A K-pop act’s title track isn’t always the best song on their album, even if it’s the one most people will hear. Sometimes, b-sides deserve recognition too. In the singles-oriented world of K-pop, I want to spotlight some of these buried treasures and give them the props they deserve.
I don’t usually listen to Korean OSTs, but I happened to check out this new track for season two of The Uncanny Counter and it’s too good not to share. CRAVITY have been on a roll lately, so I’ll gladly give anything they release a chance. Ready Set Go extends their streak with propulsive, rock-flavored energy.
This is the rare boy group song without rap, and it benefits from streamlining its structure. The verse sweeps right into the chorus, never sacrificing momentum or shifting gears. I’m not watching the drama it soundtracks, but if I close my eyes I imagine speeding cars and compelling chase scenes.
I love the song’s mix of rumbling bass and band percussion. The galloping funk guitar during the chorus is another nice touch. And while many modern K-pop singles tank their transition from chorus to second verse, Ready Set Go plunges right into this segment with aplomb. It makes for a thrilling listen, guaranteed to get your pulse up. I’d be more than happy if CRAVITY’s next title track carried this same intensity.
| Hooks | 8 |
| Production | 9 |
| Longevity | 9 |
| Bias | 9 |
| RATING | 8.75 |
The Bias List // K-Pop Reviews & Discussion 
I remember the days when ‘propulsive’ was a frequently used adjective in song reviews, and it was always a signal-word for me: if it’s propulsive, I’ll probably like it.
It holds true still – I really like this. I’m almost disappointed that this is an OST and not a full comeback because this is a style I want to see more of! It’s neither ‘bright’ nor ‘dark’, not ‘cute’ or ‘sexy’, it just slaps.
Since my brain functions on comparing cases: a song like this would’ve fit right in the Boyz’ early discography, somewhere between Right Here and The Stealer.
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As a long time lurker of this blog, I’m really pleased to see Cravity take part in this genre. Also, as someone who keeps up with this show, the “compelling chase scenes” are right on the nose haha
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Honey, we have a hot one!
The vocals are also nice to hear. OST’s tend to have simpler straight ahead production, fewer takes than the usual contemporary hyper-layered and spliced and diced multiple takes with notes punched in vocal production.
The lead vocal sound like one take for each group of line for each singer, and another take or two for doubling and the harmonies. It lends more of an immediacy to the performance, more of a presence and commitment.
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Those pop-Tangerine Dream Sorcerer Soundtrack synths (rip director William Friedkin) are the absolute best. Good vocals, and the instrumental is great.
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