Song #1: "HEYA" -- IVE

When it becomes a little daring, HEYA is at its best. Before the last chorus, there's a
great rhythmic change that puts the group in their element. Though I wonder how these
passages might have fared with a less ponderous instrumental, the call-and-response use of
backing singers during the verses is also entertaining.

Song #2: "Gloria" -- Antonio Vivaldi

The Gloria is a joyful hymn of praise and adoration consisting of twelve relatively short
sections that range from brilliant festiveness to deep melancholy. However, the general
coherence of the composition is a testament to Vivaldi's ability.

Song #3: "Midas Touch" -- Kiss Of Life

The grandiose instrumental by Midas Touch immediately captures my attention. It
utilizes the sharp, angular percussion of the 2000s and the hip-hop funk of the 1990s, creating a
hybrid sound. This energy, which matches the performance's vigor, lasts the entire track.
Additionally, it lays out a clear path for Kiss Of Life, giving them a brasher, more louder sound
than many of their contemporaries. They can definitely support this with their vocals, and I adore
how Midas Touch lets them experiment with different tones.

Song #4: "Pantropiko" -- BINI

BINI's "Pantropiko" is a metaphor for life's unanticipated turns, emphasizing the delight
of finding new places and the elegance of spontaneity. The song becomes a permanent friend
that goes beyond the seasons and acts as the background music for many life events. Its
timeless appeal serves as a reminder that excellent music can find a home in our hearts at any
time. The unintentional discovery of "Pantropiko" has led to a deep admiration for the
unexplored musical landscape, honoring the unexpected and the enduring appeal of a tune that
defies seasonal conventions.

Song #5: "Drama" -- Aespa

Drama begins similarly to other Aespa songs in that there is some rapping and an
interesting instrumental during the verses. But when that pre-chorus begins, everything is
different. The chorus hits, so naturally, that changes, but the melodies are still there and they
are beautiful.

Song #6: "Stars Point The Way" -- Mark Sirett

Award-winning Canadian poet Wendy Jean MacLean is the author of this wonderful
poem. She also wrote the intriguing text for Sirett's "The Stars Point the Way," which received
Choral Canada's 2010 "Outstanding Composition" award. Christmas's timeless themes—peace,
justice, wonder, hope, love, and home—are declared.

Song #7: "SHEESH" -- BABYMONSTER

Sheesh's song is compared to the "YG song template" and has a cheesy and false
advertising lyrical conceit. The song starts with a tripping water and lacks a unique mood. The
pre-choruses are above average, with stabbing percussion adding drama. The chorus is a blast,
but the lyrics are cheesy and untrue. The bridge and climactic shift are a disappointment, with
leaden production and campier lyric. Sheesh's lyrical conceit is vacuous and lacks original
ideas. While the girls of BABYMONSTER are talented, YG Entertainment is creatively bankrupt
and fans should stop rewarding them for this. The song is a disappointment for fans who value
their music and should not be rewarded for their mediocrity.

Song #8: "Et Misericordia" -- Kim Andre Arnesen

The fourth movement of Kim's "Magnificat," "Et misericordia," is available as a stand-
alone composition for soprano solo, SATB, or SSAA chorus. Available optional string sections;
may be performed with organ or keyboard. In 2010, Anita Brevik, conductor of the Nidaros
Cathedral Girl's Choir, commissioned and premiered the piece.

Song #9: "Untouchable" -- Itzy

The song "UNTOUCHABLE" has a strong production with a brass riff that is loud and
prominent in the chorus, adding much-needed grit and vigor that the majority of their earlier
songs (such as "Cake" and "None of My Business") lacked. The poetry might stand on its own
rather nicely.

Song #10: “Dixit Dominus” – Baldassarre Galuppi

The original arrangement of Dixit Dominus called for a small orchestra and SATB
singers. With a workable piano reduction, Russell Robinson has rendered it suitable for SATB
voices, albeit in a minor key. This can be used to educate self-sufficient singing, the creation of
clear vowels, and a rich, supporting voice. Interesting background information about the
composer, who composed numerous pieces for a girls' choir at the Venice Conservatory in the
eighteenth century, is provided in the performance notes.