Every Red Velvet song ranked in order of greatness

There’s nothing wrong with a classic ballad, especially when delivered by the heavenly voices of Red Velvet. They nail the purpose of this song, but you need to be in a specific mood (read: heartbroken, sad and probably faithless) to properly enjoy it.

Despite some great rap verses, there’s not much else happening in this track, which leaves us feeling like Red Velvet’s talents were underutilised.

On a mini-album full of stirring slow jams like ‘The Velvet’, ‘First Time’ could use a pinch of sugar. Maybe on their second time?

“The fun festival is over”, yes, and this track shows.

If you ever have insomnia, maybe try this one to lull you into sweet dreams (of cake, probably).

It’s a song. Made out of the scraps of ‘Ice Cream Cake’ and George Gershwin’s ‘Rhapsody in Blue’, but still a song.

To accompany ‘Birthday’, you get its bland cousin, ‘Celebrate’. Perfect for taking a nap.

A stunning ballad that works in the context of ‘The Perfect Red Velvet’, but when we think about the essence of Red Velvet, it’s hardly a track that comes to mind.

Red Velvet sound lovely as always, but this track bids sayonara to standing out on its own.

‘Wish Tree’ will definitely make your Christmas more whimsical, as the vocal line sounds more crystalline than snowflakes, but there’s a reason why this kind of song is called “seasonal”.

In an album filled with the cream of the crop like ‘Chill Kill’, this lullaby falls flat, and then disappears in the background.

“I want to be the only one who has you / Even when I break you / Make you mad and push you with my bad temper / I’m so cautious in case you disappear,” go the lyrics to this impossibly sweet and vulnerable track, in which a lover is compared to a candy who might melt away too soon.

If ‘Last Love’ was a mood for sad days, ‘Rose Scent Breeze’ is the soundtrack to rock-bottom despair, when your only thoughts are rose-scented, faded memories [cue electric guitar bridge for emotional effects].

The longing melancholy behind the verses of ‘Time To Love’ is compelling, but the atmosphere is not enough to mystify us further, especially in an album full of highlights like ‘The Perfect Red Velvet’.

‘Take It Slow’ takes it maybe too slow to be placed higher on this list. It’s perfect background music though, and your local coffee shop will be 10 times more inviting if they play this.

Although the videogame-y instrumental is filled with interesting moments, ‘Parade’ culminates in a scattered, end-of-party feeling that doesn’t welcome a repetition.

Red Velvet have made better songs about butterflies before, even though Wendy’s high note on this one is *chef’s kiss*.

Some songs are made for you to pretend that you’re the clumsy-but-adorable main character in a TV K-drama. Your love interest? A bookish, unbothered being who can’t help but be enamoured with your awkwardness since day one. Can you hear the wedding bells already?

Slightly more upbeat than their usual ‘velvet’ fare, but not lively enough to be considered a ‘red’ cut, ‘Talk To Me’ sits in a confusing intersection. Trendy “heys” in the background contrast with classical piano keys, lending it an ambitious edge, but Red Velvet have baked better batches.

Keeping the retro sounds of ‘The ReVe Festival: Day 2’ in check, ‘Jumpin’’ is one groovy jam, but it will hardly inspire anyone to do more than a few sways around.

You know true queens when they come forward with statements that matter: “Love is red? Love is blue? / Love is yellow or green? / You know, right? My dear / There is no right or wrong colour for love / Each of them is different.” Preach.

Oh, the boost of energy that comes with falling in love. Suddenly, all the dreaded, mundane tasks are so easy to do. Who knew that even waking up early could be fun? For all the lonely hearts out there, this ‘SM Station’ release documents that magic process in nifty detail.

You can’t always bake the perfect cake, right? Despite the efforts, sometimes you’ll open the oven too early, or forget the baking powder, and the final result will be a little flat. Still tasty, but not a favourite pick.

The essence of Red Velvet is experimentation, and ‘Attaboy’ gets a few points for that. The “ay-ay-ay-ahs” in the chorus will definitely worm their way into your mind, so be careful.

It’s dizzy, it’s fun, but no one wants to ride a merry-go-round for too long.

Red Velvet thrive on this kind of chill R&B, and ‘Knock on Wood’ feels like a lost cousin to tracks like ‘Butterfly’ and ‘Blue Lemonade’. However, when stacked against the rest of the family, you notice that some of the best genes are missing.

And in today’s vanilla section of Red Velvet’s patisserie, we offer you ‘My Dear’. Don’t get us wrong, it’s still a delicious flavour, and the “my dear, my love, my best” lines sprinkled in between do give it a unique texture.

A sweet close out to their vibrant ‘The Red Summer’ mini-album, ‘Hear The Sea’ is perfect for taking off your sandals, shaking off the sand and basking in the warm afterglow of a day on the beach. Even the most passionate bakers need some time off the kitchen, you know?

The surf rock guitars are charming, but if someone told me this was part of Teen Beach Movie’s soundtrack instead of a Red Velvet B-side, I would have believed it.

Aside from their baking skills, Red Velvet are also geography queens. In ‘With You’, they are considerate of the Southern hemisphere population, who experience Christmas in summer every year. Alright, the actual meaning of the song is that being with their lover feels like the gifts they’ve been waiting for, and the white sand “looks like a snow-covered field” and “your red nose looks like Rudolph”, but you get the idea.

This ‘SM Station’ release won’t take you high, won’t take you low, but it’s as enjoyable as a stroll in the park. It’s worth a listen for the soulful combination of Red Velvet’s vocals and a soothing piano background.

A lovely, nostalgic track that doesn’t hurt, but doesn’t heal either.

Like ‘Love Arcade’, it’s another album filler. Adorable, yes, and for sure better than a lot of songs out there right now, but that’s it.

Since there is a berimbau (a popular percussion instrument in Brazil) section in this song, we’ll use a Brazilian expression to describe this odd little track: Red Velvet, como sempre, entregando tudo (“Red Velvet delivers it all, as always”). Queen behaviour.

You know it will be a good song when Wendy whispers in your ear that she wants to “light up the world between you and me”. Anything else? Yeah, didn’t think so.

A tad more uplifting than the usual end-of-album ballad, ‘Eyes Locked, Hands Locked’ also showcases how much Red Velvet have improved throughout the years. That a cappella section in the beginning? *Chef’s kiss*

Following the factory-themed sounds that underline their first full-length album, ‘The Red’, ‘Huff n Puff’ brings combative energy to the production line. There’s lined-up drums and unison chants, cartoon-ish synths and wobbly horns, and it all ties up with Alice In Wonderland references in the lyrics. It’s a fitting intro to Red Velvet’s peculiar world.

‘Don’t U Wait No More’ is an urgent thrill. Because of its extreme nature, it’s probably not the kind of track you want to listen to on repeat, but it’s still a nice addition to your workout playlist.

A quirky “red”-side to a tee, with plenty of repetitions, affectations and “la la las” for an unconventional “happily ever after”. Although its experimentation is commendable (a car alarm noise!), it’s not the most memorable of their iterations.

Red is the colour of seduction, knowledge is power, and Red Velvet are determined to use both in this self-assured track. “I’ll be confident, like a red ruby / I’ll be somewhat cunning, like a red apple,” they sing, showing that they know exactly what they want, and how to get it.

Retro Velvet goes full-force on this one, and that funky bassline is an invitation to dance. It works best as a glueing track in the context of ‘The Perfect Red Velvet’, because alone it feels simply alright.

Don’t mind it, ‘Fool’ and its wobbly guitar are just a little silly, just a little clumsy, but thoroughly adorable – much like falling in love.

2016 was the year where tropical house dominated K-pop, and not even Red Velvet escaped the trend. While their talents elevate any material, the final result could be warmer.

One ‘Bad Boy’ wasn’t enough for Red Velvet. They had to make sure we knew that he was a “really really really really really bad boy”. He was so bad, but so bad, that maybe it’s his fault this song doesn’t rank higher. Go sit in the corner, really bad boy. You’re not the “I’m you, but stronger” meme we expected.

You should never talk to strangers, except when the stranger is Seulgi. Seulgi can talk to us anytime. So, when she croons “Excuse me baby / Don’t be surprised, would you like to get in this car right now?”, we don’t even think twice.

Not only cakes and ice creams make up the world of Red Velvet. They also have to deal with mosquitoes, whose maddening hums and buzzes at least serve to shape a track way more pleasing than those pesky insects.

One of Red Velvet’s biggest assets is taking their own spin into whatever theme they approach. Vampires are supposed to be dangerous? Well, take this ‘Bad Dracula’, whose “bloody thing is just ketchup”, and who ultimately has no intentions of scaring you – they just want to dance the night away.

Three words: sax solo harmonies. End of blurb.

Don’t you just love songs that are named exactly after how they feel? Hop in and roll down the windows, we’re off to an unforgettable one.

Turning a corny phrase such as “you got me like iced coffee” into a marvellous love confession isn’t easy, but at this point you know there’s things only Red Velvet can do, and only Red Velvet can do it well.

Red Velvet goes Retro Velvet for this doo-wop-infused track. Not only do they live up to the concept, but add their own flavour with playful vocal flexes – and a little creepiness, because why not?

Red Velvet’s Japanese debut doesn’t stray much from their classic “red” songs, but it’s a lively addition to their discography. Oh, and it’s also a class on how to #Put #Your #Hand #In #The #Cookie #Jar, and #Use #Hashtags #Effectively.

A lovely closer to the girl group’s latest mini-album, ‘Cosmic’, this scintillating synthpop track is soft and simple, easing you into their unknown next steps.

Tiny sparks of hope fly out of this song’s uplifting melody. Little by little, it grows in your heart, tinkering with unrelenting grace and magical twists.

“Are you ready for this?” Wendy asks in the intro. Reader, we weren’t. ‘Zimzalabim’ is Red Velvet’s most controversial track, the kind where you listen for the first time and immediately go blank, muttering variations of “what on Earth did I just experience?” The group are beloved for their penchant for the eccentric, but the clanging and clattering of ‘Zimzalabim’ is not for the weak of stomach. However, time has aged this song well: it has purpose, verve and the final chorus spreads with contagious passion. Maybe we are ready now.

We are convinced that this mesmerising track was stolen straight out of the hands of fairies.

If Red Velvet says “you’re my mojito”, who are we to disagree, right? Just close your eyes and let the hazy, beachy vibes of this song take you away.

Borrowing from characteristic J-pop synths and a thumping bass line, ‘Aitai-tai’ is pure, sparkly delight, but it also fizzles out quickly.

At this point, the stakes are high to stand out as a respectful “velvet” jam. ‘Hello, Sunset’ is almost there, with honey vocals and rose-coloured vibes, but the instrumental lags behind.

Dissing Cupid on a Wild West tune? Yes, please. “Stupid cupid, wake up,” Red Velvet plead, but the god of desire couldn’t care less. We get it – he’s probably busy bopping to this riotously fun track.

This lush ’90s throwback reinforces an important truth: “There are many different tastes in the world”. Yet, we keep coming back to Red Velvet for a reason.

This bittersweet B-side is a heartfelt letter to fans, reminding them of all the sweat and tears that Red Velvet went through to be where they are. “Make it blast ’til the very last time / Shining brightly on you, thе last drop / Giving it all I’ve got”, they sing, reminding them that they will keep on going for as long as they can.

We know that Wendy and Seulgi will kill any song they lay their voices on, but can we take a moment to appreciate how divine Joy sounds here? And Irene’s fiery rap? And Yeri’s lower register? Whew.

After all the bad boys, regular boys and rookie boys in their catalogue, Red Velvet found the Sappy Boy, whose biggest fault is being an indecisive mess. Like the jarring, slightly offbeat brass in this Japanese single, he might need a little push to stick around, but is ultimately a “cutie”.

“Cold and thick milkshake / The sharp feeling spreads on the tip of my tongue”? “Oh my, you suck me in like a black hole”? Well, we can only say the lyrics here are a choice.

‘Lucky Girl’ is all grown up now, look at her go and flex those powerhouse vocals on us.

Ah, the unspoken rule between women meeting at the lady’s room to perform intricate – wait, I’m not supposed to say that. I mean, to gossip about our crushes and maybe “pop the champagne and make it rain” if we’re feeling fancy. The girls that get it, get it, and the girls that don’t, don’t.

This is yet another Wendy, Seulgi and Joy appreciation blurb. ‘Campfire’ is from 2015, so you can only imagine how they improved along the years – not to mention Yeri and Irene, who deliver some snappy bars over this impossibly satisfying bassline.

Seriously, what other group could make a chorus that goes “Ba-banana ba-ba-banana-nana” not sound extremely childish, or extremely indecent? Instead, Red Velvet roll with it like a vitamin shot, cooling down and powering up those relentless summer days.

‘Chill Kill’ is essentially a celebration of the dark and creepy in the world, and ‘Nightmare’ encapsulates that concept better than any other track. “Even the darkness with no end in sight / Everything is nightmare, nightmare,” they acknowledge, ready to spin it the other way. “It just disappears / Just try to enjoy it / A celebration of the black night (Enjoy it, yeah).”

Bulldozing is exactly what they will do to your heart, mind and soul. Once a Reveluv, you’re forever trapped in their strange, stunning universe – and ‘Bulldozer’, with its commanding lyrics and angry beats, only adds to it.

Is that a hint of electro samba that we hear? Regardless, this B-side will hit you like a drum. And you will be grateful for it.

While this track conjures beautiful imagery over laid-back, nostalgic R&B, the vocal effects take away one of Red Velvet’s biggest strengths. It’s still amusing, but a little too soft when compared to the rest of their discography.

For those who are used to stronger “red” or “velvet” flavours, the subtlety of ‘One Of These Nights’ may come uneasy. With lyrics inspired by a Korean folktale that explains the origins of the Chilseok festival, it longs for a reunion between loved ones. That message became even more poignant in the music video, where various motifs arguably recall 2014’s Sewol ferry tragedy. It’s a mournful, yet beautiful rendition that proves the group can excel way beyond the expected.

According to the cake queens, “life is a box of chocolates”, and that’s precisely what makes it so exciting. “Sometimes good, sometimes bad and ugly / But I love me,” they affirm. It’s a sweet reminder to the importance of self-love, in order to digest both the raisin bonbons and the Belgian truffles on our way.

While there’s no denying the technical majesty of ‘Chill Kill’, its off-kilter approach works more as a statement than as a song. Merging “red” and “velvet” sides, the result is… weird. And not the quirky, fun kind of weird. This is nightmare-fueled surrealism – the kind that keeps you trying to figure out what happened for years after.

If you analyse it, Red Velvet has some pretty positive messages in their lyrics. “Because I love myself, because I’m so me / This time is so beautiful,” they sing on ‘Cool World’, a soothing song to close out the hyperactive ‘The Red’. It’s the ultimate ode to alone time, and the wonders of appreciating your own company.

In an interview with MTV last year, Wendy said that “you can’t be the queen of your life without passion, hard work, and faith in yourself”. She and her bandmates know that very well, and that confidence shines through in the comfortable ‘Queendom’. It’s not the most scrumptious slice in their bakery, but it has a classy, well-developed taste that only years of experience can bring.

Red Velvet’s oddness is at their best when paired with a tongue-in-cheek title and jungle noises. It’s this kind of experimentation that makes them one of the most exciting groups to follow: like the mysterious man in the lyrics, you never quite know what you’ll get.

Yet another creepy dollhouse song nailed to perfection, but this time in Japanese.

Don’t be fooled by the opening synths that recall Iggy Azalea’s ‘Fancy’. ‘Time Slip’ goes beyond, diving into an unexpected softness that highlights Red Velvet’s splendid harmonies. As the title suggests, the back-and-forth between sections mimics falling in and out of a sweet dream.

Playing out like a movie script, this track presents us with Detectives Velvet trying to heal another heartbreak. A slinky bassline and fiery raps present their case, while they “zoom, zoom, zoom” into the last pixel to find the answers.

Once again, Red Velvet pulled off a line that would sound awfully silly in anyone else’s hands. “Umpah umpah, umpah umpah” is the compass of this single, dictating the speed and direction in which the members invite you to “feel the rhythm”. Paired with their charismatic appeal, it’s a mission that comes easy.

A song with monkey screeches, elephant trumpets, and lion roars? The things that only Red Velvet gives us. In this tropical fiesta, they embrace the chaotic nature of love and remind us to enjoy the experience with flair. Bonus points for Seulgi giving Tarzan a run for his battle cry.

A sample of Tchaikovsky’s ‘Dance of the Sugar Plum Fairy’ and Stabbing strings make the most out of this excellent B-side, recalling the iconic main theme of 1960’s film Psycho. The rest, as usual, relies on Red Velvet’s heavenly harmonies, which seem to get better year after year.

God bless the souls who decided we needed a studio version of ‘La Rouge’, because it did not disappoint one bit. The sizzling guitars? The smooth ad-libs? Wendy being one of the best vocalists of all time? We’ll stop here.

While not a ReVe-original, this remake of S.E.S’s 2000 hit brewed and raised the essence of “velvet” side. It highlights the strengths of a then-budding group who would go on to perfect this kind of slinky affair throughout their career.

‘So Good’ is a deceiving title, this song should actually be called ‘Impeccable’.

Another highlight of ‘Chill Kill’, the jazz inspirations behind ‘One Kiss’ fit perfectly with Red Velvet’s vocal highs and lows, making it a timeless classic.

Taking the listener on an intergalactic voyage, ‘Body Talk’ is poised and atmospheric. While the lyrics talk about a sad realisation through someone’s body language instead of words, your ears and brain will be grateful for this experience.

This track should come with a warning, because vocal fry should never be this sexy. Who allowed this? Why? We have so many questions.

Somewhere in the basements of SM Entertainment, Red Velvet found an unused EXO-CBX demo. The result is this mindlessly fun Japanese cut — which deserves way more attention.

“Sometimes, you gotta be bold. Just rock the world, boo-yah!” And with that foreshadowing intro, Red Velvet set foot into K-pop. Debut single ‘Happiness’ is exactly what you would expect: an unbridled explosion of joie de vivre. “Money and power / I feel bad for the adults / Who only chase after that,” they sing, affirming that the world is filled with greater wonders, like telling your mom you love her or linking arms with your best friend on the way to school. From the stomping beats to Wendy’s showstopping bridge, ‘Happiness’ will turn a decade old soon, but its appeal and positive message remain timeless.

Another misleading title, because falling out is something you won’t do for this god-tier B-side. And yes, we’re in god-tier territory now.

‘Wildside’ is drama, ‘Wildside’ is distress. In their best Japanese single so far, Red Velvet hide menaces behind temptations, and the tension between showing their real ‘wild’ selves or hiding away peaks in palpable despair.

This graceful single upgraded Red Velvet‘s ‘velvet’ side into a classical orchestra. Sampling Bach’s ‘Air On The G String’, they soar far and beyond in a mixture of trap beats, string melodies, and ethereal harmonies that only angels could make.

Before there was a ‘Bad Boy’, or even a ‘Really Bad Boy’, there was simply an ‘Oh Boy’. In all its uncomplicated glory, with belts for ages and marked piano rhythm, this B-side is like the sonic equivalent of a classic white T-shirt and jeans. You can’t go wrong with classics.

It’s 1985. You’re enjoying a summer sunset at the beach club, piña colada in hand. Swaying to the music, you observe the people dancing around you. Their skin glistens, their smiles disarm you. If there was ever life outside of this, you don’t remember.

‘Butterflies’ is so good that words don’t do it justice. You need to listen to the ethereal harmonies, the hazy layering, the retro-yet-trendy synths, to fully comprehend its magic. A definite highlight in a discography full of glistening jewels.

Yes, something kinda crazy happens to me too when I listen to this lazy Sundaymorning bop, and it’s simply called “awe”: how can humans sound so heavenly?

‘Bing Bing’ is the love child of Stevie Nicks’ ‘The Edge of Seventeen’ and Destiny Child’s ‘Bootylicious’, so there’s no way it could be anything less than great. The irresistible energy on this track could have made it a strong single, but it proudly stands as one of Red Velvet’s best B-sides.

If ‘Queendom’ drank a few martinis and went to a nightclub, it would transform into the sleek, seamless ‘Snap Snap’. It has the same poise and self-assurance of the former, but streaked with joie de vivre and a cheeky demeanour: “Oh, I just love it / I love the camera so, so much / And the camera loves me.”

Reggae and K-pop form an unlikely combination, but that renders surprising gems. Such is the case of ‘Sunny Side Up!’, a mellow cut that melts seamlessly with Red Velvet’s sultrier tones. The clever comparison between sunny side up eggs and a careful love in the lyrics is the cherry on top – or should we say the salt and pepper? – of this banquet.

Welcome to the weirdest ride in the amusement park. Sitting right next to ‘Zimzalabim’ and ‘Mosquito’, this oddly addictive ‘roller coaster’ — its Korean title — will have you lining up for a repeat.

This ‘The ReVe Festival’ capstone matches city pop inspirations and dreamy vocals. The ladies in question handle ‘Ladies Night’ with skill, enclosing us with the same lightweight fun of partying with your besties. And what a lovely celebration of friendship it is: “Ladies, filled with starlight / Us being together is what makes this night become perfect.”

Now this is the Red Velvet we’ve come to know and love, topped with an extra dose of sassiness. Through its drumline beat and talking verses, ‘Pose’ commands you to enjoy the moment. “Don’t care about other people’s gaze / Lift up your shoulders high and walk,” they sing in the chorus, and it’s all so convincing that we have no other choice but to comply.

What is the secret ingredient that makes these women so good when doing vintage and moody R&B? Hopefully it’s not a broken heart — the fool whom they are leaving did not deserve this masterpiece.

The single that launched Red Velvet into new heights of popularity, it stood the test of time and remains as fresh as a slice of its namesake. It’s creepy, it’s sweet, it’s quintessentially them. Open your mouth – or, your ears – for an unforgettable explosion of textures and flavours that only K-pop’s most famous patissiers can provide.

As deep as the ocean, ‘Underwater’ is a testament to Red Velvet’s abilities to improve and become even more bewitching than they already were. Hold your breath and dive in.

This ’80s-inspired delight is a head-turner, with its lush combination of synths and vocal loops, delivered with utmost sophistication.

As the luxurious R&B arrangement takes over this song, its icy, mysterious bite melts away like chocolate. It’s a love story unveiling slowly, transporting listeners into the multi-sensorial and unpredictable discovery of someone.

“In my dreams you love me back”. Is there any line more relatable, more vulnerable, and yet, more heartbreaking than this?

Like its title, this B-side off ‘The ReVe Festival 2022 – Feel My Rhythm’ EP is a shimmering treasure. Paced drums and bell-like synths create a magical atmosphere, while their “rainbow halo dance, rainbow, rainbow halo dance” chants ease you into hypnosis. The pot of gold at the end? A snappy, stylish sax outro.

What can we say? They know we will not only beg, but also scream, cry, and throw up. Well, hopefully not, but you get it.

Wendy opens ‘I Just’ with a soulful “It’s time to stop crying”, but the blissful synths and the longing melody might have the opposite effect. While it doesn’t evoke sadness per se, it reminds you of all that could have been, of the sighs you never let out, of the feelings you never found words for. “I Just” – and we get it.

At the tail end of 2019, Red Velvet released what would become their biggest hit. Knowingly or not, ‘Psycho’ captured the zeitgeist like no other. In the wake of a pandemic, sky-rocketing mental health concerns, global warming and increasingly fickle, unavailable relationships, there’s no way you can rest your head at night and not be “feeling like a psycho”. One could say that this is what happens after dealing with an army of bad boys, really bad boys, sappy boys and the like; but the operatic extravaganza of ‘Psycho’ goes beyond. In luxuriating falsettos and future bass loops, it keeps elegance on its sleeve and refuses to despair. As they conclude: “hey now, we’ll be okay”.

Crazy to think that just one year into debut, Red Velvet were already this impressive. It explores their velvetiness with mastery, landing as one of their classiest, sultriest efforts to this day. How do they do it? We guess “it just comes automatic”, baby.

One thing many people don’t get about the “velvet” side is that it is not just sensual. It is about devotion, dedication and depth – wanting to be the best version of yourself, because your lover deserves no less. “I’ll be your perfect 10 / When you place me in your arms / No more, no less, perfect,” they linger, encapsulating that feeling in a transcendent experience.

Another polarising track from our resident cake girls, it still fuels neverending battles over whether it’s a masterpiece or a grating scrap. This writer believes in the former – although it took a while for feelings to grow. But once they do, the infectious joy of ‘Rookie’ is unbeatable. If you’ve never shouted into the abyss the words of wisdom “Lookie lookie, ma super lookie lookie lookie”, you don’t know what you’re missing.

‘Russian Roulette’ doesn’t go all the way like some of Red Velvet’s more upbeat tracks, but instead lounges comfortably in an addictive, staccato midtempo. One could say its exactly this repetition of syllables and synth blips that make it so hypnotic, yet never tiring. Good luck trying to take this delirious chorus out of your head.

‘You Better Know’ reaches to the stars by unleashing Red Velvet’s mighty voices with wistful EDM pulses. “So are you ready or not? / Don’t let go of this moment,” they ask, knowing that if freedom had a sound, it would likely be this one.

A carefully crafted single by American producers The Stereotypes and legendary composer Yoo Young-jin, ‘Bad Boy’ transports you into Red Velvet’s sultry depths. The spaciousness of dripping synths and snares keeps you on your toes, as the song dives deeper and deeper into darkness. When you least expect it, lightness shines in the form of powerhouse vocals – a smooth, entrancing chant capable of bringing down good boys and bad boys alike to one spot: their knees.

Let Red Velvet take you on a journey through the solar system with their best title track in years. ‘Cosmic’ shows that, even 10 years into the game, they are still an act to be reckoned with — lethal in their delivery, surprising in their sweetness.

‘Peek-A-Boo’ is peak Creepy Velvet — and we mean it as the best compliment possible. This mischievous single plays out like a hide-and-seek game, coming and going with tropical synths, xylophone bleeps and other tiny oddities for an inexorably fun ride. But we need to give a warning here: Just in case you’re a pizza delivery guy and five gorgeous women order some slices to a suspicious mansion, please run and don’t ever look back.

The song that defined the Summer of 2017 in K-pop remains a legendary anthem for all seasons. Immediately recognisable because of its distorted vocal loop and propelling energy, it rockets through sweet verses, compelling raps and the jewel of the crown: a delightful chorus to sing along, even if you don’t know a word of Korean. To master a pop song is a daunting task, but ‘Red Flavor’, in all its structured chaos and bold personality, makes it a piece of cake – and once you get a taste, you can never go back.

Remember how the :velvet” side is all about devotion? Look no further than ‘Kingdom Come’, a track worthy of praising the Heavens after each listen. Bare R&B hi-hats and drums tinge it with navy blue nostalgia, while Wendy, Seulgi and Joy commune in otherworldly ad-libs and harmonies. “I got you, you got me / I love you till kingdom come,” they promise. And frankly, if it’s not to have that kind of love and adoration, why even bother?

First things first, there’s nothing dumb about this single. In fact, it’s quite the opposite. One of K-pop’s most groundbreaking creations, it’s a lesson on how to do a lot with a little, and spin old cliches into an entirely new opus. From the quirky Michael Jackson rap to the impeccable use of repetition (they say the word “dumb” a whopping 219 times), it proves that boldness and brains go hand-in-hand when baking a masterpiece.

The music video is a marvel of its own, translating the repetitive and industrial sound motifs into vibrant absurdities, as well as poking at one of the industry’s most flawed myths. K-pop is just a factory-line production, you say? Well, we dare you to find one as clever and experimental as this – a reflection that stretches to Red Velvet’s discography as a whole.