K-pop’s title tracks might gain most of listeners’ attention, but many album tracks are worth equal spotlight. I call these “buried treasures.”

Beyond this, K-pop’s albums deliver thousands of additional tracks that settle for a more limited audience. It’s these songs that will become a part of my “battle of the b-sides” feature.

In this feature, I’ll be putting on my A&R hat and taking a listen to five randomly-selected K-pop b-sides. I’ll write a mini review for each, including a Bias List rating, and rank them from least to most favorite. The winner will join a special Bias List B-side playlist. Think of it like my own little agency, hand-selecting songs I’d like to pitch to my nonexistent artists!

You can check out all rounds of my Battle of the B-sides here!

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Battle of the B-sides: Round Twenty-Four

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EPEX – Go Big (2021)

Okay, fifteen seconds of this and I know it’s not for me. There’s far too much repetition, far too many skrrt skrrts and a general sense of badassery I find so tired. Beyond that, the rap is fine and the beat is solid. But, I’m just exhausted by this particular K-pop sound. On the plus side, I appreciate putting EPEX’s desire for commercial domination into musical form. It’s a smart approach for a rookie group. But yeah… too much shouting here for me.

Hooks	7
Production	7
Longevity	7
Bias	6
RATING	6.75

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Twice – Tuk Tok (2016)

Well, this is a fun little throwback. It’s comforting to travel back to a time when Twice were on the upswing, quickly climbing to a-list status. Tuk Tok isn’t a particular favorite of mine, but I like how unsettled the percussion feels. There’s a nice variety of groove, over which the girls deliver a more diverse series of vocals than we’re used to hearing from them. The chorus has a few nice hooks, but I could do without that irritating alarm effect that supports a large portion of the track. It sounds like a truck backing up!

Hooks	8
Production	8
Longevity	8
Bias	7
RATING	7.75

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IN2IT – Cadillac (2017)

Before their contract termination, IN2IT recorded quite a few bangers. Cadillac is a clearly an answer to Bruno Mars’ 24K Magic, which itself pulls directly from 80’s synth funk. Nevertheless, it’s a style I’ve always loved, and the song’s instrumental has me nodding my head. I appreciate the fullness of the sound. In fact, the beat is so addictive that the guys don’t need to do anything fancy with the tune. Cadillac’s chorus is a simple chant, while its verses offer more in the way of melody. It’s a slight effort, but that suits the song’s grooviness.

Hooks	8
Production	9
Longevity	8
Bias	9
RATING	8.5

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Wheein – No Thanks (2021)

I know a lot of people love this kind of sleepy, R&B-influenced pop, but it bores me to tears. Wheein has a great voice and we all know it, but that shouldn’t be a crutch preventing a song from putting forth effort via melody and production. Nothing here is objectively bad, but it all feels designed to fade into the background. It’s musical wallpaper. Slow jams like this can be so addictive, and a few have even won previous rounds in this feature. Apart from Wheein herself, nothing here is calling me back for another listen.

Hooks	7
Production	7
Longevity	7
Bias	6
RATING	6.75

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Infinite H – Victorious Way (2013)

Ooh, an Infinite song! I’ll try to take my bias hat off for this, but you know my favorite group is always going to have an edge over others. Victorious Way arrives courtesy of Infinite’s hip-hop unit, and pays homage to old-school sounds. The beat is simple, repetitive, and lo-fi, vibing on the kind of breakbeats that were popular in the 80’s and early 90’s. The sampled chorus is a ton of fun, especially coupled with DJ scratches. The track itself feels a little throwaway, but builds toward a nice chant during the climax. Infinite H have delivered stronger material, but I appreciate how specific this sound is.

Hooks	7
Production	8
Longevity	8
Bias	9
RATING	8

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My Verdict:

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Fifth: EPEX – Go Big
Fourth: Wheein – No Thanks
Third: Twice – Tuk Tok
Second: Infinite H – Victorious Way

First: IN2IT – Cadillac

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Congratulations to IN2IT’s Cadillac – the twenty-fourth winner of my Battle of the B-sides!

Readers, what do you think? Did you discover any hidden gems? Leave your own ranking in the comments!

I feel like I’m always writing about Kis-My-Ft2 being my favorite J-pop group, yet rarely provided suitable evidence. The group’s b-side game is strong, and that’s one of the reasons their 250+ song discography has so much to offer. This got me thinking about all my very favorite J-pop tracks, many of which never get a mention on this blog. With that in mind, I’m going to start introducing some new “Legendary Songs,” J-pop style.

So far, almost all of my legendary songs have been title tracks or singles. But, the vast discographies of J-pop acts lend themselves to legendary b-sides, and Even Now, There Are Endless Dreams is certainly one for me. This English title is a Google translation, with the Romanization of the track being Ima wa Mada Toku hateshinai Yume mo. I’ve got it translated as “I’m Still Far Away From My Endless Dream” in my iTunes library, but I’m not sure where that originally came from. Either way, this is a track about passion and yearning – two emotions I always connect with.

The beauty in Endless Dreams comes from two factors. First, there’s that incredibly melody. The song kicks off with its chorus, though the full brunt of the instrumental waits until later to kick in. I adore (like… ADORE) this melody. I think it’s so gorgeous and expressive and powerful.

Sometimes it’s the details that turn a fantastic track into a legendary one. For me, it’s the little inflection – that tug – on the second line of each chorus. This small moment fuels the desperate yearning that drives the entire song. It’s such a spot-on melodic flourish, performed with passion and nuance.

The second driving force within Endless Dreams emerges from contrast. The song alternates between forceful, determined refrains and softer, more unguarded verses. The track never becomes boring, but this series of peaks and valleys gives it a sense of purpose and a scope of emotion.

You all know how much I love using the word “anthemic.” Endless Dreams‘ chugging instrumental and chant-along post-chorus are made for stadiums, where live performances of the track prove to be explosive and cathartic. I know most readers will first hear this song on their phone or laptop, but if you’re able to find heartier speakers and surround yourself with the music, you’ll feel the full brunt of the track. Most Johnny’s acts specialize in larger-than-life spectacle, and this definitely fits in that category. This is no more apparent than during Endless Dreams’ final chorus, with that percussion stomping in and out and those strings pulling us to pop nirvana.

More than anything, Even Now, There Are Endless Dreams elicits a gut reaction from me. I prize songs that are able to do that. I love nothing more than a big dance drack anchored by emotion. They’re surprisingly rare to find, but that combination of heart and grandiosity is what makes this a legendary song.

Hooks	10
Production	10
Longevity	10
Bias	10
RATING	10

Rather than release double title tracks, JYP Entertainment has been gifting its acts with a variety of music videos, blurring the line between singles and b-sides. In general, I think this is an exciting prospect, but I’m starting to wish the agency invested as much effort in making great music.

As I mentioned in my Buried Treasure post, I find ITZY’s newest album mostly forgettable. There’s a lot of chanting, a lot of tinny percussion and a lot of teen crush attitude. However, memorable melodies are in short supply. This is only emphasized by Swipe, a catchphrasey pop bop that feels more like an advertisement than a song.

Swipe’s herky-jerky beat shows potential, and provides a suitable backdrop for ITZY’s incessant sing-talk. They pull off this sound well, but it’s not an approach that does anything for me. The girls probably don’t mean for it to come off this way, and I know it’s not a reflection of their true personalities, but songs like this have a ‘mean girls’ vibe that’s really off-putting. I don’t think you have to empathize with pop music to enjoy it, but this boastful attitude coupled with the derivative instrumental makes it hard to find an entry point. Honestly, it’s an issue I’ve had with both girl and boy groups lately. Maybe it’s just me, but I’d rather hear genuine empowerment than material that comes across as hollow pandering.

It’s a shame, because there are flashes of potential buried within the track. As one-note as the hook is, I appreciate its head-nodding rhythm. The carnival-like synth in the background greatly contributes to the groove, adding an almost robotic pulse. And when ITZY fully engage with this beat, they’re able to harness that fierce energy that made them so exciting in the first place.

Hooks	7
Production	8
Longevity	7
Bias	6
RATING	7

After being delayed from a planned July release, SHINee’s Key has finally returned as a soloist with his Bad Love mini album. Judging from reports, he and SM Entertainment clashed on everything from concept to title track. I imagine a scenario where SM presented some dusty old NCT scrap and said: “this is what the kids are doing today.” Quite rightfully, Key insisted he follow his own path. He’s been vocal about this album representing the kind of music he enjoys, and I’m immensely proud of him for sticking to his guns. Key and I happen to share similar taste in pop music, but even if we didn’t, it’s so important for artists to release material they enjoy performing.

With this in mind, Bad Love is utterly victorious. If anyone was going to do justice to K-pop’s new retro trend, it’s Key. It’s as if he was simply biding his time, waiting for this style of synth-infused dance pop to make a resurgence.

After a scuzzy bit of electro distortion, Bad Love vaults into its undulous beat. This heavy synth groove powers most of the track, apart from the beautiful pre-choruses that opt for a nimbler rhythm. Every element comes together for the chorus, crafting a forceful arrangement powered by chanted backing vocals and exuberant samples. This results in a track that never lets up. Bad Love is intense from start to finish, and Key’s vocal follows suit.

On first listen, I was knocked flat by Key’s performance. We all know how talented each and every member of SHINee is, but when it comes to Key I picture fashion and attitude before bombastic power vocals. Yet, his delivery on Bad Love knocks it out of the park. He belts most lines and sounds totally comfortable doing so. His climactic ad-libs shoot the song to the stars, adding that uniquely K-pop flair that turns global musical trends into theatrical euphoria. And, he’s helped along by melodically rich songwriting. Bad Love’s chorus soars, but every segment of the song finds unexpected peaks that keep it from stalling. Key’s solo work has always been great, but this feels like his full potential unleashed.

Hooks	10
Production	9
Longevity	9
Bias	10
RATING	9.5

Despite debuted just over two years ago, AB6IX are already releasing their second full-length album. From its title Mo’ Complete, you get the sense the group is laying it all on the line, and that includes the first Lee Daehwi-composed title track since last year’s Salute. Cherry is the brightest, most cheerful single they’ve ever promoted, falling in line with 2021’s love of upbeat funk disco confections.

This style will always be a treat, and I love how Cherry’s instrumental remains exuberant all the way through. We’ve come to expect a certain ebb and flow in K-pop title tracks, where segments like the pre-chorus and second verse often lull in energy. Cherry is having none of this, and refuses to let the party stop. This is a total asset. I mean, who wants to stop dancing in the middle of a dance track? Frankly, I’d take a whole hour of this effusive rhythm guitar, bright synth and celebratory brass.

If Cherry disappoints in any way, its melody is the culprit. The song itself is engaging and exciting, but doesn’t quite find that knockout hook that would send it over the top. The “you’re my cherry on top” chant is used too often without modulation. It’s better-placed at the start of Woojin’s standout rap bridge. Meanwhile, the verses feel largely throwaway. It’s not until we hit the pre-chorus that Cherry starts to take shape. The melody here is breezy and fun and leads into a solid chorus. I feel like we’ve heard this refrain before, but its warmth pairs wonderfully with the splashy instrumental. And given its undeniable energy, I have a feeling Cherry’s going to age very well.

Hooks	8
Production	9
Longevity	9
Bias	9
RATING	8.75