dancing’ no matter which stage of life one may be. What a great message to end the year with!

13. One Kiss – RIIZE

One Kiss is the embodiment of what I mean by RIIZE‘s signature sound being nostalgia. It is truly a blast from the past. It brings you back to the 2000s, where K-pop boyband music is especially remiscent of the likes of the OSTs from dramas like Boys Over Flowers. If you have no idea what it is, I highly urge you to look it up, and also listen to its adjacent songs. One Kiss is essentially the key sounds from that era repackaged for the modern twist, preserving its saccharine cheesiness in its lyrics and pairing it with a genuine heartfelt sentiment. Sohee and Wonbin do a particularly good job in their vocal delivery, making this old sound seem as fresh as ever. I know my bias and upbringing highly favors this song, but I do suggest to give it a chance.

12. GOOD SO BAD – ZEROBASEONE

A case of love at first listen, GOOD SO BAD was bound to make it to the upper echelons of the countdown. What it may lack in a bridge is made up by its megawatt chorus and production. The vocal layering, clarity, and funky bass line set it apart, a signature of Kenzie‘s work. This track feels like the embodiment of the album’s concept, ‘CINEMA PARADISE,’ feeling like a mini paradise in itself—with the short track length almost being a reminder of the fleeting, timed nature of moments, just as movies and everything else in life is bound to come to an end. But while it continues, why not celebrate?

11. FOREVER – BABYMONSTER

This song had me on an absolute chokehold for the first month and a half after its release. It is the perfect fusion of BABYMONSTER‘s sassy and confident side, along with their more youthful, childish side, which they should rightfully embrace especially given their age. I always felt their other songs before FOREVER did not properly hold space for this—where was the ‘baby’ in BABYMONSTER? My question was answered upon hearing FOREVER for the first time. Music-wise, the chorus is excellent, and the key change alongside Rami’s head voice at the song’s climax truly sealed the deal. This, along with DRIP (if they have to insist on a more ‘edgy’ sound), is where I believe BABYMONSTER should continue heading towards, especially for the next few years. When the younger members grow up more, I shall hold less reservations if they do mature concepts, but for now, I’ll be listening to FOREVER, well, forever. (excuse the bad joke)

10. Impossible – RIIZE

Impossible is one of those songs that you instantly know will be on end-of-year countdowns at the first listen. Whether you like house music (or not!), one must begrudgingly admit that the song is simply so well made that you have to give it the respect it deserves. Its producers understand how to use space, balancing between when the instrumentals and the top line gets their spot light, and how to navigate these different components to build up the song. Not to mention, the vocals are also immaculately mixed in. Based on what I’ve heard from RIIZE up to this point, I was not sure if their stacked vocal can sound as clean as it does in this song, which speaks volumes of how skilled its producers are. But of course, not all credit can go to them. Sohee and Wonbin (again) particularly do a great job in their vocal performance here. By the time the dance break comes give respect to the dance-based genre that house is, Sungchan comes in with his iconic torso wave, a piece of visual imagery so impactful that it cements the song as iconic with a capital I. In short, everything about Impossible is done devastatingly well, and there is nothing one can do about it.

9. ABCD – Nayeon

I had greatly enjoyed Nayeon‘s solo debut, POP! when it had been released, but I also felt that it simply felt like a quintessential TWICE song that just happened to be sung by Nayeon. Hence, I was really looking forward to how she would expand her sound. ABCD feels like Nayeon graduating into a true ‘popstar’ status, emulating a diva era that brought me back to solo-debut era Beyonce, a compliment not to be taken lightly. The song offers treat after treat, varying in textures (coming both from her vocal delivery and instrumental) and in intensity depending on section. Similar to Impossible, ABCD masterfully uses space to tease out the build-up, and when the climax finally comes, it feels truly well earned.

8. Love 119 – RIIZE

Well… I did tell you that I have a soft spot for more emotive songs.

Love 119 stands unassumingly at the peak (along with its predecessor on this list) of songs of this particular type. Technically, Love 119 probably should not be this high, beating out the likes of both Impossible. Yet here it is. But one must appreciate the quiet strength that lay in the song’s instrumental. I’ve mentioned several times of RIIZE‘s signature being the nostalgia that their songs evoke, and Love 119, in my opinion, carries this quiet, unfathomable quality with the greatest amount of authenticity among all their songs. Mixed in this authenticity is a deep sense of loss, as if serenading something that can never be recovered.

When I think of Impossible, it is technically superior, but it does stand in shadow with their senior SHINee‘s iconic View. As for Love 119, I genuinely think that RIIZE has managed to imbue their essence into this song to a level that is unmatched by their other strong offerings this year. And it is for this reason that it ranks higher up on the list (and not just my petty biases).

7. Imaginary Friend – ITZY

I have been a big fan of ITZY ever since their debut, and have mourned to see how they’ve lost a considerable level of popularity that the general kpop fan has attributed to their ‘decreasing quality of songs.’ While I do not fully agree with this opinion, I also have to admit that I’ve been waiting to be blown away by an ITZY release in the same I have in their first 2 years of group activity. I have borne witness to how their sound evolved, for the better and the worse, the group’s scandals, and hiatuses of a certain member, Lia. And as she returns to group activities (yay!), ITZY now they gifts us with Imaginary Friend—a song for the ages.

This is peak ITZY. It is feels like a perfect maturation of their concept, both in terms of sound and message. The members have never ever sounded better vocally, and they gave their all. I know ITZY has gotten a lot of flack for the strength of their vocal technique since their debut, and some of these criticisms have been warranted, some, not so much. But here, as they sing in their strongest state, I cannot feel so proud. Some opinions have stated they wished this song had gone to a group with ‘stronger vocals’, but I digress. This song is perfect for ITZY, and I wish that they traverse on this path in the future. I’m proud to proclaim it the best emotive K-pop song of 2024.

A side note, but can we talk about how stunning the choreography is? Easily one of my favorite K-pop choreographies in recent memory!

6. Cosmic – Red Velvet

You can always count on Red Velvet to deliver a showstopper. Cosmic is a essentially a perfect song. The bass line in the verses deliver a sense of tension, almost creepy (though it doesn’t also seem right to use that word), juxtaposing the more positive direction which the song ends up developing. Its pre-chorus, like most Red Velvet pre-choruses is simply transcendent. It has a perfect chorus, borrowing from the icons, ABBA, via sampling with a Red Velvet twist that feels that it could only be done with them. Their perfect vocal blend, as been proved with numerous songs through their career in their incredible 10-year run, reigns simply superior in the industry, and they flaunt it without the slightest hint of abashment. The bridge is an absolute work of art—standing out even among bridges from their discography, a wonderful achievement in itself. Wendy takes lead to ‘say goodnight,’ and of course, it had trigger an emotional chord. Every time this line comes, I unconsciously shed a tear or two. There is little else to be said, really.

5. Moonstruck – ENHYPEN

It just occurred to me, why had it taken it so long for K-pop to release a song about being ‘moonstruck’ in such a deep state of love with someone else? Well, perhaps they were waiting for the arrival of ENHYPEN‘s take on the concept.

Honestly, the song itself is nothing particularly complicated, but it is its careful crafting and the choices the producers have made have truly made it into the work of art it is. The use of the harp echoes ENHYPEN‘s roots, their debut track, Given-Taken, which I have already written about in a separate post in this blog. I’m more than glad to see it return in a song as beautiful as Moonstruck.

There is a simple but insistent percussion beat that is a mainstay for most of the song, only retreating in the chorus to give space for the harp to showcase itself amidst the vocals. The vocal lines are extremely well-written, memorable from the first listen and only enhanced by the committed performance of the members. The vocal arrangement carefully considered the contrasting tones of particular members and placed them where they would best add to the song, like Niki’s lower voice in the pre-chorus. Furthermore, the stacked vocal layering in the chorus wonderfully created the magical, ‘moonstruck’ feel of the song.

Overall, the final product is simply magnetic. It is the fruit of absolute commitment to both the sound and concept. Listening to it is pure bliss. Rare is such a song that simply makes you feel good in such an elevated degree as this. And I promise, this is not merely my inherent bias for Enhypen speaking. It is the perfect example of how a song doesn’t have to be long to be good.

4. Road Movie – ZEROBASEONE

As Nick from thebiaslist once wrote, ‘Road Movie is the most surprising ZEROBASEONE song.’ I wholeheartedly concur. I would even go a bit further and say that there is no quite song like it, from any K-pop group. I say this as someone who has listened to numerous acts from numerous generations and their respective discographies.

Road Movie seeks to defy expectations. It starts off dramatic, borrowing the sound palette of classic musical and broadway instruments, especially the violin. Yet, just as one thinks they know what to expect, a classic hiphop beat comes in, and the members start chanting in earnest. Well, that was awkward. The song appears to neatly falls into what appears to be a classic boy group trope for a while. One may relax for a second, but then remembers that ZEROBASEONE is not even a group who raps in most of their discography, and they sound almost alarmingly good. Better yet, a dramatic prechorus with a levitating instrumental comes to sweep you off your feet, with power vocals that can only be delivered by ZEROBASEONE, a vocal K-pop group in every sense of the word. Their voices are stacked, layered in a unreal harmonies in heights that 99% of all K-pop songs can only hope to reach. At this point you might expect a vocal-driven chorus—only to be met with an anti-drop. The boys go back to chanting, and the percussion becomes industrial, with a descending chromatic that tickles your brain even as you feel disoriented. And then, the song returns to the hip hop beat it started off with from the beginning. Well, back to normalcy! (one may guess) Just as one starts to sink into the essence of the song, the song goes silent as the second prechorus ends, leaving the tension and build-up hanging that may catch one off guard. It is at this point where one understands to expect the unexpected while listening. But even with this mindset, as one witnesses how the song ends, carefully built up, with a combination of the broadway instruments of the introduction, the chanting that has prevailed for much of the song, and the vocal harmonies of the pre-chorus—all culminating into a high that brings about a wonderful sense of escapism. Yet, again, it leaves us hanging on a high, and for good this time. The song’s over.

Road Movie is simply baffling. The very definition of ‘weird and wonderful.’ But I’m so glad it exists. I never pegged ZEROBASEONE to be an experimental group, but they have released one of the most experimental K-pop songs in recent memory to wonderful effect. I don’t expect this to be a sound they will revisit on the regular, but I hope that this won’t be the last time they take such a risk.

3. Shooting Star – Kep1er

Shooting Star was intended to be Kep1er‘s disbandment song, but if I’m being honest, if I had not known better, I would have believed this to be their debut song. For why in the world had their music not taken this approach from the very beginning?

Shooting Star is simply sublime. From its celestial synths, to the tickling ‘lalalas’ that become a central motif, to its isolated pre-chorus with a warped vocal effect—it is perfection in a song. The transitions, build-ups, highs, lows—all were perfectly and carefully crafted. Furthermore, you can tell that the girls implemented all of their emotion and feeling as they sung this song, for all of them expected it to be their very last song together. It is not too often when the disbandment song of a group matches the sentiment, for it is an indication that the company put some effort into giving them a proper sendoff. Say what you want about Wakeone Entertainment, but they really did a good job by gifting them this song. But of course, they should have let Kep1er taken this sonic approach from the beginning, for it fits them like a glove (although as they say, there is really not use crying over spilt milk).

All things aside, this is easily the strongest girl group song K-pop had to offer in 2024, and I wish the best for Kep1er in 2025 as they move forward as a 7 member group.

2. So let’s go see the stars – BOYNEXTDOOR

I have something to confess: So let’s go see the stars was not even in my radar upon first brainstorming which songs to insert in to this list.

How scandalous! Well, I have nothing much to say… except that I was taking my time getting more familiar with BOYNEXTDOOR in the past two months. It is not as if this is the first time I have encountered them for I have written about their debut album in this blog. But I have not really kept up with them afterwards. However, upon listening to their album OUR, which has received high acclaim from the k-pop review community, I decided that it is time for things to change.

It is generally agreed upon, among both non-fans and fans, that BOYNEXTDOOR‘s best ability is bringing their personality into their songs. While this is true, I’m not sure if there are many individual songs from them specifically that I would seek out unless I am in a mood to listen to a BOYNEXTDOOR song (which is becoming more and more frequent! Trust me!). Their identity is not separable from their music. This is their biggest strength—and weakness.

But there is but one song that acts as the exception to the rule.

So let’s go see the stars does not try to be elaborate. It was created with the intention to simply be a good song, true and true. And so it is.

It’s melody is simply timeless. I can see this to be a karaoke favorite exactly because of the sheer beauty in its simplicity. In its simplicity, the distinct vocal colours of the individual members show itself splendidly. Moreover, we cannot forget the iconic ‘Woos’ in the introduction, interludes, and ending sung by Leehan. Elaborating further, The synth interlude between the first chorus and second verse, as Nick had noted in thebiaslist, is a stroke of production genius. It is so simple but so perfect. The bridge is also a wonderful change-up, both in production, and vocal delivery, as Taesan delivers his rap verse.

The key changes are rare in K-pop these days, so of course, I whole heartedly appreciate this one. It feels well-earned, given how the song had been rather straightforwardly building from the beginning to the end. It does all of the classic things so well.

As I have mentioned, even if we factor out the members, the song itself deserves to be acclaimed. I would play it anytime, anywhere. But what pushed it all the way to the number 2 spot is how they have made it their own.

BOYNEXTDOOR, I will be looking forward to what you shall come up with for 2025 onwards.

1. If I’m S, Can You Be My N? – TWS

If I’m being honest, from the first listen, I already knew this song was going to be my number one. TWS is a monster of a group, and this, in my most humble opinion, is their ‘magnus opus’ so far.

I know hey! hey! is the favorite of the K-pop review community, and yet I did not even formally include it into the top 40 (which will probably get me some flack, I know). However, I just have to say that I was captured by this song from the very first note.

Every single melody line in this song has imprinted itself into my head from the very first listen. The way it is sung too, in mere earnest, triggers a reaction from me that can’t be quite be put to words. It reminds me of the best of GFRIEND, specifically their work from their first 3 years of activity, so I mean this with the highest of compliments.

This song is connivingly crafted. The group only has one rapper, Shinyu, and decided to utilize his rapping to build up the song’s momentum as it enters into the chorus. From there on, the song simply continues to snowball into greater heights, with the production playing around in unabashed (organized) chaos—all of which is so carefully placed.

Ultimately, however, the song’s core, finding someone to be the ‘N’ to your ‘S,’ is so deeply relatable to me on a personal level that perhaps this is what pushes this song to the top position. On the basis of technicality alone, it perhaps may not be here. That would probably go to Impossible. But humans are not machines—we think, we feel, we process. Every reaction to a song will be stained with personal bias. As subjective as this is, this is part of the beauty of the human experience. And I hope, you, my dear reader, as you enter 2025, can find this beauty in your daily life too.

And that is wrap! I hope you enjoyed my post, and feel free to comment, like and share. I would love to hear your thoughts on what you thought about last year’s K-pop offerings and discuss things further!

Edit: Here is a spotify playlist of all the songs!
https://open.spotify.com/playlist/22kquJ8LzY3k2IOlC2F2v1?si=2Pu04iRpRXCAOQII0qirNA&pi=CmH4LDr9RkeOc