Aespa (에스파) was formed in 2020 by SM Entertainment (home of Red Velvet, Girls Generation, and SHINee), and soon became one of the main faces of Kpop’s 4th generation, defined by bold performances and unique concepts. They have four members—leader Karina, rapper Giselle, vocalistWinter, and maknae NingNing—who represent three different countries.

Here are my credentials: I know a bit more about Aespa than I know about most other 4th and 5th generation girl groups. They had just debuted when I became a kpop fan and were among the first groups I became interested in after my introduction by Blackpink and Red Velvet. But I admit I lost interest later on as their music started to veer from my taste, and I thought that this review would be a good way to take a sharper look back at them. This is actually a redo of the first review I wrote on them over a year ago. Let’s get into it!

Single #1: Black Mamba

As mentioned, Aespa debuted around the same time that I became a serious kpop fan, and so, naturally, their first song Black Mamba was the thing that first drew me in. I still find it a bit hard to believe that this was five years ago (at time of writing). Looking back, I can completely see why I was so enthused. I’ve always been fond of grandness and a strong sense of drama in my music, and this song, as odd as it can be at times, never loses its sense of power. It’s got your classic kpop EDM base, as a lot of the so-called “girl crush” songs did around that time, but innovates on the formula with a sprawling chorus and an excellent payoff. Though I’m sure nostalgia’s clouding my judgement just a bit, I still really enjoy this song, and consider it among their best.

Single #2: Next Level

Before the sensations (and ensuing raised eyebrows) that were Billlie’s Gingamingayo and NMIXX’s O.O., there was Aespa’s Next Level, which divided opinion and bewildered audiences. The best thing I can say about it is that it certainly makes a…statement. Yep. Words are being said, for sure. Seriously, though, I know that this song is very heavy on concept lore, but concept lore means absolutely nothing if you use it to toss a bunch of buzzwords in a blender and walk away with the blade.

Next Level has genuinely good parts, mostly courtesy of Aespa’s stage precense, such as the 2nd Verse (I think?) right before the beat drop, and NingNing’s bridge, that I think could have worked if they were paired together in an overall stronger song. But as it stands, the track suffers where so many songs like this do: it’s just disorienting going back and forth so much, and it’s impossible to really describe or form an opinion on. I know rationally that that’s intentional, but understanding the intention doesn’t make me like it. Sorry, girls; time has not softened my thoughts.

EP #1: Savage

“Oh mY GoSh!!! DoN’T yOu KnOw IM a SaVaGe???” So begins Savage by Aespa, an ear worm of a song in perhaps one of the worst ways. I admit that I’m tough on this song—Savage was the thing that really had me distancing myself from Aespa, soon after discovering them—and it’s unfair to pretend like this is leagues worse than anything else I’ve listened to for the blog. But a song like this plays into practically all of my k-pop pet peeves: a great build up with a repetitive, empty chorus, nonsensical lyrics that don’t have the decency to even giggle at themselves, and an overall sound that simply expresses how great the performers think they are.

To the girls’ credit, they do their absolute best, and fully commit to it, but even they can only elevate material like this so much. I do really like that bridge, though; it’s anime worthy and just like Next Level’s, I wish it had a better song as its home.

When I wrote this review the first time, this EP was the only one I’d listened to all the way through, and it’s probably still the one I know best. So, from Savage, I enjoyed the incessantly catchy hook of Aenergy and the dozen vocal ad libs in I’ll Make You Cry. My hidden gem, though, like it was then, is Yeppi Yeppi, which, though it doesn’t have the strongest verses, has such a joyful, synthy chorus that I immediately started singing along once again.

EP #2: Girls

In terms of first impressions in songs, Girls’ is hard to beat. From the start, it not only embraces Black Mamba’s sense of style and grandness, but carries through with a chorus that’s much more full. Sure, it’s about how great they are, but the message feels more all-encompassing and empowering to people besides them, and the song feels appropriately big backing them up. At the very least, I certainly believe what they’re selling. I could do without the tempo change in the rap verses and the shoehorning in of lore, sure, but those are pretty small gripes, all things considered. I hope this marks a step in the right direction for them.

I know that Illusion is the favorite b-side from this EP, but truth be told, I just don’t get it. Or, rather, I don’t get how a song whose main hook involves a frankly gross slurping noise and starts with “you’re so yummy yummy yummy in my tummy tummy tummy” can be anything other than an unfunny joke. How the hell am I supposed to not laugh? I’m sorry, guys; please direct your angry commentary to my twitter account.

In terms of the other (in my opinon, far stronger) songs on Girls, I enjoyed the acoustic guitar driven, bubbly Life’s Too Short, and the light touch and lovely vocals in ICU (my hidden gem). I’m pleasantly surprised by the range of genres on the EP, and how well Aespa executes a gentler, lighter sound that’s so different to most of their titles.

Single #3: Welcome To My World

While I liked Girls because it felt very much like classic “Aespa”, I liked Welcome To My World almost for the opposite reason. Its spacey, minimalistic sound is something that Aespa haven’t tried before, but honestly, I thought it worked. The payoff is two-fold: the members get a chance to show off their excellent voices and prove their versatility, and in a more complicated way, a chance to expand their in-music universe. Its slow build is satisfying, and the spiraling strings melds fairly fluidly with the song’s thudding EDM base. I think it’s a great example of how to branch out your sound effectively while not sacrificing the genre that you began with.

EP #3: My World

Imagine my surprise when, a week or so after Welcome To My World, Aespa came out with Spicy, a peppy, Y2K-inspired, drenched-in-pink song that feels like a sharp left turn from the mature, restrained single before. While My World was a departure, it still felt like some kind of extension of their sound. But this is just like a completely different group, and such a 180 with no build up doesn’t work. It feels dishonest and like trend-chasing for a group that’s pretty consistently marketing themselves as outside the box. Look, Spicy isn’t a bad song, and I’m not trying to imply that it is. I enjoy Winter’s vocals in the main chorus and all the members in the post-chorus, for sure. But I never find myself returning to this song, unlike their others.

From the EP, My World, I enjoyed the vocals in Salty & Sweet and I’m Unhappy (though the songs themselves I’m less sure on). My hidden gem was the bright, hopeful ‘Til We Meet Again, perhaps the only b-side to feel like it’s on the same album as Welcome To My World.

EP #4: Drama

Remember how I said I liked drama (lowercase d) in my k-pop? Well, I asked and apparently Aespa delivered, because Drama (uppercase d) is up next. Going for a darker aesthetic than their singles have so far, but still retaining their girl crush image, you could never accuse Aespa of being anything less than completely committed to the concept. I’m not entirely a fan of how distorted and glitchy the verses are, but I think that that same idea really works in the chorus, which is undeniably the strongest part of the song. I still would prefer a non-anti-drop, but you can’t have it all. My feelings have definitely softened towards Drama since the first time I gave it a listen; I think it’s one of those songs that worms its way into your brain by sheer brute force. I also really like that bridge, courtesy of NingNing.

From the EP, also called Drama, I enjoyed the confident, slinky chorus of Don’t Blink, the choppy chiptune of both Hot Air Balloon and YOLO, and the lighthearted crooning of You (my hidden gem).

Side note: I’m curious as to why Hot Air Balloon, You, and YOLO weren’t put into an album with Spicy and Welcome To My World, which they share far more in common with than Drama. I understand the idea of showing variety, but Aespa often goes so far in that direction that their EPs end up feeling a bit incoherent, even when the songs themselves are all good separately.

Next time, we’re onto Part 2. Tschüss!