When Nietzsche introduced his concept of the “Übermensch” in 1883’s Thus Spoke Zarathustra, he presented the world with what he hoped would be a new goal for humanity. Translated to “beyond-man”, the idea encouraged self-discovery and self-improvement, those who followed it striving to be the best version of themselves – or, as G-Dragon explains in a press statement about his new album named after the philosopher’s notion, “an individual who transcends themselves”.
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Transcending himself – and his peers – musically is something that seems to come effortlessly to G-Dragon, the BIGBANG rapper often dubbed the king of K-pop for his wide-reaching impact and influence. He’s done it multiple times over his career, whether besting 2009 album ‘Heartbreaker’’s uplifting EDM-pop with the eclecticism of 2012’s ‘One Of A Kind’, or changing gears between 2013’s dubstep-tinged ‘Coup D’etat’ and the more reflective 2017 EP ‘Kwon Ji Yong’.
‘Übermensch’, his first release since that latter project and first full-length album in 12 years, switches modes once again. Here, G-Dragon leans more into an upbeat pop pocket, whether on the instantly infectious, funk-laced Anderson .Paak collaboration ‘Too Bad’, or on the blissful, falsetto-filled ‘IBELONGIIU’. There’s still room to showcase the dexterous rap skills that have earned him the distinction of being K-pop’s best rapper, from the confident, colourful ‘Power’ to ‘Gyro-Drop’’s stuttering rhythms.
In the press statement that accompanied the album’s release, GD described the record as one that “embodies the idea of presenting a stronger and more resilient version of oneself to the public”. That’s evident in ‘Power’, where he raps about powering up and being able to “prove ‘em all wrong, I’ve got all the receipts”, and on ‘Home Sweet Home’, in which his BIGBANG bandmate Taeyang declares the “golden days are still alive”, refusing to submit to the idea of being past their prime.
Between these moments, though, there are other conceptual strands to the record – ones that contend with different parts of a relationship. There are fraught, tough times on ‘Drama’, a ballad reminiscent of ‘Untitled, 2014’ that finds G-Dragon delivering lyrics in English, Korean, Chinese and Japanese, and lamenting someone who “seems like you like to start an argument / Win or lose just for the hell of it”.
On the flip side, there are moments of unwavering devotion on the aforementioned ‘IBELONGIIU’ (“You and me alone in the dark / Forever I’ll stay with you”) and spicy spells of desire. Over the murky guitar strums of ‘Bonamana’, the star confesses, “It feels like I’ll die without you”, before urging his lover: “Get on top of me and rub me, push me hard, scream, girl.” ‘Gyro-Drop’ – named after a drop tower ride at Seoul theme park Lotte World – compares a hook-up to more amusement park attractions: “Ride me like a carousel / Spin me like a Ferris wheel.”
Throughout his career, G-Dragon has always commanded the attention of the biggest names in music. Even after a long break, that hasn’t changed – ‘Take Me’ features a guitar solo from disco legend Nile Rodgers, while ‘Drama’ was co-written with US hitmaker Diane Warren (Lady Gaga, Mariah Carey). As he references on ‘Power’, he’s long been known as “GOAT, the livin’ legend”. ‘Übermensch’ is firmly on par with G-Dragon’s best work and yet more proof of his unwavering greatness.
Details
- Record label: Galaxy Corporation / EMPIRE
- Release date: February 25, 2025
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