Red Velvet are back with ReVe Festival Finale, the 3rd and final chapter in the ReVe Festival trilogy, and featuring a song that some consider to beat Bad Boy, a 2018 Red Velvet song that was touted be the greatest Red Velvet song for its masterful composition, pitch-perfect vocals, and record-breaking media.

Today I'll be listening to just the new songs that were introduced in the ReVe Festival Finale album, and not the ones that were included from the Day 1 and Day 2 albums. I'm particularly excited to see what Psycho is like, and judging by the reception its gotten so far, I'm highly anticipating one of if not Red Velvet's greatest song.

0:03 - I like that most of the members get a small note to include into the intro here, it’s a nice showcase of vocal ability. The subtle string pizzicato also creates a dark and mysterious vibe to the intro.
0:13 - This wonderful electronic arpeggiated synth here is great, it’s bubbly and vibrant compared to the sombre and dark heavy bass that is a layer below it, this combined with Irene’s stellar vocals create a nice composition.
0:25 - I love the small attention-to-detail with Seulgi’s ‘I don’t play that game’ with the entire instrumental composition coming to a stop to emphasise her lyrics in this first verse.
0:26 - The re-entry with the glitch effect and back into that beautiful arpeggio is a nice transition from Seulgi’s soulful and mature tone into Yeri’s youthful and girly tone.
0:39 - The instrumental composition comes to a stop again here but this time with a light, airy, almost ghost-like vocal to carry the verse into the first pre chorus.
0:41 - I love how airy and warm the instrumentals are here, especially with Wendy’s amazing falsetto, it’s such a dark pacing compared to the artificially sweet and bubbly instrumentals with the arpeggio earlier in the song.
0:53 - So much brass to be heard here to emphasise the power and weight of the chorus, especially with the fast shakers to increase the tempo even more compared to the slow and steady pacing of the first verse and bridge.
1:08 - The brass instrumentals go so well with the harmony going on, there’s so much power in the highs because of how punchy the brass is here. Wendy and Seulgi’s light sub vocals also give the chorus some more body in the higher registers.
1:23 - Irene’s verse here has the same pizzicato that was found in the intro. I like that the second verse does not follow in the footsteps in the first verse with the arpeggio - even though the arpeggio was very addictive - to keep the song fresh and new throughout, as well as allowing Irene’s vocals here to shine through and emphasise on her talent.
1:28 - The re-introduction of the arpeggio for Yeri’s small line here is nice as it breaks up the dreary and dark mood from the chorus that carried over into Irene’s part of the second verse.
1:32 - I love Seulgi’s vocals here. She goes so high into minor keys, and the arpeggio almost seems to follow her even though the arpeggio is still the same register as before.
1:36 - I like that they re-introduced the glitch effect transitioned back into the arpeggio was added to this latter half of the second verse for Joy and Wendy’s parts here, they both have feminine yet mature vocal tones compared to Irene and Seulgi who led the first verse with their contrasting vocal tones.
1:50 - This time it’s Seulgi to do the pre chorus and she effortlessly does this one with her serene and graceful tone, which is in contrast to Wendy’s sharp and melodic tone in the first pre chorus. I love the contrast and the distinguishable nature of the bridges to tell who’s singing which bridge.
2:03 - I absolutely love the chorus of this song. It’s so soulful, full of energy, charisma, and the composition to match.
2:30 - A nice sombre change of pace and volume, Joy with her ballad-like singing her combined with the muted instrumentals makes for a completely calm break in the song with this bridge.
2:45 - I love that this chorus doesn’t deviate too much from the already-masterful chorus that we had previously in the song, apart from some additional subvocals. It’s such an addictive and wonderful chorus to listen to.
2:59 - I like the mix of heavy bass and brass combined with the ‘Hey now we’ll be okay’ to really emphasise the mood and aesthetic of the song. Especially with how the members pause when they say ‘It’s alright’ to really hit home the song’s meaning.

0:12 - There’s such a deep hitting drum and the warped synths, and the vocals have a light warping effect on them too, it’s quite an interesting composition.
0:39 - I like that the warping effect follows through into this prechorus.
0:47 - This is a very EDM-like chorus, it’s very electronica heavy and the vocals are so fast and have a lot of reverb.
1:39 - I find it really funny that the lyrics here are basically how to bake a cake, especially when the instrumentation follows their tone to emphasise the lyrics.

0:12 - A light piano with soulful and ballad-like vocals, this definitely has a jazzy ballad feel to it so far.
0:28 - The vocals are so soulful and heartfelt, the piano still following throughout is lovely to hear.
0:53 - I love how raw and jazzy the chorus is here, there’s barely any assistance to the lyrics apart from the light piano that has been there from the beginning.
2:22 - I like that the instrumentation stops to allow the high note to really hit and emphasise the vocal ability here without any help from instrumentation to elevate the high note.

Gotta outright say it, Psycho in my opinion is a better song than Bad Boy, they're both so exceptionally well-mastered, well-composed, and both absolutely stellar songs, but Psycho's vocals are so wide and beautiful. I love how beautiful the arpeggio is during the verses, as well as the dark and heavy bass that follows the intro as well as parts of the second verse. It's such a nice contrast between the cute & bubbly and the dark and & remorseful. Combine the amazing composition with  the fantastic vocals from all the Red Velvet members and we have ourselves one of the best K-pop songs to be released in 2019.

I know Wendy suffered injuries due to SBS' poor venue management, and Godspeed to her recovering, it must be devastating to create such an amazing song & album and have live performances taken away from you due to a company's poor artist care and attention... I'm sure Red Velvet are looking out for her every day and for a song where Wendy stood out so much as one of if not the best one in the group this time around, it must absolutely suck. I'm sure I'm not the only one, but I'm sure all ReVeLuvs are appreciative of the hard work and effort Wendy has gone through along with Red Velvet to create such an amazing song.