Of The Music: Ranking NCT's Top 20 Title Tracks - Pt.2 (#10 - #1)
My top 20 favorite singles across all NCT units, ranked and gushed over.
‘Of The Music’ is a segment on ‘Of The Moment’ where I talk about music releases that pique my interest every few months, offering context, thoughts, critique- and mostly gushing! Feel free to reach out to me if there is an album/single/discography you’d like me to check out and write about next (for anonymous messages, you can head on over to Retrospring). Don’t forget to subscribe in order to receive new posts in your email and support my work! If you wish to, you can subscribe to this segment separately. Thank you for being here.
There’s something about K-pop discographies that makes them so tempting to analyze. The common threads of parallel trajectories between groups in the industry? The timely consistency of comebacks? The expectation of conceptual reinvention? An anticipation of skill improvement from the idols? The- most of the time- expected production names associated with different soundscapes and the nuances of their work depending on aesthetics? Catnip to a nitpicky person like me. One that fairly recently- and unsurprisingly- found herself quite at home in arguably the most nitpicky fandom of them all.
NCT (standing for Neo Culture Technology), as I mentioned in another ‘Of The Music’ post earlier in February where I reviewed 127’s 2 Baddies among others, is the name for the over 20-member collective that embodies SM Entertainment’s ambitious, futuristic vision of a limitless idol group, where new faces steadily get introduced as the act keeps expanding globally. The plan NCT is most known for to the general public would be the idea of never running out of members, however, due to recent events, it needs to be stated that the characterization of “limitless” should here on out be disregarded in its literal definition, as the company’s co-CEOs have announced that the anticipated 2023 debut of new unit NCT Tokyo will conclude said expansion, with the agency shifting its focus to supporting the current members. Those, as implied, are already split into established subunits, each with its own unique conceptual direction and solid, standalone discography (NCT 127, NCT DREAM, WayV), often getting arranged into various combinations under a flexible-lineup, rotational unit (NCT U) depending on the needs of occasional projects and, once in a year or two, coming together to craft collective albums, showcasing the colors of all different teams and then some.
Given the sheer variety displayed in a discography which jumps across genres and moods, loves to mix and match inspirations from seemingly irrelevant sources and isn’t afraid to get a little wild and unpredictable when it feels like it, fans find themselves never running out of things to both agree on and argue about when it comes to NCT’s music, turning online spaces into roundtable discussion rooms every so often. So, as I’ve unapologetically fallen back into full fandom mode in my own definition (never underestimate how healing that can be) I took some inspiration and decided to rank my top 20 title tracks (singles) across all NCT units in this, admittedly, very self-indulgent post. Disclaimer though: “Ranking” is to be taken with a grain of salt, in the sense that different songs serve different purposes, therefore placements are mostly symbolic and aim to paint a representative picture of the way I personally look at the group’s discography, as well as what I deem worthy of sharing with you. That said, I hope the newbies get to discover some music they like and the fans enjoy this enough as not to attack me over my choices if they don’t *cough cough* resonate (seriously though- come at me, I will fight).
You can check out pt.1 (#20 - #11) here.
Let’s get into the top 10!
#10 NCT U – Baby Don’t Stop (2018)
The third and highest-ranking EMPATHY entry in this top 20 comes from the smallest unit on the roster, “NCT U” simply standing for members TAEYONG and TEN: one rapper, one singer, two main dancers and all-around performers blessed with disarming charm and charisma. Perhaps Baby Don’t Stop wouldn’t have worked as well with anything more than a duo, and that’s to emphasize just how key the give-and-take is to this song; the members exchange lines back and forth like dialogue, harmonies, adlibs and unisons overlapping as choreography switches between synchronized and interactive sequences, all throughout which it becomes easy for a listener to distinguish the particular vocal tone of each performer at a time- the analogy to angel and devil that many would think of when talking about the track in that regard is certainly justified, along with likening the two colors to the components of bass and melody. Entirely based on a single, catchy, distorted bass loop (very much reminiscent of the foundation of Usher’s Good Kisser- also a good reference point for the whole track) and far from the polished, high-concept, maximal ear candy aesthetics NCT is mostly associated with nowadays, Baby Don’t Stop is a masterclass in effective hooks, the lack of instrumental embellishments urging melodic ideas to constantly reinvent themselves within the song, the voice being its driving force. As it makes sense, one word lies at the very core of most structural and sonic choices here, and that is sensuality. From TEN’s “cool” adlib mixed extremely close to the ear and the addition of finger snaps to the chorus, to the considerable amount of multi-layered whispering, purposely left-in exhales in TAEYONG’s first rap verse and him- expanding on one of its elements (“stay clay sketch dirt dough”)- laying out a series of words in the song’s bridge, calculated to act like film stills evoking those seductive moments and details in an interaction with a love interest, Baby Don’t Stop pulsates with a borderline ASMR physicality; sounds targeting the senses which render the performance all the more enticing. Another highlight to be noted is that excellent melodic phrasing in the introductory vocal verse, the art of mixing Korean and English in one of my personal favorite executions.
#9 NCT 127 – Kick It (2020)
It’s finally time to get into NCT 127 quintessentials and there is no better place to start than a career landmark and arguably the group’s most influential release to date. Anyone with an eye on the K-pop scene, even if unfamiliar with the NCT brand, could recognize an aspect of the title track to the central unit’s second full-length album, Neo Zone, after March 2020, whether it be its viral choreography, “Let me introduce you to some new things” catchphrase, or strong visual identity. Kick It (Korean: 영웅; Hanja: 英雄; lit. Hero) had the 9 members of NCT 127 transforming into action movie protagonists with its heavy martial arts film influence across themes, music videos, styling, and- immaculate- choreography; a Wu-Tang Clan-inspired concept (according to contributor Ryan S. Jhun), perhaps a little too generous with the lyrical references to its source material- you could definitely make a drinking game out of the amount of times Bruce Lee is namedropped throughout the track, alongside mentions of Jeet Kune Do and his film Enter The Dragon (1973).
The song is built on the infamous, introductory “puku-puku paw-paw” loop conceived by none other than American producer Dem Jointz (Janet Jackson, Kanye West, Rihanna) on his second career-defining contribution to NCT 127’s discography and sound curation journey, providing one of the two main elements of catchiness that intersperse the track, along with a signature 127 “nanana” motif- heard clearly during the breakdown-, both cleverly interacting with each other to cement stickiness among a piece that mostly operates on show-stealing, unison chanting and delicate, short-lived melodies during its RnB sections. Kick It, of course, couldn’t be missing the marching drums accompanied by anthemic, consonant adlibs in its pre-chorus, or what sounds like martial artist shout samples during its chaotic dance break, ushered in by the song’s apex with member TAEIL’s “After the darkness, I’m born again” resulting in an epic pitch-bend high note, in a sequence complete with a final chorus clad in elevating, higher harmonies. A personal favorite detail here would be the way subtle lyrical changes and structural quirks are used to render choruses more impactful, keeping up the energy despite the track’s choice to kick off on its hook; from the English attention-grabbers of the first half of the intro, to their Korean replacements during the second chorus, holding onto that same first line before the third chorus cuts off into the bridge, and dropping “shimmy shimmy shimmy” back into the finale, only for it to rewind-transition into the Korean counterpart again in an unexpected production decision. Delicious.
#8 WayV – Love Talk (2019)
Before everything, I need you to look up the Mandarin lyrics to this song. Did that? Now put on the English version. Exactly. For turning a line about “recording things so they’ll never be forgotten” into “I just want you to make it clap”, the latter takes the cake (literally, or metaphorically), undoubtedly my Love Talk of choice and the one I’m talking about here. There isn’t very much an immaculately produced RnB club banger needs to fulfil its humble purpose, and in that regard, romance and poetry certainly become superfluous. The straightforwardness of “I just want you to come on over where I’m staying”, however? Required. Released as a single following the inclusion of its Chinese version on WayV’s second mini album Take Over The Moon (2019), Love Talk – English Version remains the group’s biggest hit to date, by successfully tapping into an aspect of their concept oftentimes obscured by the larger-than-life musicality- and partial inaccessibility- of most of their title tracks. There are two sides to the action figure coin, and just as the dramatic, elaborate, cinematic moments of WayV help paint the unit’s picture, so do the sonically and thematically stripped back, borderline sleazy ones, where coolness and rizz are emphasized to the max. Sometimes you simply need to do one thing, and do it flawlessly. Love Talk achieves exactly that, leaning into a nostalgic ‘90s boyband sound of get-down bass and clean chords, complete with alluring, shiny falsettos and harmonies where the members’ vocal colors move between ethereal and commercial, and the fun addition of a shattering glass sample akin to that of Michael Jackson’s 1991 Jam or In the Closet, a little campy and kitschy, perhaps inadvertently alluding to something old-school (I personally also like to think of it as a detail that ties in with the idea of resonance- see #11- teased prior to the concept’s realization). This song is very high on my list, yes; I can never get enough of it. Love Talk is one of the most accessible, global-wired and replayable tracks in the entirety of NCT’s discography, one a DJ could sneak into any club mix without anyone being able to tell it belongs to a C-pop boyband. It’s dirty, it’s polished, it never loses its groove, tension or charm. Importantly, its existence and status also justifies the choice of Regular as WayV’s debut single, as well as all the Bad Alives and Action Figures that ended up gracing the unit’s catalog after it (fan of both).
#7 NCT DREAM – Hello Future (2021)
In pt.1 we talked about Candy and also about GO, so what do you actually think of when bringing NCT DREAM to mind? For many, the answer would be Hello Future, the single to the unit’s first album repackage that perfectly captures the DREAM essence by leading with core hopefulness and optimism as its literal, central theme, yet containing all the nuances of the group’s past experimentations and history towards maturing and diversifying their catalog. Those very combinations constitute what shaped Hello Future into an ode to the magical effects of modal mixture (the harmonic technique of mixing the notes from the parallel major and natural-minor modes), by turning the darker-toned, initial track idea into a more uplifting and colorful counterpart that still doesn’t lose its grit or slight tinge of unease- in a way, an expansion on the musical subtext of We Go Up (see #20), also lyrically referenced here. When beginning to craft what can arguably be considered NCT DREAM’s magnum opus today, Swedish production duo Moonshine knew they wanted to create something great, anthemic and Star Wars movie-like, inserting that signature- very NCT- wobbly synth as the song’s driving foundation, and sonically setting up the sci-fi realm which inspired songwriter Adrian McKinnon’s peace and unity-themed lyrics- you might remember the pair from their collaboration on 2020’s Turn Back Time (see #14). However, Hello Future has SM Ent.’s in-house songwriter and producer Kenzie to thank for its majestic chorus, and the concept of a first phrase going up in a major and a second one coming down in a minor; not exactly unison-sounding but certainly adhering to a hopeful choral feel through its fullness and inventive stacked harmonies. Other highlights include the incredibly precise head to chest voice intervals in the verses, member RENJUN’s sensitive vibrato showcased during the bridge’s quietest part, as well as the sharp rap phrasing and clever use of silence moments after, ushering in the grand final chorus which itself concludes on a gorgeously adlibbed outro. Hello Future, in its multi-dimensional glory, paints its vibrant picture of overcoming adversity without sacrificing ground for clouds, yet utilizing the fantastical element to infuse dream into a life that is in dire need of it.
#6 NCT 127 – LIMITLESS (2017)
On January 5 2017, NCT 127 showcased their latest single on M!Countdown among four of their boy group peers'1 who all shared a proximity to the energetic, upbeat, glossy and charismatic EDM-infused pop performances adhering to the popular wave in K-pop at the time. LIMITLESS stuck out from the bunch like a sore thumb then, and continues to claim a particularly unique spot among 127 title tracks today, its sturdy foundation operating not simply at ground-level but under, and conceptual execution more independent in its grainy edge than anything else the group has ever put out. There is a certain importance to a first comeback that can make or break a K-pop act; we chronically see groups going from 100 to 0 in just the span of a few months, depending on decisions to either maintain the characteristic quality of a debut or shoot for different stars. From the mainframe, minimal, rap-focused EDM of 2016’s mischievous, punchy, new-kid-in-town debut of Fire Truck, LIMITLESS carries over a trademark deep, slippery bass into explosive, intricate melody, drawing its inspiration from hip-hop’s early commercial days of perfecting the art of balancing pop accessibility with a gritty, hardcore base in a largely unprocessed approach, combining harmonic string arrangements as airy and lyrical as they come with threatening percussion, Hadean vocal fries and the occasional eerie emptiness. This, of course, is hip-hop embellished with classic boyband vocals- it wouldn’t be a claim too far to assume SM Ent. was looking to recreate TVXQ!’s Keep Your Head Down in a more somber, less theatrical manner- that offer the aggressive sound the catchiness and familiarity demanded to successfully climb a music chart.
The theme is kept within the blurry lines of romance and fan-address- as per common K-pop practice-, a declaration of a transcendental love akin to light taking over the darkness, where NCT 127 and their significant other through their connection become limitless “like finding a big ocean at the end of a desert” (most definitely a reference to concept introduction film “The origin”), lyrics courtesy of- previously mentioned- Kenzie. That apocalyptic tone seems to have mostly influenced one of the song’s three official music videos, literally named “Rough Ver.” likely due to its low quality handycam filming, which features the members lounging about in a warehouse, engaging in contrived, vaguely delinquent behavior that almost comes off as endearing, save for the appropriative styling (once again, the trenches that adopting hip-hop “aesthetics” without a regard for cultural significance can land you in ask to be underlined). The importance to this mention comes from the video’s inability to capture the track’s space (which the Japanese music video does a much better job at), the inherent grandiosity and glorious range that shapes it into an overwhelming sonic experience, focusing on the small aspect of conceptual “toughness” instead of highlighting the musical craftsmanship already at the hands of a rookie group that was about to launch the next big trend on the scene. But hey, maybe the unawareness is kind of the charm.
#5 NCT 127 – Cherry Bomb (2017)
Fresh off a remarkable 2016 credit on ScHoolboy Q’s dark outlier Blank Face LP (Groovy Tony / Eddie Kane), Dem Jointz carried some of the coldblooded spirit of those ominous sirens and 808s over to a collaboration that was going to mark the start of a fruitful partnership over the years to come. Cherry Bomb- or the first time the now widely recognizable “and now, the breakdown” tag graced the scene- can perhaps be considered as the 127 single whose code is the toughest to crack. Left of center but direct, monotone but sticky, sinister but buoyant, the braggadocious track makes its ambition known in every possible way; complex, syncopated bass, industrial clatter, sharp, punchy raps, a nonchalant yet stupidly catchy chorus that keeps disguising itself as a mere transition, and the incorporation of multiple little hooks and motifs to keep both toned down, spoken word sections and belted melody lines bound together. Let it be clear though: we are hands down talking about the performance version. The sole difference here is a dance break, separating one of member MARK’s best verses from the next chorus, which wouldn’t be of much significance if it didn’t provide Cherry Bomb with exactly the third dimension the song needs to establish its conviction on what it wants to be and get its full message across instrumentally. The heavy drop acts like the explosion itself, building on the production’s villainous essence, and parallel to emphasizing how much of a “stage” affair Cherry Bomb is, makes room for arguably the most absurdly cool choreography of the unit’s to be expanded upon, the moment member JAEHYUN stomps his foot to the ground in the center, an outright statement of determination mirroring the beat’s unapologetic way of making its presence known. Just like the choreography’s highlighting of different rhythmic accents throughout the track, Cherry Bomb doesn’t easily commit to repetitive structural elements; where the second verse’s vocal couplet enters quietly- member DOYOUNG literally shushing the crowd-, the bridge’s opening soars as high as it can go over layered harmonies and prominent chords, before clearing out to offer MARK the spotlight. Classic, well-timed use of silence and panning enhances the listening experience away from the stage, most notably around the final minute where the song moves through its last chorus to a chanty outro- another 127 “nanana” entering the chat here- of a hard groove that up until that point was the only puzzle piece missing to conclude one of the group’s most trademark releases to date; one that successfully encompasses everything the fans keep coming back for.
#4 NCT 127 – Chain (2018)
The thing about K-pop as an industry which extends to its modus operandi’s products that could also be meant for any other destination is that, within its highly competitive environment, it seeks to constantly reinvent nuance, while simultaneously unable to escape the margins of pop consensus. Whereas for some, the sticking to typical pop tricks and outlines even in cases such as the industrial chaos of Chain could read as experimental potential not getting fully realized, for others it’s what makes sounds otherwise unfriendly to the ears, digestible and legitimized. You might recognize 250’s name from the credits to NewJeans’ laidback brand of Y2K-infused, girly RnB pop that has recently taken the world by storm. The title track to NCT 127’s debut Japanese EP, however, is not exactly an easy deal. Built on rattling percussion, clashing metal true to its name, pitched chainsaw sound samples and what seems to be a short manipulated vocal whining and panning all throughout, Chain is the NCT single that comes closest to the label of “noise” or “construction” music relentlessly thrown at the group, sometimes even aimed at their most harmonically rich work (see #16 for a tiny bit more context on “NCT noise”- I do understand why Simon Says checks a high level of emotional significance for a lot of fans, as a declaration of staying true to the unit’s identity, thus picking up again from Chain, after endeavors such as TOUCH and Regular). And the only reason this song is not higher on this list is that the ground isn’t trembling with bass when it comes on like it practically should.
Despite holding back when it comes to physically shaking up the world, Chain paints its text to the max; literal drill samples where the members sing “Drill drill / That obstacle of a wall, let's break it down”, onomatopoeia corresponding to something purposeful where it’s used, highlighting the series of same notes which renders that post-chorus so deliciously propulsive, exactly like a “chain reaction”. That and the bridge here make up two of my absolute favorite moments in the entirety of NCT’s discography; a bridge which proves that, with the rest of the track’s harmony kept calculatedly minimal- at various points, the only hint of it comes from members’ chopped, isolated, stacked vocals, acapella style- the melody is indeed “effective” where it is inserted, soundscape changing almost completely- although not in stark contrast since a clue to the turn of events was given just a chorus ago, in a pre-chorus arrangement featuring gentle chords instead of hard-hitting percussion like its first time- to build up from a synthy break into anthemic, choral-sounding even though it is only member WINWIN at the mic, and handclap-feel drum-driven accompaniment to member TAEIL’s way towards a harmonized triple high note, then the drop into a chorus more amped up than ever, launching into another glorious post-chorus, complete with the outro the song deserves. This is where, along with “Make a wish”, the concept of resonance actually saw one of its first mentions (“The hearts resonating in symphony are a medium”), and that epicness and ambition to the lyrics speaks to the kind of fantastical universality that lets you see the emotive side to NCT 127 once you let space for it into your heart- “From Seoul, to the world”.
#3 NCT 127 – Superhuman (2019)
The “T” in NCT shines in Superhuman more than it ever has. My guess, possibly what sets the end result apart from its counterpart in the unrealized scenario of the song having not gone to 127 instead of the other SM Ent. group it was originally meant for, as the master behind its renowned harmonies, Adrian McKinnon revealed. Many, myself included, read Superhuman’s aura as hinting towards SHINee, one of the company’s most successful and long-lasting acts that, having debuted in 2008, earned the title of “Princes of K-pop” by experimenting with a variety of styles and genres, while holding onto the sophisticated, pop-oriented quality characteristic of their recognizable soundscapes, throughout their career. SHINee’s signature electronic and synth-heavy endeavors exist somewhere at the heart of Superhuman, although taking on a new edge tailored to NCT, or turning “neo-fied” as fans would describe. Right off the bat, chopped up synths suggest the ‘80s influence associated with the senior group, whose musical direction has oftentimes been compared to the likes of Michael Jackson and Lionel Richie, which also permeates the song in ways not that evident; McKinnon also cites Chaka Khan’s rendition of I Feel for You (1984) as the inspiration behind the iconic “If you wanna feel it say yeah” catchphrase that came about absentmindedly, part of it eventually utilized for the, as later proven, infinitely quotable acapella intro. Familiar hints of funky guitar and arbitrary piano touches are juxtaposed here, with heavy, dubstep-adjacent transitions and warped bass, leading into glitchy electronic and RnB halftime sections alike (that second verse is a masterclass in its kind, particularly as it transitions back to the mainframe by teasing the disco four-on-the-floor beat after the halftime, to then explode into the beautifully layered pre-chorus again), that, however- and in sort of a magical fashion-, are never isolated from the rest of the track.
This is Superhuman’s way of living up to its title; inserting the human into technology and the other way around. It’s music with a motivational message and emotional core done NCT 127 flagship-style, touching heartfelt territory while holding onto an otherworldly edge, by taking the slightest detour sound-wise; a chance encounter that would open up a portal for the unit to discover some untapped potential in regards to a more vocal approach to their singles, as well as the outcome of embracing unapologetic pop sensibilities on their own terms. The part of the track that earns the crown is hands down its last minute and a half, with the ambient slowing-down into the bridge, array of different time signatures and drum transitions into the final chorus, which embellishes its previously heard self with the introduction of a brand new chiptune synth motif in its outro. Superhuman boasts one of 127’s most accessible moments while announcing itself in their eccentric discography with zero hesitation; a flawlessly crafted, technicolor, futuristic electropop story, laced with flamboyant flair and simultaneously pulsating with deep, unbeatable groove holding all of its chapters together.
#2 NCT 127 – Punch (2020)
Intro of all intros, the uncontained chiptune synth marking the grand entrance of Punch would’ve done a casual listener no favors in May 2020. The title track to NCT 127’s second album repackage, Neo Zone: The Final Round, concludes the combative adventure fronted by Kick It with an exceptionally futuristic twist, boasting main production credits by Dem Jointz, assisted by plenty of previously mentioned names here, such as Kenzie, KC and Alawn (see #17)- in a way, speaking to the magic of songwriting camps, as the latter puts it. If a single word could provide the best descriptor for this song as an experience, that would be space. In order to live up to its name and do it with as much impact as possible, Punch has to set up the perfect stage for its strikes. The track calculates its quiet moments to cultivate tension and suspense, first verse going off on crescendo-ing whisper-raps and second opting for gentle, melodic spoken word lines. Even then, whereas one would expect that chorus to go straight for the jugular- as would make sense based on other indicators among the group’s catalog, or even the intro here-, it insists on commanding attention via a borderline lethargic quality. This is the trance-like effect of Punch, another reality imagined, painted and made accessible by sonic transformation, a thought process akin to videogame building and soundtracking.
A fighting game, at that. The phrasing of the unison “team anthem” introductory verse is sharp, clean, provocative and determined, no gaps or doubts in its path, underlined by eerie, reverbed howling and interspersed vocal samples. The opening synth, a little muted, supports the entirety of the track, as verses fill up with panning echoes and- in some cases almost inaudible- doubling to the members’ words. From whispering, to falsettos, to short belts, harmonies are scattered throughout the vocal parts almost in an arbitrary fashion, as well as trappy drums against lush piano motifs, with even distant, epic gong and sword slice effects gracing the soundscape. Could the chorus be anything other than a larger-than-life battle chant then? The answer is no, yet the nine members’ choral “Ayy, we ballin’ / We fight together” doesn’t throw the listener off from the established realm, acting more as a climax to the skeleton by soaring with big chords, courtesy of Alawn, and well-placed interjections playing between solo and team- leader and crew. An unannounced bridge makes its appearance, after the second chorus, stripped of chords, abruptly cuts off at around 1/4 of its length as if the song changes its mind; a recurrent trick found in NCT and other SM Ent. artists’ archives of “a twist after a glitch” in member TAEYONG’s words, which he also describes as “so Kenzie”- talking about the unit’s latest repackage single Ay-Yo, believed by many fans to be slightly reminiscent of Punch. A moment of live electric guitar becomes the track’s cherry on top, where the bridge thrives on its jazzy chords and main vocalist sequence. Punch’s real hit, however, comes up next; a bombastic, military band-style dance break, layered with marching drums, triumphant trumpet, wobble bass and thrumming sirens, showdown finally fully realized and epilogued by a smooth transition into an amped up final chorus that proves its function as the portal between the song’s different dimensions, its melody lines there more euphoric than ever. “Styles” really do “make a fight”, and with a single that exists on a plane entirely its own, the battle was definitely won by 127.
#1 NCT U – The 7th Sense (2016)
On January 1, 2023 SM Ent. held its online live concert “SMTOWN LIVE 2023: SMCU PALACE @ KWANGYA”, where the reunion of the very first NCT unit to be officially formed took place, with members TAEYONG, TEN, DOYOUNG, JAEHYUN and MARK performing the collective’s debut song for the first time in years. The 7th sense saw the light of day in April, 2016, yet for an unfamiliar viewer, its sound wouldn’t feel jarring in the slightest when placed among a series of 2022 releases. Taking a largely innovative direction for the K-pop scene at the time- especially in terms of promotional singles, moreso when the subject in question is a newly debuted group looking to make a name for themselves in the industry2- but likely to have gotten overshadowed had it attempted to make rounds in the U.S in a similar fashion, The 7th sense adheres to the specific brand of dark, smokey, processed alternative hip-hop and RnB popularized in the West circa 2014-15 by the likes of A$AP Rocky, PARTYNEXTDOOR and Jeremih, down to the centering of melodic rap directly associated with Drake and Bryson Tiller.
N-City’s opening act sculpts its universe; With all arrows pointing towards explicit referencing of NCT’s concept introduction film “The origin”, the song’s instrumental progresses by slowly revealing its hints of lore in a manner that laces it with an almost programmatic quality. The stark sound of knocking, a door opening, delicate chimes, tick-tocks where member JAEHYUN mentions a clock, white noise that resembles distant ocean waves or even desert wind, hourglass sand, whistles both from a human mouth and a literal object, an unsettling yawn during TAEYONG’s “I have been awakened from a long sleep”. The 7th sense offers its secrets up to be discovered, much like the “hidden story” it wishes to communicate, one that the five members, projected onto one individual speaking in first person, have uncovered and are now urging the listener to. This is what the ostinato of “Open your eyes” refers to, the potential realization of a sense of feeling and understanding each other's dreams through music, the essential core of NCT’s concept which drives the connection between the numerous members and fans alike. The lyrical framing of this discovery as an oasis to “this cold world”’s “darkness” and “hatred” validates the opinions analogizing the song’s descriptions to the lonely headspace of depression, perhaps crystalized by DOYOUNG’s “I'm not alone” adlib right as the track starts fading out.
Verse and chorus blend together, flows effortless and effective in driving things forward, vocals sometimes clear and at the front, others slightly manipulated, doubled or echoed, and faraway. The craft here, can be defined by the act of simply putting one piece next to another, a process which works out without much poking and prodding, and maybe that is why there isn’t much to say about The 7th sense’s tangible aspects. What stands out is its haunting, emotional edge; the very aura filling the screen during that reunion performance and lighting up that mental space where the story can be felt like another presence in the room.
Thanks for tuning in to pt.2 of this ranking! I’m so glad to have you here and I hope this was an enjoyable read. Once again, you can check out pt.1 here.
Listen to all 20 songs ranked on Spotify, here:
You could also try my “NEO” playlist which will take you on a journey through NCT's discography and the SMCU, featuring influences, references, samples, associations and soundscapes adjacent to NCT’s, here (contains songs that I mentioned as confirmed or speculated inspirations/points of reference throughout the post among many others):
Some of my other NCT-inspired playlists you might enjoy:
neo seoul nights (dj johnny's neo seoul club official set, this is 100% confirmed by him // inspired by visuals for nct 127's '2 baddies')
CHILD (soundscape and themes adjacent to mark’s 2022 solo song, ‘child’)
GENERATION 404 (stuck between an alternate reality and your backyard; glitchcore/dnb vs (mostly) 2010s indie (+ more) — playlist inspired by nct dream’s 'glitch mode')
7th sense (dark, smokey alternative rap and r&b from around 2014/2015 that i believe inspired nct u's debut with 'the 7th sense' in 2016 or matches that soundscape)
sugar pop (playlist inspired by nct dream’s 'beatbox')
Check out NCT’s latest release, NCT DREAM’s Best Friend Ever, here.
Comments are always appreciated! Feel free to reach out to me in any way you prefer. I would love to hear from you!
Have a wonderful week!
Beatwin - Rising Sun
Pentagon - Can You Feel It
Seventeen - Boom Boom
Up10tion - White Night
A hypothesis, however, to perhaps be taken with a grain of salt if we’re looking to be completely fair, since debuting groups from big, established companies like SM Ent. tend to be eligible for an option sometimes unavailable to their peers operating on a smaller budget, to take conceptual risks for the sake of differentiating themselves and gathering attention without the looming possibility of tangible damage to their future career plans.