[REVIEW] NCT DREAM's First Album Without Mark Plays It Safe, but Finds a New Balance

NCT DREAM's first studio album without Mark favors familiarity over reinvention. Rather than relying on forceful rap sections to drive the music, the six remaining members put greater emphasis on rhythm, vocal harmonies and the interplay between their voices. The result is recognizably NCT DREAM, though the way the group creates energy has changed.

Released on Nov. 9, "DREAM AFTER DREAM" is the group's sixth studio album and its first since Mark's departure in April. The 10-track record arrives as NCT DREAM celebrates its 10th anniversary, marking a new chapter for Renjun, Jeno, Haechan, Jaemin, Chenle and Jisung.

Mark's contribution went beyond his position as a rapper. On earlier singles such as "Hot Sauce," "Glitch Mode" and "ISTJ," his sharp delivery often helped establish a song's momentum or push it through sudden changes in tempo and intensity. His absence raises an interesting question: how would NCT DREAM approach those moments without him?

The answer begins with lead single "Boogie Woogie." Drawing on 1970s disco-funk, the track combines a bouncing bassline, crisp percussion and modern synthesizers. It favors a steady, danceable groove over the heavier production and abrupt transitions heard on some of the group's previous releases.

Strings enter during the pre-chorus, gently lifting the melody before the layered vocals and repetitive hook take over. The post-chorus adds momentum without dramatically changing direction. Once "Boogie Woogie" establishes its rhythm, it rarely breaks away from it.

That makes it noticeably different from "Hot Sauce," where unusual samples, aggressive rap and an explosive chorus create sharp contrasts. "Glitch Mode" thrives on sudden shifts in texture, while "ISTJ" moves between hip-hop and dance-pop with rap playing a prominent role.

Rap has not disappeared from NCT DREAM's music, however. Jeno, Jaemin and Jisung continue to handle rap passages throughout "Boogie Woogie." The opening verse moves between Haechan, Chenle, Jeno, Jisung, Renjun and Jaemin, while the bridge passes from Haechan to Jeno and Chenle.

Rather than allowing one extended rap section to dominate, the song moves quickly between members. Their lines follow the existing groove instead of interrupting it. The difference is less about how much rap there is and more about what it does within the arrangement.

Still, that shift cannot be attributed entirely to Mark's departure. Disco-funk naturally calls for a different approach from the hip-hop-driven production of the group's earlier singles.

What stands out most is the vocal blend. Haechan and Chenle bring their distinctive tones to the opening, while Renjun's smoother delivery contrasts with Jeno, Jaemin and Jisung. In the chorus, the overlapping voices create much of the song's energy, rather than any single member taking center stage.

It works, although the approach has its limitations. "Boogie Woogie" is immediately accessible, with a catchy chorus and an upbeat rhythm that captures NCT DREAM's playful side. Yet its predictability also makes it less memorable than some of the group's more adventurous singles. The song is enjoyable from start to finish, but there are few moments that genuinely surprise. For a group celebrating its 10th anniversary and beginning a new chapter, it is a relatively safe choice.

The album's B-sides provide a fuller picture of the six-member lineup. Pre-release track "The Sun" is a vocal-driven pop ballad built around synthesizers and electric guitar. Beginning with a restrained arrangement, it gradually expands as additional instruments and vocal layers enter.

The most striking moment comes after the three-minute mark, when Chenle's delivery of "Today" leads into a fuller, more dramatic climax. Haechan, Renjun and Chenle carry much of the vocal weight, while Jeno, Jaemin and Jisung contribute melodic passages that blend naturally into the song. Rather than separating rappers from vocalists, "The Sun" allows the members to build intensity together.

"Pressure" shows a harder-edged side of the album. Heavy drums and electronic house production create a more forceful atmosphere, retaining some of the intensity associated with NCT DREAM's earlier work.

"Tumbler," by contrast, combines retro synth-pop with contemporary pop R&B. Its smoother arrangement places the focus on melody and the members' vocal chemistry rather than dramatic production changes.

Across its 10 tracks, "DREAM AFTER DREAM" moves through disco-funk, balladry, electronic dance music, synth-pop and pop-rock. Despite the variety, the songs generally favor melodic accessibility and vocal cohesion over unpredictable arrangements.

That direction reflects the members' own comments about the album. In a written interview released on Nov. 9, Chenle explained that the group wanted to continue delivering the hope and encouragement associated with NCT DREAM rather than pursue change for its own sake. Haechan similarly described the music they create together as central to the group's identity.

Mark's absence is not without musical consequences. The sharpness and urgency his rap brought to previous singles are less pronounced on "Boogie Woogie." But the remaining members have not simply divided his parts among themselves. Instead, the song gives rap a different function, allowing groove and vocal harmonies to carry more of the momentum.

"DREAM AFTER DREAM" is not an attempt to erase Mark's contribution or introduce an entirely new NCT DREAM. It preserves the group's familiar sound while adjusting how the six members work together. That makes for a cohesive, enjoyable album, even if its more predictable moments leave something to be desired.

Ten years into their career, NCT DREAM have shown that their musical identity can continue with six members. The next challenge is finding new ways to build on it.