10) "Just Go" - RaNia
RaNia isn't really a group that sticks in my memory when I think of my favorite K-Pop groups—and for that I'm not really entirely sure why. Their ample time in the controversial spotlight aside, this group is as powerful of a vocal group as one could ask for in K-Pop. Resembling something like a 90s dirty Euro dance pop track, this is easily one of the most naturally listenable releases that have come out this year.
9) "Domino" - 4Minute
Usually title tracks are the strongest songs on any given release (as can be seen by the many on this list), but this diddy from 4Minute's mini-album release 'Name is 4Minute' blew "What's Your Name" out of the water. Especially considering that 2Yoon dabbled, and subsequently failed, in the folk-ish genre a few months prior, this upbeat, progressive electro-folk tune is truly one of the hidden gems of the year.
8) "Somebody" - 15&
I have not been impressed whatsoever with 15&'s releases to date, and labelled them a failure of a group. Luckily JYP's persistence on getting the best out of this group eventually paid off with the soulful straightahead tune. Laced with confident high-note belting and attractively synchronous duet harmonizations, their above-and-beyond effort to take what otherwise would have been a non-descript song and change it to one of the more surprisingly solid releases this year. Also, we are again reminded why these two girls scored at the top of their year of K-Pop Star. JYP finally got it right.
7) "Give It To Me" - SISTAR
I really don't care for SISTAR's music in general, but I happen to like this tune. Overshadowing their recent mediocre album attempt like a hawk over its prey, this song took all the best elements of SISTAR's and meshed them to what is confident, sexy, infinitely-listenable chart-topper. While all credit of the artistry and replay value song should be given to the artistry and image of Hyorin (and Hyorin alone), Soyu deserves credit for finally having a noticeable presence for once.
6) "Get Up" - EvoL
Why EvoL doesn't get more love, I don't know. Arguably one of the talented overall groups in K-Pop based on talent, not one of their songs (albeit from their short repertoire) have failed to impress me thus far. Arguably containing the strongest female rapping effort in mainstream K-Pop this year by Jucy, this somewhat short, and perhaps incomplete on a sense, Arabic-folk-inspired "Get Up" is a perfect anthem to EvoL's uniqueness in K-Pop. This would have arguably been the strongest hip-hop-based releases of 2013 had the next song not been released.
5) "The Baddest Female" - CL
I'm still debating on whether I like this song or not. This song isn't exactly an inspiring tune as far as vocals or creativity goes, and I was honestly bored by the repetitive nature of the first three minutes of the song. However, when the most convincing dubstep loop dropped towards the end, I instantly had a newfound appreciation for the impeccably strong minimalistic hip-hop production effort of this piece. While this song is obviously not everyone's cup of tea (and perhaps it relies too much on the success and elements of previous efforts by other YG Entertainment artists), I still can't deny the monstrousness of this release. But like I said, I'm still debating.
4) "Amor Mio" - Lee Hyori
The only reason there isn't more Lee Hyori songs on this list is due to the fact that I limited to picking one song per artist to prevent from showing favoritism and to give this blog variety. While I could have easily picked other songs on Hyori's album 'Monochrome'—"Miss Korea", "Bad Girls", "Show Show Show", or even "Trust Me" off the top of my head—I have a soft spot in my heart for this release. A slow, piano-based ballad, Hyori pairs beautifully with the vocally impressive Park Jiyong, creating perhaps the song with the most feels that have been felt this year in K-Pop.
3) "It's Over" - Lee Hi
While I don't necessarily this Lee Hi is quite the bee's knees that she's made out to be, I usually am not obsessed with a song as much as I was with this one. While Lee Hi isn't the most naturally talented singer in K-Pop, her confidence and comfort in working with what she's given lends an irresistable amount of confidence in this heavy swinging, high replay track. Should Adele sing Motown and be Korea, this would probably be what we'd be given.
2) "Darling of All Hearts" - Sunny Hill
I'm rating this song this high due mostly to my interpretation of this song being about psychotic, socially-tired-yet-still-needing-to-be-accepted, love-craved women. Should this stand, I think this is one of the more ingenious efforts put out in K-Pop. But even if that isn't true, this surprisingly as-authentic-as-K-Pop-could-possibly-get-with-folk effort is just a great track to listen to. What I equate to the equivalent of a musical theater's big number, the artistry effort of Sunny Hill is through the roof here. Why this group isn't bigger is beyond me. But without question this is one of my favorite releases this year (and I'm glad it came out before I made the list).
1) "I Got a Boy" - Girls' Generation
I'll probably go down as the most visible SNSD apologist ever—and no, please let me reiterate that I'm not a stark raving mad SONIE that I've been accused of being multiple times—but whatever. I am still convinced that this is the strongest release this year in K-Pop, and perhaps one of the best contemporary mainstream K-Pop songs ever released (notice the damn italics, some of which were suspiciously edited out in my original review of this song on another site). Regardless if you love or hate this song, love or hate the group, or you like ponies, unicorns, or Nutella, you can't deny the impact this song has had on the K-Pop since its release. I personally find the constant section cutting enjoyable to listen to: it's a refreshing break from the oft bore-ridden blobs of musical space that occupies most K-Pop songs. And unlike most of its imitators of this style of production, this song actually brings these choppy elements together create a sense of cohesion at the end of the track. The resulting ever-listenable layered finale effect is one of the more creative ways I've heard to end a K-Pop song. Flame me if you must, but I full-heartedly believe this song deserves this spot, no questions asked.
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