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25 best K-pop songs of 2017

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There’s no denying that it’s a solemn time for the K-pop community. But it’s during sad times that it’s important to think about what puts a smile on our faces, and for a lot of people, that’s K-pop. Throughout 2017, artist gave us a lot of songs that made us feel happy and made us dance, which then gave us a lot of good times. And while it was hard to narrow down our absolute favorites of the year, here are our 25 best.

25. “Love” by DEAN feat. Syd

DEAN’s emotional sensitivity is always present on his music, but with “Love,” he takes on a very sexual topic in a very respectful yet sensual way. The song features American singer-songwriter Syd as the love interest in this song. Her voice fits perfectly with DEAN’s, creating the sensual mood of the track. The lyrics talk about a new relationship that seems to be full of sexual tension as they tell each other on the song, “I got intentions baby, But, I’m gettin’ restless babe, I need your blessin’, baby I’ll love you if you let me baby” which bring us to know that DEAN’s is very respectful and aware of consent in a relationship; whether it is about sex or taking the relationship slowly he can wait as long as the other person wants and until they are ready. “Love” starts with a little bossa nova and samba melody that transforms into a very minimal tropical record that seems very fresh and connects perfectly with the new relationship that the lyrics talk about. The beats keep a steady base that explodes at the climax, very similar to how a relationship starts and slowly builds up and gets filled with love as time passes by. DEAN’s solo at the end of the song represents how madly he is in love while the music changes drastically and gives of a feeling that you are in cloud nine. And, of course, nobody can forget the lyric when DEAN sings in a very sexy voice, “I’ll f*ck you if you let me baby.”

—Alejandro

24. “You Are” by GOT7

For their second comeback of the year, GOT7 went ahead and switched it up again, further proving just how multifaceted these guys are. In a very unexpected move, J.Y. Park allowed the group to release a single co-written by one of the members, JB. “You Are” diverts from the hip-hop and trap sounds from their previous singles and presents a smoother, dreamier, synthier soundscape. The song is just as contrasting as JB is: velvety smooth vocals yet with an EDM, uplifting vibe. It’s impossible not to smile when listening to this song, for the members’ deliveries is probably their most tender and, dare I say it, sincere yet. “You Are” might not have done well in Korea, but it let audiences know that GOT7 is working towards producing and writing their own tracks in the near future. We can only expect bigger, experimental switch ups by them next year and we can’t wait.

—Alexis

23. “Plz Don’t Be Sad” by Highlight

After ditching their old company, the majority of Beast formed their own company Around Us Entertainment and returned as a new group, Highlight. Their first release as Highlight was the bright song “Plz Don’t Be Sad.” Written and produced by Junhyung’s production team Good Life, the song is about the boys doing anything in their power for you to smile. And with such a vibrant and upbeat song, it is very hard not to. With their first song, Highlight chose to break away from the typical sound their former group’s singles went for and instead offered up an extremely catchy chorus full of “woah ohhs” that are bound to get stuck in your head. The video is fun, and features colorful images of the group doing random things while the chorus has them dancing around in bathrobes. Everything combined makes absolutely no sense, but you ultimately can’t help but smile at the ridiculousness.

—Katherine

22. “Kokobop” by EXO

From the title alone, you would expect this song to be a super summer bop, and of course EXO did not deliver less than this. But what we couldn’t predict is that “Kokobop” would be a reggae-based instrumental song. More surprisingly, elements of trap and EDM were present as well. Does this combination work well? To be honest, I’m still not sure, and maybe that’s why this was one of my most listened to songs of the year. There’s something intriguing about “Kokobop” that makes it grow on you. I guess it’s one of those songs you just find noisy and a bit messed up when you listen for the first time, and then you get trapped listening to it again and again, trying to understand where does the chillin’ “awooo”’s, “down down baby”’s and “oh oh oh”’s connect with such aggressive trap beats and the loud breakdown. Those alone, however, are very fun moments, and that’s more than enough for “Kokobop” to have been one of the catchiest tunes of the year.

—Ana

21. “Camo” by BoA

The long reigning queen of K-pop BoA returned and graced us with the presence of her new single “Camo” this year. The song starts off with a staccato base beat that crescendos slightly to the chorus, but the tempo of the song overall does not change much allowing the tune to flow seamlessly and without effort. The video also does a very good job complementing the elegant style with a bold red and black color scheme and the optically pleasing effects that occur throughout the video. The song, video, and dance all give off an edgy and sophisticated mood which is complemented even further by BoA’s sultry voice. “Camo” may not be as in your face as many songs are now a day, but it still was able to capture it’s audience with minimal effort; something only a 17-year industry veteran has no trouble achieving.

—Katherine

20. “Eclipse” by Kim Lip

Kim Lip began the ODD EYE CIRCLE era with an easy confidence on this smooth electro R&B track. “Eclipse” grows with impassioned ease building an eclectic electronic bed of sounds for which Lip can emote between. Even from just the music video she was by far the most natural performer, a girl the group could be built around. Produced by Daniel “Obi” Klein and Charli Taft, “Eclipse” was a new style for LOONA but nothing too progressive by itself. It more than makes up for that in its silky variety of synths. The bridge is a moment to savour as well, as fingersnaps and gorgeous vocals slow things down revealing the depth of what Kim Lip can do.

—Joe

19. “Shine Forever” by Monsta X

After the initial release of their first studio album The Clan Pt. 2.5: The Final Chapter in the first quarter of the year, Monsta X did the K-pop thing to do and followed up with its repackage, Shine Forever. With this, we were also introduced to the eponymous “Shine Forever,” a natural future bass follow up to the electronic-heavy “Beautiful.” Staying true to its genre, the prominent bassline and synthesizer inform listeners of the song’s modernity, albeit at the expense of a more enthralling hook. Indeed, trends seem to trump over a classic refrain, but if we can ignore this minor musical faux pas for the pre-chorus and raps that’s always been the focal point within the group’s discography, the rest of “Shine Forever” is actually quite fetching. Life is too short to fuss over diction when I.M’s iconic “One and only like a holy” is the best introduction to a narrative since “Once upon a time.” The progression to the pre-choruses only gets better as more layers of claps and percussions are overlaid to amount to an exciting climax. The boys’ eternal preoccupation with beauty and light reaches new heights with “Shine Forever,” making the single yet another valuable contribution to their growth.

—Shelley

18. “Babe” by Hyuna

Hyuna had us used to expect fun, bold, sexy and irreverent songs everytime she makes a comeback. So, who would expect something like “Babe”? Although it still has some of Hyuna’s trademarks, like her rap and proper beats for an energetic choreography, “Babe” is different from everything she has done so far, and that change was very welcomed. In this cute, delicious synthpop jam smartly filled with some trap, hip-hop and tropical house elements, Hyuna sings about a lover that makes her feel like 25, 24, 21-years-old when she is actually 26. Youth has always been an implicit background for Hyuna’s works, due to the fact that her solo works revolved around concepts of partying, exploring sexuality, and others associated to teenagers/young adults’ yearning for living life to its fullest; but with “Babe,” the feeling of youth shows us a different side of her. Driven by a lighter production and a girly melody, “Babe” leaves the impression that, this time, Hyuna’s sassy and fun personality is flowing naturally, with no need of a concept that would push her to show it.

—Ana

17. “Goodbye” by 2NE1

While this song passed over the radar of most K-pop fans this year, Blackjacks like me will never forget the emotional weight of this track’s dropping. Singing over a beautifully repeating guitar riff, CL, Dara, and Bom reflect on the unbearable pain of splitting up: “Don’t look at my tears that can’t hold onto you/Just don’t go.” CL’s vocal performance is especially evocative, questioning, “Does anyone know, does anyone know/how it makes me feel?” repeatedly throughout the choruses, and demonstrating through her vocals alone her attachment to the group even after its disbandment. The song is beautifully simple, demonstrating that even after break-up, 2NE1 is a name known for musical quality. And the lyrics of this song, many of which imply some future continuity for the group — “until the day we meet again,” “when winter passes, spring will come again,” and the self-explanatory Korean-to-English translation of “안녕 (Annyeong/Goodbye)” also signifying “Hello” — indicate that 2NE1 is a name that may (hopefully) return in the future as well.

—Kushal

Also on KultScene: 50 best K-pop songs of 2017: 50-26

16. “Energetic” by Wanna One

The highly anticipated debut of Wanna One, a group created from the top 11 winners of survival show Produce 101, definitely didn’t disappoint. Right from the piano intro, “Energetic” was a perfect match for the skills and image of the group, where their individual strengths were harnessed to create this catchy dance track and they could each be highlighted. The vocal thrills provided by members Jaehwan and Sungwoon further tightened the song, and when paired with their synchronised complex choreography this performance was such a joy to watch. It’s no wonder that their popularity, both domestically and internationally, continued to skyrocket after this debut track. While they’ll only be active till the end of 2018, I’m looking forward to the amazing music they’ll be releasing till then.

—Anna

15. “Untitled, 2014” by G-Dragon

If you’ve ever wanted to see the unadorned side of Kwon Jiyong, better known as G-Dragon, look no further because “Untitled, 2014” is the open book he’s been waiting for you to see. When people hear the name “G-Dragon,” they think of his styling and swag; G-Dragon the rapper. But Kwon Jiyong, the artist, the musician and singer, is what made “Untitled, 2014” the treasure that it became. G-Dragon illustrated his sentimental and compassionate side with this ballad and he made all of us “soft.” With the accompaniment of just a piano, it allowed listeners to focus in his voice and his emotions without being caught up in anything else.

—Tam

14. “Black Suit” by Super Junior

There’s something innately satisfying about seeing a K-pop group well into its second decade able to come up with something that feels very much in accordance with their biggest hits but that also improves musically. Serving both as a testament to the act’s malleability and capabilities, “Black Suit” does just that. Like all of Super Junior’s biggest hits, there’s an immensely danceable, repetitive hook of a chorus. But, as with their other more recent singles, there’s a sense of maturation in the swing-infused, brassy sounds of the retro-tinged song that may be a surprise to people who haven’t kept up with SuJu’s most recent releases. Though two of their main vocalists, Ryeowook and Kyuhyun, are serving in the military, there’s nothing remotely disappointing about this dynamic single as its energetic tune serves up both Super Junior’s typical sense of playfulness and their finely-honed vocals.

—Tamar

13. “All Night” by Girls’ Generation

Alternative title track “Holiday” is, from a lyrical standpoint, likely more direct in celebrating Girls’ Generation’s success and long-lasting togetherness. To me, however, “All Night” is the more powerful 10th anniversary release for the legendary girl group. Embracing EDM and vaporwave influences on this retro-oriented track, GG demonstrates how easily they devour new songs and make them entirely theirs, demonstrating the endless versatility characteristic of K-pop’s face-value girl group. Seamlessly moving between melody and pseudo-rap, the song shines most in its chorus, which is at first minimalist but grows in speed and power with each iteration. Along with dubstep brilliance in the bridge, “All Night” is indicative of the fact that Girls’ Generation is a musical and performative force in the international music industry that cannot be, and should have never been, ignored. 10 years in, they continue to innovate on the concept of dance pop in ways that reflect their maturity from girlhood into womanhood.

—Kushal

12. “Spring Day” by BTS

Expectations were high for BTS’s comeback in early 2017, due to the enormous success of their previous single, “Blood, Sweat and Tears.” Some got disappointed when the long-awaited song was the mellow “Spring Day.” But, honestly, at that point, BTS was already standing in such a high place (even though no one could imagine how immensely they’d still grow over 2017), that the only way to ruin everything would be by releasing something really really bad —and that’s not the case of “Spring Day” at all. The song is very touching and shows more emotional colours of the boys, something that was great to see after constant fierce and powerful comebacks. Of course, being a work from BTS, a group that is making their mark for their carefully planned concepts, “Spring Day” is not only a cute song about missing someone. The word “spring,” in this context, represents the flourishing of a new phase, perhaps a more mature one, after their previous concepts that focused on youth. Just like the season of flowers, “Spring Day” was, for them, a beautiful prelude to a series of bright moments, that would end up becoming their most memorable year so far.

—Ana

11. “Limitless” by NCT 127

Hip-hop is not a genre we associate with SM Entertainment’s current generation of K-pop idols, so when NCT 127 first debuted last year, skepticism arose. However, any doubt went poof right at the start of 2017, when the group dropped “Limitless.” With the help of SM’s two best rappers (yes, I went there, don’t delude yourself otherwise), a slew of outstanding dancers, and vocalists with honey smooth tones, NCT 127 delivered one of the most powerful performances of the year. With a grime base, “Limitless” offers pulsating beats, tempo changes, and a climatic chorus sung by all the members — a rarity in K-pop. In probably one of the most competitive eras in K-pop, NCT 127 proved this year that they’re ready to take on the big boys, and it all started with “Limitless.” SM finally debuted their most well-rounded group, with members that both embody what everyone has always loved about K-pop so much and what the scene is becoming as of late. The NCT concept is still a confusing one, with its various units and rotating lineups. But we for one hope NCT 127 is a permanent one, for they have the potential to become a staple as early as next year.

—Alexis

10. “Peek-A-Boo” by Red Velvet

Red Velvet capped off the best year of their career so far with “Peek-A-Boo.” The girls encountered wicked attraction in “Rookie,” a comforting love in “Red Flavor,” and on “Peek-A-Boo,” all of those emotions get tied up into anxiety. Producers Moonshine, Cazzie Opiea, and Ellen Berg Tolbom build a minimal bass of bubbling synths and a drum beat as they slowly let those anxieties creep into the song. Horns blast in and out, a xylophone style synth is there (for the trademark childish sound of theirs) and the girls ad-lib at every moment they can (sometimes of fear “oh gosh!” sometimes of excitement “let’s go!”). These details reveal how they feel about falling in and out of love. They struggle to define it while trying to convince themselves that they are “fine fine fine.” There’s an unpredictability to the way Red Velvet realise a song. It’s a feeling totally unique to them, and it makes them the most exciting act in K-pop.

—Joe

9. “Easy Love” by SF9

As the first male dance group to be formed by FNC Entertainment, which is more well known for bands such as FTIsland and CNBLUE, SF9 does showcase fancy choreography in “Easy Love,” but what stands out more is their vocals and the music production of the track. With four rappers in the group, it’d be hard for each one to stand out, but SF9 does precisely that with each having a distinct style in their parts. The build up to the chorus and the chorus itself are also done well, with traces of EDM present but with the interesting melodic lines constantly being highlighted, especially in the chorus where there is a lot of both upward and downward movement. It’s only been a little over a year since their debut but SF9 show a lot of promise and will definitely be able to release even better music as they grow as artists.

—Anna

8. “Don’t Recall” by KARD

Scoring a top 10 position on this list is a feat for any artist, let alone a new one. Let alone a pre-debuted one. Let alone a pre-debuted co-ed one! KARD is completely unique in the K-pop world, from tropical house-inspired musical stylings to a refreshing co-ed member lineup. And “Don’t Recall” captures exactly what makes KARD an exciting addition to the world of K-pop, with innovative, gender-bending choreography (gender-bending by K-pop standards, that is), an enticing blend of male-female vocals, and stunning post-chorus dance break. While the group itself will need to keep innovating to find a variety of sounds and styles that suit them, KARD’s “Don’t Recall” is an amazing demonstration of what co-ed member structures could mean for musicality in the K-pop world.

—Kushal

7. “Red Flavor” by Red Velvet

One of the year’s iconic bops, Red Velvet came through guns blazing with “Red Flavor.” The title itself sounds so similar to their group’s name — seemingly fitting of a song most definitive of the group’s musical and performative character to date. Paired with its quirky and slightly overwhelming music video, RV succeeded in capturing the essence of a quintessential summer track in the context of their own quirky aesthetics and musical stylings. With building instrumentals and bouncy vocal harmonies in the chorus, Red Velvet establishes and carries their own trademark Red Velvet sound, a factor useful in maintaining popularity at this point in their very successful career as a girl group. “Red Flavor” is undoubtedly going to be one of the most-remembered 2017 K-pop songs, an iteration of K-pop girl group summer almost desperately needed in the power vacuum created by some untimely disbandments between this year and last.

—Kushal

6. “As If It’s Your Last” by Blackpink

Usually when a song is one of those three-fers kind of deal, the end result makes its listeners question who let it slide by production. But what happens when production is one of the most renown, one of the most prolific? Teddy, YG Entertainment’s veteran in-house producer, lets experience speak for itself and challenges just how many distinct compositions he can fit in approximately three and a half minutes with “As If It’s Your Last,” and for the first time in K-pop hot mess history, it doesn’t suck. The beginning is something of a red herring, where synths and a pounding bass digresses away from whatever subset of EDM it was supposed to be, and make way for a variety of upbeat drums. The gritty front that the girls assume rapidly dissolves as well when the song unexpectedly makes a turn for the bright and poppy. The displaced hook lends the song its ultimate “Pink” quality, which is truly refreshing in light of all the “Black” concepts the group have done up until then. Thanks to seasoned producers, Blackpink is able to enjoy elements of house, pop, moombahton, and more. Now if only they were able to come back with more than a single a year…

—Shelley

Also on KultScene: K-Pop Unmuted: Super Junior – ‘Play’

5. “Never” by Sons of the People from Produce 101

2017 was the year of trop-house in K-pop, and while it’s arguable whether we were done with the genre by the mid-year, seemingly out of nowhere we were bamboozled by a gem in the most unexpected of places: the competition show Produce 101. Produced by Hui, Wooseok, and E’dawn of the Cube Entertainment group Pentagon, they gave the show their song “Never” for the concept challenge and was performed by Sons of the People. While the beat is a bit repetitive, it is the overall performance and vocals what made the track impactful and impossible to resist. Consisting of a lineup of members of which almost all of them ultimately made it into Wanna One (#JusticeforJonghyun, never forget), “Never” seemed like the one that was ready to be a single. From Woojin’s sleek and assertive rap to Seongwu’s surprising vocals to Minhyun’s angelic visuals to Jaehwan’s iconic belt, how could this song not reach an all-kill on the charts? In a way, it was “Never” what sealed the deal for the members, for it showed just how much star power and talent they had and how cohesive as a group they could be. The managed to take your typical trop-house song and made it into a hit. And it is so popular and a great live performance track that Wanna One rearranged it to include the rest of the members and perform it at their shows.

—Alexis

4. “Move” by Taemin

It’s hard to explain the magnificence of “Move” as a song itself without alluding to its music video or to the very figure of Taemin. After all, musically speaking, it is possible that another vocalist could have done a decent or perhaps even a good job, but it wouldn’t be the same thing; it wouldn’t sound as if the song was straight tailored for someone who’d connect every move of their body to every note of this simplistic yet exquisite melody. The chords and the basslines of “Move” are almost like sonic representations of Taemin’s eyes in the music video, it’s not even funny. The single resembles the groove of pop legends such as Prince and Michael Jackson, whose work had influenced Taemin in previous occasions, and it’s indeed a performance-oriented song. But these aren’t the only reasons that make this song so perfect for him. Neither 80’s influence nor songs made for dancing are rare in K-pop. But when it comes to artists who can carry a song so full of sexual tension with that level of elegance and artistic maturity, especially in such a young age, Taemin is definitely one of a kind. There are many moments in which “Move” could have taken a different direction in order to sound more like a catchy mainstream hit, but I love the fact that it didn’t. There isn’t one distinctive, outstanding moment, as this is definitely not a song that guides you to one specific highlight. Instead, it keeps you holding your breath during the whole time, never allowing tension to be released, and almost forcing you to pay attention to every word Taemin’s singing. The SHINee member handled this song amazingly and presented us one of the most fascinating moments of the year.

—Ana

3. Sunmi ‘Gashina’

Explosive in its dark synth-pop glory, Sunmi’s “Gashina” is the unapologetically vengeful breakup track that defined much of K-pop in the final months of 2017. With dancehall elements and dramatic, ‘80s-styled beats, the song is a sultry banger that’s filled with double entendres as the former Wonder Girl questions why her former love has turned their back on her pretty, and perhaps thorny or even bitchy, self. Confidently explosive, this is one of the fiercest songs K-pop has seen in years and Sunmi’s dominating, feminist-forward style captured the attention of all of Korea through the gun-shooting and gender-role-swapping choreography of “Gashina.” Hopefully we’ll be seeing more of this from Sunmi as she takes ownership of her return to her solo career.

—Tamar

2. “Not Today” by BTS

In stark contrast to the mellow “Spring Day” off of the same You Never Walk Alone reissue, “Not Today” is the badass sibling and solution for fans of BTS’s dynamic powerhouse sound. It attempts to replicate the underdog hubris of their “Dope” days and large scale, militaristic production of “Fire” while retaining its own identity so as to not get lost within the group’s body of similar works. The inflections in Jungkook’s “겨눠 총! 조준! 발사!” (“Point, aim, shoot!”) battle cry and RM’s monologue in the introduction among other details definitely makes this their most combative song to date. Beyond using their platform as a means of resistance and a call for action, the electronic inspired track feels cinematic too, with blaring, dramatic synths cueing imminent peril. Those synths, in addition to the purposeful lyrics, continue to resonate with us even as we cap off 2017.

—Shelley

1. “Really Really” by WINNER

After losing their lead vocalist, WINNER could have played it safe and returned with the sort of mellow music that they started their career with. But instead, they amped up their sound with the addictive rhythm of “Really Really.” Nothing was quite as trendy this year in K-pop as breezy trop, and this song was the epitome of that with its relaxed beats, dynamic drops, and full-bodied synths. Co-written by Kang Seungyoon and Mino, there’s an immense sense of what WINNER wants to be without Nam Taehyun. Split pretty evenly between rappers and vocalists, the single plays up the band member’s individual skills, with the finely-crafted house track emphasizing their soft blend of hip-pop to create a sound that’s both captivating and fun to dance to.

In a pretty crappy 2017, “Really Really” arrived not only to reinvigorate WINNER’s career but also give the K-pop world a work that was vibrantly uplifting. It’s a good look for the now-quartet and they continued it with their follow-up singles (“Island” and “Love Me Love Me”) and hopefully next year will see even more of that from them.

—Tamar

 

Make sure to also watch our video countdown of the best songs of 2017!

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50 best K-pop songs of 2017: 50-26

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While the year may be closing in a very sad and unfortunate manner with the passing of a K-pop icon, artists consistently delivered memorable songs throughout 2017. This year saw a lot of great moments from some of Korea’s most popular new acts, while newer acts also proved their worth with addicting, sleekly-produced music. Trop was the king of this year’s K-pop trends, but far from the only genre of music that saw its moment in the limelight.

Check out the first half of KultScene’s 2017 best K-pop songs list below:

50. “Circle’s Dream” by Subin

Subin is trapped in an endlessly repeating contradictory cycle in her self-written and composed single “Circle’s Dream.” She is told that she is round and that’s good, but then that it’s not. She wants to be angular, to pierce her lover, to make him feel like how he made her feel. Yet she is also trapping herself within a recurring musical structure, as an acoustic guitar plucks an incisive riff throughout the song. It is the only angular part of Subin’s song yet has no variation. Her stark synths come in late but their slow rhythm only accentuates the repetitiveness. Each element is perfectly realised to tell her story. Her voice completes it. Its soft and sweet but particular pronunciations like denggeureureu are key. This word alone combines both the round and angular sides to her. It has repetitions but in order to say it properly she still has to roll her tongue. Subin has enwrapped her whole song with the confusing ideas in her head. No solo idol has ever produced something of such pointed precision.

—Joe

49. “Wee Woo” by Pristin

If “Wee Woo” had been released at the 2012-ish heyday of Hallyu, Pristin’s debut song would be considered legendary right now. It’s barrage of shifting sounds and onomatopoeic vocals are absolutely classic. The Pledis Entertainment regular songwriter Bumzu brings a bright and breezy feel to the whole production with disco electric guitars taking the brunt of the work. This allows the girls room to deliver the most hooks in a single song EVER. Each part is so complete on its own you could take them individually and create five more songs around them. The fact that they all come together for something that doesn’t feel so monumental is the greatness of “Wee Woo.” It’s arrogant in its effortlessness all the way down to making the primary hook out of the most simple term of jowahae nol jowahae (“I like (you) I like you”).

—Joe

48. “Beautiful” by Monsta X

Monsta X’s cultivated sound and signature unruly charms finally comes together for the consummate “Beautiful.” Perhaps because it is supposed to be representative of the group’s first studio album, the single feels particularly significant. For one, there’s really nothing quite like the opening out there. Scattered with a prominent distorted electronic beat that is quickly followed up by Jooheon’s explosive raps, the real hook is not in the chorus but here in the introduction, where the task for the listeners to not mimic the unique noises or the clever near-rhymes is near impossible. The vocalists dwindle down the excitement sometimes without sounding monotonous, almost acting like the Apollonian restraint to the Dionysian madness. The constant shower of peculiar oscillations, whirs, and horns all make up the perfectly organized chaos that Monsta X is known for, and though “Beautiful” did not grant the boys their first music show win like it should have, it will always remain a tour de force in our hearts.

—Shelley

47. “Where You At” by NU’EST W

With their revival in popularity following some of the members’ appearance in Produce 101 Season Two, this subunit of Nu’est (missing member Minhyun who debuted in Wanna One) released this flashy track which stayed true to their unique music style. Bursts of electronic instrumentals are mixed with a calm piano backing track and adds a lot of contrasts to the song. It also highlights the strengths of each member, with Baekho’s explosive high notes complementing Ren and Aron’s softer and sweeter voices. JR’s rapping is as stable as ever, and he definitely shines more back in his own group. It’s wonderful to see this talented group get more recognition for their talents, and I can’t wait to see the full group back together again soon.

—Anna

46. “You Were Beautiful” by DAY6

The February release of the band’s “Every DAY6 Project” can be said to be their most successful, especially domestically, and it’s not difficult to see why. The raw emotions brought out by the members coupled with the sincere lyrics create a sentimental rock ballad which truly tugs on the heartstrings of listeners. The end of the bridge in particular, where Young K and Wonpil’s voices are layered, is such a beautiful and emotional climax of the song. Even though it appears simple to sing along to (and is apparently a favourite among other JYP singers for karaoking), the song is actually very vocally challenging due to the large range required, and the effortless way the DAY6 members sing it shows just how skilled and well-trained they are.

—Anna

45. “Tomorrow, Today” by JJ Project

After debuting ahead of GOT7’s debut with the exuberant “Bounce,” JB and Jinyoung returned as a more matured rendition of JJ Project this year and it was absolutely glorious. The two vocalists released this sweeping, introspective song about the very-millennial topic of making decisions and fearing regrets. The track provides the perfect forum for the pair to show off how well their vocals work together, with the duo harmonizing over guitar riffs, tapping percussion, and mellow synths. “Tomorrow, Today” is reflective in its warm approach to soft rock, and hopefully we’ll see more of this from JJ Project in 2018. It was a complete turnaround from their first iteration, and definitely more suited for the pair’s artistic style and capabilities.

—Tamar

44. “Don’t Know You” by Heize

Heize’s “Don’t Know You” is a very groovy song full of percussions with a slight mixture of disco, hip-hop, and R&B, which features the soloist using deeper vocals than what we’ve been used to hear from her. The overall appeal of this songs starts at the beginning of the track with the repetitive beats and the introduction of the synth drums that follow different tonalities on the record that give great texture to “Don’t Know You.” Her famous ad-libs are also present on this song as she goes from high to low tones, which are achieved by the reverbs added on the vocal track, that create great contrast between her sexy sweet voice and her solid rap parts. The harmony is very steady throughout and creates a great chill up-tempo track perfect to dance and groove to. Heize continues to show great promise with her experimental sound.

—Alejandro

43. “Tequila (feat. Hoody)” by G.Soul

One can’t help but want to book an immediate flight to somewhere like Bali while listening to “Tequila,” especially with the brutal winter quickly approaching much of the States. Hoody’s bewitching voice alongside G.Soul’s multifaceted vocals make for the perfect combo in this dancehall track, ideal for both a cookout and the club. Lyrically wise, “Tequila” might not be appropriate for all age groups, as G.Soul sings about only wanting a one night stand. But if you’re someone who’s over the generic “let’s fall in love” type of style that is prevalent in K-pop the majority of the time, this song’s for you. The lyrics aren’t candy coated or sleazy, but come off rather… inviting. This wasn’t meant to be a flashy song, which is what made it even more enjoyable. Although G.Soul wasn’t hitting those high notes (that I love so much) like he usually does, it wasn’t a lack felt by this song.

—Tam

42. “Wake Me Up” by Taeyang

It is no news that Taeyang can hold a ballad like no other, and in 2017, he gave us two great ones. “Wake Me Up” doesn’t have the same degree of emotional complexity of “Darling,” the other single from the album, but it’s its apparent simplicity what makes this song amazing and addictive. Objectively speaking, it’s a very linear song with no surprise factors when it comes to its structure. It might even seem like Taeyang doesn’t have much to say in “Wake Me Up,” but it’s definitely not because he’s lacking emotions. In reality, what we see is that he just doesn’t know what to do with them. Everything in “Wake Me Up” sounds gorgeously inconclusive and mysterious — from the airy sounds and atmospheric, echoed beats, to the lyrics that offer more questions than answers. No wonder the most touching moment of the song is when he’s constantly repeating “Is it love?” while delivering breathtaking high notes. Overall, Taeyang’s vocal performance amidst the ethereal instrumental creates just the right vibe for a song that is about love, but mostly about confusion and doubt. After so many years, you can still count on Taeyang to get you in your feels.

—Ana

41. “Honeymoon” by B.A.P

Coming out during the fall when it should’ve been a summer jam, “Honeymoon” is a delightful EDM track from B.A.P’s seventh album Blue. The whistling at the beginning of the song left the remainder open for interpretation; this song could’ve been a sweet one, much like the title suggests, or a somber one. I’m glad it wasn’t the latter. “Honeymoon” puts listeners in a lighter mood, whereas previous songs were dark and heavy, all the while still executing a clear message. “With the overflowing stars from beneath the palm tree. A film on the shining freedom and bright youth,” they sing. Through this track, B.A.P wants to remind us to live life to its fullest, fulfill your heart’s desires to its grandest and emphasises that today’s youth will be the game changer in society going forward.

—Tam

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40. “Chase Me” by Dreamcatcher

Taking the bubbly girl group image and tossing it out the window, MINX re-debuted early this year under the name Dreamcatcher. Not only did the group have a new name, but they also gained two new members and an interesting concept and sound. Taking the term re-“vamp” quite literal, the group came out with a dark and creepy concept straight out of a horror movie. The video for “Chase Me” takes references from classic horror movies like The Shining but also has cuts to choreography to showcase the girls dance moves. The song begins with pianos and then picks up at the chorus. Adding31 to the darker image, the song melded hard rock elements with a dance pop track to create something very dynamic. There’s something about the mixing of heavy rock instrumentals and feminine voices that is very appealing. Although the song sounds like it’s straight out of an anime, it is also an interesting new sound that’s refreshing to the K-pop world.

—Katherine

39. “Never Ever” by GOT7

Ever since debut, GOT7 have switched up their sound with every release, experimenting with different styles and concepts, and their first comeback of the year was no different. “Never Ever” follows in the same angsty direction as “If You Do,” yet this track mixes electronic and trap sounds while giving it their signature bubblegum spin. Vocally, JB and Youngjae can always be counted on to deliver outstanding choruses and ad-libs. But reveal of the year was that “Never Ever” is probably the song where the rap line is collectively most stable and the flows, while different, work together. GOT7 is building up a name as a dance group whose choreographies are insane, and “Never Ever,” with its glitches and heavy bass, is the perfect performance track in their building discography.

—Alexis

38. “Love Story feat. IU” by Epik High

One of the two title tracks off of Epik High’s new album, “Love Story” is a beautiful song about love lost. The steady drum beats coupled with the sometimes frantic sounding piano and, later on, the smooth orchestra creates a complex yet easy sounding melody that balances well with IU’s sweet voice and the rap verses of Tablo and Mithra Jin. Along with the concept video of a girl reminiscing about her past relationship through videos and photos on her phone, it sets the perfect setting for a song about heartbreak and loss. As expected with most of Epik High’s collaborations, the group and the featuring artist blend perfectly to portray the story being told.

—Katherine

37. “Wake Me Up” by B.A.P

A lot of the times, K-pop consists of clichéd lyrics and similar concepts. There are times when a number of artists will put out a string of songs, music talking about love, relationships and breakups. Again, the repetitiveness. Just when you feel like you’ve had enough of that sappy stuff, B.A.P appears with an eye opener like “Wake Me Up,” a track that touches on societal issues and mental health to stimulate one’s ear buds. The song has a compelling beat, a sound so strong, it’ll act as the pillar that will hold you up when one is fighting off their inner demons and struggles in life. “This is an endless tunnel, in darkness with no light. Wake me up, wake me up. I need to find myself,” they sing. B.A.P wanted to push awareness and wake up a society that looks away and pretends that issues like racism, judgement, and depression aren’t real issues because these things are very much on going and continue to be real life problems.

—Tam

36. “Palette feat. G-Dragon” by IU

As one of Korea’s most prominent artists, IU on “Palette” seems to be comfortable with her fame and life, assuring both herself and her listeners that she’s changing in ways she embraces. Her lyricism uses cute examples, from changing color preferences to hair length, to demonstrate that she, “Knows a little bit about [herself] now.” The song’s instrumentals are a more alternative play on classic, theatrical IU releases. While the trademark ticking noises and sound effects are present, the song itself is slower and wispier, updated to match a more modern vibe that she seems to have grown into. The top female star of Korean music in the past decade, IU demonstrates that she remains focused on making hits, but now, on her own terms. With the help of a strongly performed and well-placed rap break from G-Dragon, IU on “Palette” lets us further into her excited, changing young adult world. Where she goes next from here, however, we’ll be watching.

—Kushal

35. “Dinosaur” by AKMU

AKMU is known for creating beautiful music, but with “Dinosaur,” the duo really surprised us: they finally added some EDM to their music while managing to make it their own. The electro beats and synths that appear through the track’s melody seem very stripped down and almost make it feel like an acoustic electronic song. The opening guitar in the beginning of the song especially feels like an homage to their earlier music. The synthetic kickdrums that blast before the beautiful notes from Suhyun during the chorus melody and are present through the whole track, giving it an unique mystery to the track. We also get more singing from Chanhyuk instead of his typical talk-like rap, which was surprisingly beautiful. Their voices blend and harmonize perfectly with the synthetic beats that made it an upbeat chill song for the summer. AKMU really had a lot of fun creating this track and used every tool that electronic instruments can give you as a producer. The song is simple but very detailed with a beautiful, heartwarmingly catchy harmony and a light beat that is very uplifting and instantly makes you feel good.

—Alejandro

34. “Dream In a Dream” by Ten

SM Entertainment’s Station project has produced a bit of a mixed bag this year, delivering some truly great pieces of music amid a majority of lackluster ones. But “Dream In a Dream” was one of its glorious high notes. The ambient, east-meets-west styling of the song serves to relay the performance-heavy music video, which highlights Ten’s immense dance skills. Providing a soundtrack to the highly-stylized, contemporary dance video, it’s a song filled with drama and passion. But even as a stand alone track, “Dream In a Dream” delivers something truly special through its symphonic instrumentals relaying Ten’s echoing declaration of love. Lush synths and pulsating beats guide the track as it layers traditional Asian strings and into the atypically-structured melody. So far, Ten has participated in both this and NCT U’s “The 7th Sense,” two hauntingly beautiful, choreography-focused singles, and if this is the direction SM continues pushing him in, it may be the thing that could breathe new life into this era of all-too-similar K-pop male acts.

—Tamar

33. “Shall We Dance” by Block B

Ever since Zico cemented his status as a hip-hop icon in Korea, Block B has pretty much taken a backseat on the ride. And after a couple of quirky, even cutesy releases, it seemed the group had gone awry of the sounds and concept they made a name with. That’s why when they dropped “Shall We Dance” it was way more impactful. More in tune with the “trendy” sounds Zico is known to produce for his solos, the track explores different urban Latino sounds, which particularly stood out this year when artists are still releasing trop-house songs. “Shall We Dance” is groovy, smooth, and just as the title suggests, dance provoking. Being an older male group with a diverse lineup of talented members, it’s important for Block B to color outside the lines and continue to push the envelope as they have always done. And with this song, they did just that.

—Alexis

32. “Girl Front” by ODD EYE CIRCLE

“Girl Front” felt like a particularly important moment for LOONA. When LOONA ⅓ debuted as a unit they were still fairly unknown, a weird project group going about their own thing. By the time of ODD EYE CIRCLE, they had significantly grown with more people both at home and internationally taking notice. The fact that they absolutely nailed it came as no surprise to me, but how they did it was so impressive. By combining the songs of three girls (Choerry, Jinsoul, and Kim Lip) producers Ollipop and Hayley Aitken created something unprecedented in K-pop. “Girl Front” has the peppiness of “Love Cherry Motion,” the dense, propulsive beat of “Singing in the Rain,” and the electronic sheen of “Eclipse.” It’s a miracle that it all comes together to form something coherent let alone this good. The girls give it the last edge of excitement with non-stop vocals as they bounce off one another with glee, building a climax of unstoppable motion and further push forward the most exciting story of the year.

—Joe

31. “I Wait” by Day6

“I Wait” was the first release of the group’s ambitious project, which set a high bar for their following monthly singles. The opening of the song draws the listener in with somber synthesized keyboard notes and dreamy vocals. The mellow beats gradually increase to the more aggressive instrumentals of the chorus, showcasing a much harder sound than what the band has been previously known for. The song continues to bounce back and forth between a softer sound and the heavy chorus, which creates and interesting medium. The video itself isn’t really anything special but somehow still complements the song with the changing graphics and effects. Overall, “I Wait” fulfilled its purpose of drawing in the audience with a new sound, showcasing the band’s versatility and ability to deliver quality songs throughout the year.

—Katherine

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30. “MIC Drop (Steve Aoki Remix feat. Desiigner)” by BTS

“MIC Drop” was already a good song before Steve Aoki’s remix, but with his production, the producer added the aggressiveness that the track needed to be fully solidified as an anti-haters anthem for BTS. He did this by converting the hip-hop track into a hip-hop, R&B, and EDM infused song that made us remember the old BTS from their debut era. The track is energetic and gets you pumped up as soon as you listen to it; V’s deep voice and RM’s raps are major highlights from this record. The lyrics take a very sarcastic tone that even if they seem cocky it makes us sympathize with them. With the new added English lyrics in the chorus, the song makes everyone want to stand up against haters and face them off. BTS creates yet another ode for outcasts and bullied kids all over the world by once again taking on topics that usually K-pop bands don’t talk about.

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—Alejandro

29. “Darling” by Taeyang

This ballad stands out with its somewhat unconventional structure and chord progression, but it’s truly beautiful and addictive when listened to in its entirety. The way that Taeyang’s smooth voice connects the various parts of the song elevates it and showcases his impressive range and ability. His raw emotions are showcased front and center here too, especially with the way the song “progresses” in intensity from verse to verse. It’s soothing and intimate all at once, and allows Taeyang to present a more honest side of himself, as compared to being a charismatic star glorified by the limelight.

—Anna

28. “Hola Hola” by KARD

Over the course of three project singles, KARD was able to develop a musical formula that worked. The tropical house and dancehall that undergirded “Oh Nana,” “Don’t Recall,” and “Rumor” provided a strong foundation for when they finally did make their official debut with “Hola Hola,” a timely and bright synthy number perfect for the summertime. Being co-ed is more than just a gimmick for this group; the exchange between tender vocals and throaty raps is the contrast listeners need to keep engaged. The chorus, on the other hand, shifts its weight onto an island beat, and while it would be easy to dismiss this sudden move as overly simplistic, the hypnotic effect is undeniable. It sweeps the carpet from under our feet and displaces us in a chimerical paradise. It is a nice recess from Jiwoo’s spunky rap midway or from any other strained moments, providing us with a sensual and personable comfort. “Hola Hola” only marks the beginning, but already the internationally beloved group has been dealt a good hand, and are making all the right plays to keep momentum going.

—Shelley

27. “Cherry Bomb” by NCT 127

Without a doubt, “Cherry Bomb” definitely encapsulates the sound of NCT127. The different mixes of genres that create a very fresh and futuristic sound create a unique style for the band that has everyone falling in love. The track starts off with a heavy bass and the repetitive “Hurry, hurry, avoid it, right Cherry Bomb feel it yum,” then goes off to Mark’s and Taeyong’s rap, with the pair proving to be the real standouts for this track, while the bridge explodes with Taehyun’s, Doyoung’s and Taeil’s beautiful vocals that melt any listener’s hearts. The song is filled with background synth noises, singed hooks, and creepy sounds that create a very chaotic but interesting track that is reminiscent of the album cover and the title of the song. It’s a classic, sassy and rebellious track and shows great direction for the boy band.

—Alejandro

26. “O Sole Mio” by SF9

Is it possible for someone who lacks rhythm AND coordination to find themselves swaying ones hips and body with precision to the entrancing latin sounds of “O Sole Mio”? This track comes from SF9’s third mini album, Knights of the Sun, only one year after their debut. Rather then SF9’s usual upbeat dance tracks, “O Sole Mio” is captivating in it’s own mellow way. The transitions between the vocal and rap lines were smooth and well-versed, building up to a tender climax without it ever being over the top. The fusion of latin pop to K-pop is still new, but, let’s be real: we all could’ve used a break from some of the generic sounds we’ve heard this year, and the fresh sound of “O Sole Mio” delivered just that.

—Tam

Stay tuned for the second and final half of our Best K-pop Songs of 2017 list, which will contain the top 25.

What was your favorite release of the year? Let us know in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.