K-Pop November 2024: A Roundup of New Releases
November 2024 saw a flurry of new music from some of K-Pop’s biggest names. While many high-profile artists released tracks that didn’t quite resonate, several releases stood out, sparking both critical discussion and fan engagement. This review dives into some of the month’s most talked-about releases.
The month’s releases felt condensed due to the holiday season, leaving a smaller window for new music to gain traction. One notable observation: the widespread adoption of capitalized artist names.
Taeyeon (SNSD) – “Letter To Myself”
Taeyeon’s “Letter To Myself” is described as a rockish ballad that relies heavily on its hook. Interestingly, despite the continued chart success of her previous single, “To. X,” both “Letter To Myself” and “Heaven” failed to achieve similar popularity.
MEOVV – “Toxic”
MEOVV’s “Toxic” aimed for an emotionally resonant, songwriting-driven track, but ultimately fell short, with criticism focused on its perceived dullness and unusual pitch.
A.C.E – “PINATA”
A.C.E’s “PINATA” received negative feedback,ironically drawing parallels to songs released by some of the most popular boy bands. The reviewer noted the surprising agreement among fans that the song fell short of expectations.
“Am I out of touch or is it the kids who are wrong?”
ROSE – “Number One Girl”
While Rosé’s previous single, “APT,” gained popularity, “Number One Girl” received mixed reviews. The reviewer praised the lyrics and Rosé’s distinctive voice but criticized the song’s musical composition, describing it as a possibly fan-dedicated B-side.
G-Dragon (BIGBANG) (Feat. taeyang & Daesung Of BIGBANG) – “Home Sweet Home”
Unfortunately, the provided text cuts off before the embed code for G-Dragon’s “Home Sweet Home” is complete. A full review of this track is unavailable based on the provided source material.
K-Pop’s Holiday Season: A Mixed Bag of Hits and Misses
The holiday season is upon us, and with it comes the annual influx of Christmas-themed K-Pop releases. While the ambition to create the next holiday classic is understandable, the reality, as one observer noted, is often a different story. “All the Christmas-themed K-pop releases vying to be the next holiday classic is understandable, but 99.9% of the time it just leads to completely skippable weeks,” they commented.
This year’s offerings present a mixed bag, with some artists delivering memorable tracks while others fall short of expectations.Let’s delve into some of the notable releases and assess their impact on the K-Pop landscape.
A Closer Look at Recent Releases
WONHO – “What would You Do”: Returning from military service, WONHO offers a track described as “generic and listenable.” While not groundbreaking, its accessibility makes it a more palatable option compared to many other releases. “[It’s] generic and listenable…at least I could see myself letting it play through if it did come on, more than I can say for most,” the reviewer stated.
TWS – “Last Festival”: This Afrobeats-infused remake of a seo Taiji & Boys classic falls somewhat flat. The reviewer noted its lack of a memorable hook, stating it “sorts fades into background music.”
IRENE (Red velvet) – “Like A Flower”: While the trendy Afrobeat sound may not perfectly suit Irene’s style, the production carries the song, allowing her vocal performance to remain a non-issue.The reviewer suggests it’s a suitable direction for her solo career.
TWICE (Feat. Megan Thee Stallion) – “Strategy”: Despite the star power of the collaboration and Megan Thee Stallion’s fitting contribution, the song itself is considered a below-average TWICE single, even without considering the hype surrounding the collaboration.
ROSE – “Toxic Till The End”: Comparisons to Taylor Swift are inevitable, and the song’s Western pop sound is deemed generic. However, Rose’s popularity and unique vocal style give it a fighting chance. Interestingly, the song’s online buzz seems to center more on speculation about Rose’s past relationships than on the music itself.
Dbo (Feat. Dok2 & Okasian) – “POP IT UP”: This track concludes the review on a humorous note, with the reviewer simply stating, “Goodness. Again, the kids are wrong.”
