'Step Back' was a 2022 banger. Is GOT the Beat's debut EP worth the wait?

The K-pop supergroup's 'Step Back' was one of 2022's essential tracks. Is their debut EP 'Stamp On It' as good?

In 2022, SM Entertainment greenlit the debut of the company's second supergroup to highlight its incredible women. The lineup starred SM Creative Director BoA, who saved the company from bankruptcy in the early 2000s, Hyoyeon and Taeyeon from Girls' Generation, Seulgi and Wendy from Red Velvet, and Winter and Karina from AESPA. The group burst onto the scene with 'Step Back', one of 2022's essential tracks. It was an immediate success, debuting on the Billboard Global (excluding the US) at number 87, peaking at number 122 in the Billboard Global 200, and getting rave reviews from casual and serious listeners alike. It was the best possible start for GOT the Beat.

On New Year's Day, the supergroup unveiled the title track of their first Mini-Album, Stamp On It to less enthusiasm. A dark pop song inspired by hyperpop and Red Velvet's 2018 Girl-Crush era of strong, powerful femme fatale, it still felt like a step down from its predecessor.

'Stamp On It' is an expansive track with a dramatic, hard-hitting chorus and gorgeous, distorted harmonies, with each member getting their chance to shine. However, all of that only applies to the chorus.

On a track where Wendy and Taeyeon have the most lines, it feels jarring that Taeyeon's presence is so light in the early going. Karina, who gets the fourth-most lines, feels overwhelming, and I was eager to get past her parts to reach Taeyeon and her versatile, distinct delivery. It still felt like we didn't get enough of her on the song. Seulgi and Winter feel like afterthoughts in this track, too - present but not there. Fans of Karina, Wendy, or Taeyeon might find things to appreciate, but, for a title track, 'Stamp On It' does not deliver the novelty of 'Step Back' or match its quality. The piano in the first verse and the synthesisers in the second keep things interesting but never push it further. And the hook of the song is terrible. Sure, "Step Back, Step Back, silly girl!" may seem laughable on paper, but it was electric in practice. That's not the case for 'Stamp On It'.

However, 'Goddess Level' picks up the slack, and leaves you wondering about the choice of the title track. While it doesn't hit the highs of 'Step Back', it's an enjoyable track that starts with electric guitar before transitioning into trap-pop with a rap verse shared by Seulgi and Hyoyeon. The song is drenched in electric guitars, pianos, saxophones, and synthesisers but keeps the overall hyperpop theme of the chorus. It hits hard, amps up the momentum, and even feels transcendental at the start of the second verse when Tayeon's amazing vocals feel a bit disconcerting. The slow bridge brings dynamism before the build-up to the final chorus, making for a fun, energetic track.

Unfortunately, the first two songs on the album set the tone for the rest of the record, bouncing between successes and disappointments. 

'Alter-Ego' isn't bad, but feels predictable, like a filler song that can't find its feet. While Wendy has the most lines, the star of the track is her Red Velvet bandmate Seulgi. The other members do contribute, though – in fact it might be the first song where they meld seamlessly – but the track is mainly forgettable because there is nothing special about it. 'Stamp On It' has the piano, 'Goddess Level' the saxophone in the chorus, but 'Alter-Ego' doesn't have an identity that makes it truly stand out.

It also loses something when put next to the groovy R&B and sultry vocals of 'Rose'. Taeyeon's gorgeous falsetto is a highlight of this track, working with Seulgi, who finally seems to stamp her mark on the record. Even the slow bridge to 'Rose' doesn't kill the momentum but showcases the final chorus. It might be the true highlight of the album.

Unfortunately, just as 'Rose' elevates the album, 'Outlaw' brings it back down with the record's biggest fumble. A hard-hitting trap-pop track starts with bars from Karina and Hyoyeon before Winter and Seulgi come in with vocals that mimic the rap style. While 'Outlaw' has all the makings of a headbanger, it falls flat. The instrumentation is abrasive and synth-heavy, but still feels generic, like repackaged versions of earlier songs on the album. 

'MALA' closes the EP with a song reminiscent of Red Velvet. But while Red Velvet gave us two stone-cold classic closers with 'In My Dreams' and 'Celebration' in 2022, 'MALA' isn't the most robust note to end on. It feels like a deep cut from that group's catalogue, but misses the flair added by the three other members of Red Velvet. In fact, it feels a lot like their track 'Birthday', but it lacks the whimsicality that made it such a memorable part of their spectacular discography.

In some ways, Stamp On It is alright. Under different circumstances, it could even be considered a promising debut record. But that only works if 'Step Back' didn't exist. GOT The Beat is a supergroup made of some of K-pop's most prominent artists. Women who have defined the genre. BoA is the Queen of K-pop, while Seulgi, Wendy, and Taeyeon have received their flowers for their own achievements. And in 'Step Back' we saw how they could come together for a true banger. The EP fails to hit the standards they set as a group or the ones the members established on their own. 

The spectre of that debut looms large over the album, which fails to capture the frisson of the dark pop track, its haunting backing vocals, and killer instrumental. It was the ideal version of what a group of this calibre and notoriety should be capable of. 

Stamp On It is entertaining and fans of the individual members will find things to love. But was it worth the wait? Sadly, no. It feels like an average K-pop release, and the potential of this stunning, star-studded ensemble remains unutilised. 

This article is part of Stripe, bdnews24.com's special publication focusing on culture and society from a youth perspective.