Kim’s gentle, emotive vocals make the perfect conduit for its raw, heartfelt lyrics. The beauty of this acoustic confessional is in its simplicity, and its power in its vulnerability. READ MORE: Sam Kim talks viral success of ‘Love Me Like That’, his OST contribution to K-drama hit ‘Nevertheless’.Sam Kim’s ‘Love Me Like That’ isn’t led in by a grandiose introduction or instrumental nevertheless, it has made listeners sit up and take notice from the very first line and note. This low-key viral hit is proof that one need not be the loudest in the room to draw attention. TAīest bit: When the song takes another U-turn after the bridge and a wild electronic breakdown invites us to “roll up to the party”. It’s a multidimensional track that unravels with time, and once you ease into its oddness, will be glued to your ears “like a sticker, sticker, sticker”. What anchors this song is the exquisite vocal performance, each member steering the melody wherever they want through growls and flared inflections. With an instrumental rooted on a piercing flute and a drunken dance between bass and piano, NCT 127 leap through a disorienting spaciousness. In that scenario, ‘Sticker’ arrives as one of their most polarising productions. READ MORE: NCT 127 – ‘Sticker’ review: an ambitious effort to uphold their status as trendsetters.Experimentalism is imbued in their essence, a sonic gift that is both brilliant and boundary-pushing. NCT 127’s music seems to happen in a liminal space, like a dream that is a carbon copy of reality – yet you can’t figure out why the mirror is blurred or your phone keyboard is blank. Words by: Abby Webster, Angela Patricia Suacillo, Bashirat Oladele, Carmen Chin, Gladys Yeo, Lucy Ford, Mariel Abanes, Puah ZiWei, Rhian Daly, Ruby C, Sofiana Ramli, Tanu I. But enough with philosophising the meaning of pop music, let’s jump into it, shall we? Here is NME’s list of the 25 best K-pop songs of 2021. Whether it was nostalgia for sounds and trends of the past – be it disco, punk, synthwave or even traditional Korean instrumentation – or keeping an eye on the next level of the music industry, many of this year’s top releases reflected on the nature of time, lyrically or otherwise.Īnd how appropriate it is, considering the amount of time so many of us have spent in a strange and uncertain limbo, for both us and our favourite musicians to find some form of relief through the same pieces of music, as we slowly but surely return to normalcy. Kpop lyrics bubblegym full#From Brave Girls going viral with their 2017 single ‘Rollin’’ to BTS’ 11-week run atop the Hot 100, and everything in between, this was a year for the ages.īut in a year full of diverse hits, curiously, a loose theme started to reveal itself while combing through the best and brightest K-pop had to offer this year. It's nice to be reminded that there is a future worth living.While most the world took its on sweet time coming out from the pandemic-induced nightmare that was 2020, K-pop jumped out of the gate swinging, with milestones, achievements and record-setting feats aplenty in 2021. So open your eyes and let the unbridled hope of "Hello Future" carry you away. "It's not far, open your eyes," Renjun sings on the bridge. Yet, escapist media allows us to be slightly removed from it, to imagine a different ending. It's not revisionist we know the world is on fire. "Wherever it may be, we're coming together/ Don't worry about anything/ It'll be alright, hello future." Escapism is a luxury, and we cling to wherever we find it - be it through music, books or other art forms. "I've been waiting for you, welcome," they sing in unison. Relief comes in the form of a truly euphoric climb to a hook so bright and so heightened it will make you forget - momentarily - about your worries and instead escape into an alternate reality where you don't have any worries at all. It's disorienting, like most NCT releases are, with its industrial instrumental and gurgling synths. In a year defined by more fear and entropy, NCT Dream's "Hello Future" seems like a tie-dyed fever dream.
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