“Whiplash” is Aespa’s fifth mini album, with six tracks. It starts off with the title song “Whiplash,” an EDM-based song that you could imagine being played in any club. Compared to their usual title tracks that are characterized with strong vocals, heavy production and occasionally an intriguing switch-up, “Whiplash” has a much more minimalistic, sleek sound. The music video diverges in the same way, with more clean and simple visuals that present a high-fashion, supermodel aesthetic rather than their typical vibrant and colorful videos. Although the genre of the song isn’t my personal favorite, the hook is extremely catchy and the members’ amazing delivery and occasional singing provide the necessary texture to give it depth and instant replay value.
“Kill It” is the next song on the album, and one of my favorites. Although the group can’t really be boxed in, always experimenting with its sound, I associate this with classic Aespa. The beat is grittier and rougher than “Whiplash” with those dramatic powerhouse vocals that exemplify the dynamic talents of all four members. They genuinely play around with so many tones and deliveries in the song that it’s irresistible and just plain fun: the confident, sassy chorus, lazy, sliding melody of a verse and the blend of so many layered ad libs at the end.
“Flights, Not Feelings” was stuck in my head as soon as the album teaser medley was dropped. The song keeps up the cohesive themes of “Whiplash” in its modern sound, but takes on a dreamier interpretation, somehow feeling nostalgic and futuristic simultaneously. The instrumental is dosed with actual sparkles and it feels like “flying over the moon.” If you’re a fan of R&B or calm late-night lofi, this is the song for you. It’s well-placed as a soothing, entrancing breather from the more energetic preceding songs.
The fourth track listed is “Pink Hoodie” which is unfortunately my least favorite on the album and the only one I can’t foresee myself listening to on repeat. The vocals, excluding a brief run and high note closing the bridge, are sadly sparing and cast aside by the chanting chorus and uninspired “rap” verses. The conceptual base of the song also seems a little disjointed from the rest of the album.
“Flowers” is characterized by the high, dreamy melodies, and is flowy and emotional as the romantic centerpiece of the album. The soaring vocals and light beats in the background keep the song innovative, interesting and touching. With the amazing production, the song feels really comprehensive and envelops listeners in a floaty, immersive experience.
“Just Another Girl” finishes off “Whiplash” strong. It tackles yet another genre in the album as a more pop rock track with refreshing, satisfying tunes. The lyrics talk about being played by someone and being “just another girl” and the tone of the song is strong, sassy and a little ironic. This is emphasized by the light electronic effect placed on the voices, making them sound almost like video game avatars. Rather than being a soulful breakup ballad, the song adds another layer to the versatility of the album while staying true to the group.
As a fan, “Whiplash” has to be one of Aespa’s best albums following “Savage,“ their first mini album. The cohesiveness of the tracks emphasizes their strong musical identity and returns to their signature concept in a way that “Girls,” “Drama” and even “Armageddon” fell just slightly short of. Each song feels deliberately picked and delivered with extreme conviction, making this one of my top releases of 2024, and one that is sure to continue Aespa’s sharp momentum in the industry.
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Album Cover via Sm Entertainment Co
