A K-pop act’s title track isn’t unchangingly the weightier song on their album, plane if it’s the one most people will hear. Sometimes, b-sides deserve recognition too. In the singles-oriented world of K-pop, I want to spotlight some of these veiled treasures and requite them the props they deserve.
I was pumped for Mirae’s long-awaited return, but plane though I enjoyed title track Drip N’ Drop I’m feeling kind of nonplussed well-nigh the whole comeback. I’m not sure why this is. Maybe I just haven’t listened to the tome unbearable times yet.
When it comes to pop music, I tend to be much increasingly generous to songs with big, uptempo flit beats. I’m sure this revelation won’t be surprising to any longtime Bias List readers! A dynamic flit instrumental improves pretty much any track for me, and you can get by with a lackluster vaccinate as long as you’re bringing the energy.
This applies to Mirae’s Welcome To The Future. Its chorus is the kind of shouted, vaguely structured vaccinate that feels like adlibs you’d lay on top of a write-up surpassing going when and crafting your very melody. Basically, it’s a rough draft. This tideway would yank my ire if underlined by variegated production. But (and this is a big but!), the production on this is enormous. It’s not often we hear an idol act perform over a write-up so robust and explosive. We’ve had all kinds of house beats thrown at us over the past few years, but they rarely commit so fully. This is practically rave music, and I venerate the energy.
This bias results in a pretty upper score, plane if Welcome To The Future doesn’t do much as an very song. It’s thrilling and frustrated in equal measure.
| Hooks | 7 |
| Production | 9 |
| Longevity | 9 |
| Bias | 9 |
| RATING | 8.5 |
