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While Armeggedon begins super strong with K-pop singles “Supernova” and the title track, third track “Set the Tone” feels like a jerky left turn. The thumping hip-hop track brings exhilarating punches of synthesizers on the production but ultimately doesn’t feel as successful or convincing of a performance from the aespa members.

With such a unique song title and synth work that is so satisfyingly crunchy, a song about the exhilaration of the group chat gets a bit overrun with a few too many messages and aespa will bring far more interesting topics to other songs in Armeggedon.

A sweet fan anthem dedicated to aespa’s MYs, “Melody” brings a delightful piano for the members to sing directly to their supporters: “You make me feel so lucky,” they sing. “‘Cause you’re MY whole world.” It’s a suitable way to close out aespa’s first full-length album and feels like a bit of a throwback to a trend from classic K-pop albums of the past that tend to end with a fan-dedicated track and slowing down the tempo.

An unexpected tropical vibe takes hold at the halfway mark with “BAHAMA” as track No. 6 to show aespa is, once again, never going to deliver one flavor but instead show off their range, even more so on a full-length.

Opening with an addictive churning rock-pop hook, “Licorice” speaks to an infatuation unlike anything you’ve experienced before. They croon, “It tastes so sweet but sour / Oh, sugar and spice… / You’re like licorice.”

Despite aespa’s metaverse concept and larger-than-life personas, we love hearing them lean into their human side on “Prologue.” Over a deceivingly upbeat pop production, the girls address the difficulties and messiness of growing up, admitting to anxiety, disappointments, and loss of passion. But hearing the aespa ladies declare, “Baby, I’m a weirdo, I know” in the chorus is super refreshing and makes the listener feel like maybe we’re all more alike than we realize.

A surefire future concert favorite, “Live My Life” brings a previously explored rock edge to aespa’s musical world. Embracing those who dare to be different and dream, the empowerment anthem feels like what aespa’s first original English single “Life’s Too Short” should have been — bold, exhilarating and makes clear why they’re so different like “Live My Life” does versus “Life’s Too Short” which felt like aespa trying to blend into Top 40 radio fodder with a safe, acoustic pop sound.

As the centerpiece title track single in aespa’s first full-length album, “Armageddon” does an excellent job of being a true statement piece. The harder hip-hop glimmer feels like the appropriate next evolution from past singles and allows the quartet to deliver heavier confidence and emphasize their power as a group. Unexpected points of the song, like the “Bang chitty bang bang” pre-chorus or the stretched-out hums on the chorus, slowly get stuck in the listeners’ heads and eventually become some of the most memorable parts of the track. Another unanticipated but wholly welcomed moment comes into the chant-heavy outro where it sounds like aespa is signaling the next phase of their pop invasion, telling listeners, “Warning: All night long.”

With the same icy coolness as some of aespa’s most experimental cuts, “Mine” should go down as one of the best b-sides of K-pop in 2024 in large part thanks to a fascinating assemblage of vocal distortions and effects utilized. The members’ voices go from dark and deep to glitchy and sweet as they sing about facing their inner demons, with the lyrical and production choices adding a deeper layer to the song’s overall meaning.

aespa couldn’t have asked for a better kickoff to this album. A glittering cosmic dance track, Supernova” introduces this new chapter of aespa’s storytelling into their new universe and opens doors to a whole new dimension. Showcasing KARINA and GISELLE’s biting rap styles with WINTER and NINGNING at their absolute best, “Supernova” feels like the type of track only aespa could pull off, making it all the more perfect of a return to form. Plus, the additional whirring synthesizers that join midway through the second verse are a final cherry on top to show how “Supernova” isn’t using copy-paste formulas — a staple throughout aespa’s strongest music moments with this new track as a shining jewel in their K-pop crowns.

Just like RM himself, French-American duo DOMi & DJ BECK is challenging to define. Their instrumental-focused work garners Grammy nominations and collaborations with the likes of Herbie Hancock and Busta Rhymes. Bringing their talents together on the “? (Interlude)” is a far-too-short intermission with great promise via synthesizer, drum, and flute combinations.

With the song’s title meant to represent RM being brutally honest and pulling out his deepest stories, “Groin” lets RM step slightly back into his original “Rap Monster” moniker and away from BTS’ English-speaking representative attending meetings at the United Nations. While some parts of the song get repetitive and feel like they lessen his messages, there is a heavy dose of clever wordplay; it’s refreshing to hear a scrappier RM again, and it shows that no matter how mature one may get, parts of our younger selves remain.

In the shortest interlude on the record, RM simply asks the listener, “When the credits roll, do you hang tight?” before adding, “I’m so grateful for everyone’s time/ Hope you all had such a wonderful night.” There are many ways to take the phrase. Are you a moviegoer rushing to return to your life after being transported for a few hours? Or are you someone who lets experiences wash over you after they finish? Or do you take time to recognize all the people who helped create the movie you’ve experienced?

The allegory can even extend its meaning for TV shows or concerts (when many K-pop concerts roll a credits video at a show’s end, including the entire tour and management staff). It’s a quick and quirky cut but can elicit intense conversation and introspection.

The opening track flips the album’s title and establishes the thematic tone of exploring misalignments through decidedly alternative production. With its mishmash of echoes, yelps, and vocal loops over the ever-changing synth work, “Right People, Wrong Place” sets the fluid and continuous narrative of the LP that’s more reminiscent of RM’s gorgeously lo-fi mixtape mono., released in 2018, than anything from his past solo or BTS work.

RM shared how he’s “very angry” in the first three tracks of RPWP with Track No. 3, “out of love,” encapsulating some of his most shocking but relatable ires. Over stomping, industrial hip-hop production, RM’s distorted vocals repeat “My life is out of love” and speaks to the people constantly watching and berating him, even if they mean well. Pairing worries in living up to expectations alongside a reference to Radiohead’s melodic slacker-anthem “Creep,” RM speaks to a loss of hope in the track until the final line where he realizes what remains when he says, “You can f-ck my body/Can’t f-ck my mind.”

While RM hasn’t ever revealed specifics of whether he’s been in a romantic relationship, the subject matter of “Nuts” put into the context of multiple times he and Jimin speak to “so many things” that happened to RM personally in the past couple months on MMM point to at least some couple quarrels. “When it comes to love, she could be an all-nighter/ Best gaslighter, no man could ever fight her,” he slurs at the top of the record before admitting he’s an exemplary match. “When it comes to money, he could be a damn fighter/ Best gaslightеr, no woman could stop him.” Despite the unhurried basslines alongside RM’s leisurely and playful delivery, the star shared that “Nuts” represents one of his “really angry” songs, showcasing another aspect of the dichotomy he’s representing on Right Place, Wrong Person.

One of the longest tracks on the LP, “Around the world in a day,” begins with RM and indie soul singer Moses Sumney playing around, trading off lines and distorting their vocals before cutting to a rock star-rap performance at the halfway mark. The final 30 seconds of the track close with layered, acapella harmonies with a title like “Around the world in a day,” also representing the wide range of alternative genres tackled across the stunningly cool standout.

The centerpiece of Right Place Wrong Person, “LOST!” speaks to the BTS leader losing his way and needing to find himself solely on his own. Despite the serious subject matter, the lightness of the track’s lyrics and composition suggests that Namjoon has made peace in his journey. When he spits lines like, “I’m goddamn lost/ I never been to club before, I hit the club,” they can both feel relatable to anyone venturing into a new experience but also quite disjointed considering his rare experiences growing into adulthood as a K-pop idol.

RM spoke about how the past months making RPWP were dynamic in terms of highs and lows and there’s a sense of near mania in “LOST!” in the second verse when he shares, “Every morning, every night, I always feelin’ lifeless/ And in the morning, I feel love, I hug it in excitement.” The multitudes and range RM shares in the album’s title track is one of the best representations of the dualities and juxtapositions found throughout Right Place Wrong Person with the playful and at-ease atmosphere making it perfect single material to reach wider audiences.

Despite rising to fame as a rapper in BTS, RM knows how to craft soft, delicate pop soundscapes. A big fan of shoegaze, “Heaven” is the airy standout on RPWP that’s like a sonic equivalent of resting one’s head on a cloud but feeling the thunder rumbling just below the surface. The all-English track sees the star acknowledging someone toxic in his life (“If that’s your delight/ Come ruin my vibe…/ You don’t need to hide it/ I know what you are”) who no cannot affect his unshakeable solace (“I’m feelin’ so good here with me/ Feelin’ so full here with me/ Everything’s untakeable/ My peace is unbreakable). It’s a rare moment of musical tranquility in Namjoon’s journey and truly begins the stunning second half of Right Place, Wrong Person.

“Come back to me” introduced Right Place, Wrong Person for RM to return to us in a more somber and reflective mood. With acoustic, folky production that wouldn’t sound out of place across alternative, pop, or adult-contemporary radio, the nearly six-and-a-half minute tune lets RM deliver a more laid-back, crooner type of performance. As the layers of his voice get more complex and free-flowing — with background vocals by Kuo Kuo of Taiwian’s Sunset Rollercoaster and the song’s producer OHHYUK from acclaimed Korean indie band Hyukoh — the instrumentation also becomes increasingly nuanced with additional percussion, guitars and bass elements added into a mix that grows fiercer and more emotional, but never overwhelming or messy.

A track that exemplifies the blending of cultures, languages, sounds and emotions, “Domodachi” boasts layers that speak to the introspective and multifaceted approach RM took to RPWP.

“Domadachi” is a combination of the Japanese words domo and tomodachi, which mean “thank you” and “friends,” respectively. The compound “Domadachi” roughly translates to “thanks, friends,” but the biting lyrics show the phrase’s sarcastic essence. RM’s explicit Korean and English verses, the primarily Japanese chorus, and as well as the rap from British rapper Little Simz prove the range of linguistic interplay to explore belonging by addressing friends, fans and critics who overemphasize the superficial. Little Simz delivers her verse to declare that “Simz and RM, man/ It don’t get bigger” but closes her final line with the Korean phrase “내 선은 넘지 못해,” or “You can’t cross my line,” speaking to the duo as boundary-pushing artists.

The offbeat production shifting through saxophone riffs, racing guitar licks, and ominous Japanese chanting through the chorus only makes the track all the more intriguing of a listen with more treasures to find the more the listener digs. (And it’s so worth it to dig)