Manna Listens To: Übermensch by G Dragon
Terrible album cover tho.
G-Dragon is the Jesus Christ of K-pop. At least, that's what people like me would tell you. Sure, Seo Taiji ripped off Cypress Hill and sold many records to make K-pop a thing, and SM tortured many boys and girls in his dorms, but G-Dragon made K-pop cool.
Light sticks, international tours, dyeing your hair according to comebacks, outlandish haircuts, fashion tours—that's BigBang and G-Dragon. BigBang were (and still remain) the bad boys of K-pop. Literally, metaphorically, and socially.
Now, every single member of BigBang has a cult of personality around them. But G-Dragon—G-fucking-Dragon—is legendary. Sure, he's been in chaos for many reasons (like every BigBang member—their personal history could give the Turkish Super League a run for its money).
There is an aura around G-Dragon. Some call him the greatest K-pop artist; some call him an egotistical mess who is overrated. I believe he came at the right time, when his artistry and EDM influences were steaming hot off the bat. But he always delivered, and that’s for sure.
His first solo album, Heartbreaker (meh), was commercially successful. One of my favorite records of his is Coup d’État, which had Crooked—a very pop-punk-influenced EDM number that’s still on my playlist.
Now, with Übermensch (Nietzsche much?), there’s a lot of nostalgia layered onto it. I always felt that Kwon Ji Yong (2017) was a very good attempt at a post-MADE era BigBang, which would see a lot of trials and debauchery. While the album was mostly meh, its standout single, the ballad Untitled, 2014, was really good. Something G-Dragon has always been blessed with is the Midas touch. Anything he writes, anything he touches, is set to be a big hit.
The first track, Home Sweet Home, was what I meant when I said nostalgia. It features Taeyang and Daesung—fellow BigBang members—and that was enough for me, although I hoped that T.O.P’s fiery bass-rap voice would pop out of nowhere. But I guess he's busy fighting in the Squid Games. G-Dragon’s vocal tone might feel annoying in the first track, honestly. Thank God that’s where it ends.
Power, the second track, brings back from the dead the old dancehall trope, and as a sucker for 2015–17 K-pop, I like this. The next track is an Anderson .Paak feature—not the first K-pop/Anderson .Paak collab. I guess I’ll still put this on my liked songs playlist, ’cause I’ll learn to live with the record. Also, throwback to EXO’s Growl era.
Drama is the ballad—the Untitled, 2014 of this album. A very emotional ballad with credits from the OG Diane Warren. Honestly, the closing part of the song is perfect. IBELONGIIU is the Weeknd-esque song off the album. Following in its footsteps, Take Me is the next track (doesn’t beat ATEEZ’s Take Me Home). The next track, Bonamana (shoutout to Super Junior’s Bonamana), is your classic guitar-pop song—everyone loves that in K-pop.
I think the best track off the record is Gyro Drop. I love this so much because it's so upbeat and honestly a good closer for the album.
Overall, G-Dragon delivers. Doesn’t matter if the record is a masterpiece—it’s still a solid one. K-pop rarely has great albums, but great songs? Sure. So a good album is always welcome. I missed you, Dragon.
Final Verdict: First Class.