A Okay-pop act’s title monitor isn’t at all times the very best track on their album, even when it’s the one most individuals will hear. Generally, b-sides deserve recognition too. Within the singles-oriented world of Okay-pop, I need to highlight a few of these buried treasures and provides them the props they deserve.
For awhile now, I’ve most well-liked most of ITZY’s b-sides to their title tracks. It feels that the company is selecting title tracks due to their message/idea or producer slightly than the precise high quality of the music. This has resulted in way more adventurous materials being shoved to the again aspect of albums. We’re greater than due for an ITZY title that seems like DYT.
With talk-heavy dance music all the trend in the intervening time, I can’t consider a greater style for ITZY to dip their toes into. They’ve such nice voices when the track isn’t forcing them into an excessively bratty type and I really like the icy efficiency that drives a lot of DYT. The monitor’s stomping electro crunch jogs my memory of final 12 months’s Untouchable, however DYT‘s construction is extra daring and surprising. The refrain is very efficient, fashioning collectively disparate fragments of melody in a means that makes whole sense. The track by no means sits in a single place for lengthy, switching beats and textures like a sampler platter. DYT by some means holds collectively all through all of this. I assume that’s because of the magic of its established composer Kenzie.
| Hooks | 8 |
| Manufacturing | 9 |
| Longevity | 9 |
| Bias | 9 |
| RATING | 8.75 |
Grade: B+