Alright now this is something that I think needs to be discussed about, specifically amongst girl groups.
Recently I stumbled upon numerous articles talking about the Korean music scene and how it has become hyper-sexualised. Now, this isn't the cause of critique, rather naysayers have a gripe with sexualisation as it takes away from the quality of artistes' music, and brings misdirected focus to perverse actions. In other words, sexualisation (is claimed to) degrades the Korean music industry and makes it a contest in which groups seek to out 'pussy-pop' one another rather than relentlessly elevate their standards.
For one, I have indeed noticed the recent trends of hyper sexualisation in the Korean music market, as the past 4 major releases from girl groups this month (Girl's Day, Dal Shabet, Rainbow Blaxx, AOA) have been milking the 'sexy concept' dry, showcasing risqué choreography involving breast-rubbing, skirt unzipping, crotch caressing and dive-to-the-ground-as-if-lapping-up-a-pool-of-you-know-what-ing. These have really pushed the boundaries and I daresay broadcasting stations are hardpressed as to whether or not they should ban these groups from performing.
I understand where entertainment companies are coming from as sexy concepts have propelled previously struggling groups into stardom, and such occurances could happen again. However, I agree with the critics to a certain extent as some forms of 'sexy' do leave a lingering distaste in my mouth; trash for trashy's sake.
Let us take the previous 4 comebacks as an example.
AOA and Girl's Day are prime examples of what I would deem as 'classy sexy'. Their performances are sexual no doubt, yet they are pulled off with a sort of class and the lyrics of their songs have meanings which do not connote sexual undertones. Their outfits were rather appropriate as well, as even in AOA's case, they integrated their 'stripping' into the song which bringing too much attention to the action and away from their song. These are acceptable to me as they have meaning, these forms of sexy convey a certain emotion and invoke a reaction that is appropriate, rather than leave us in a state of confusion and slight disgust.
Dal Shabet and Rainbow Blaxx however are what the critics are truly criticising. They exemplified 'trashy trash', sex for sex's sake, meaningless provocativeness however you would call it. Their choreography was so painfully and obviously putting so much emphasis on their lady parts, groin rubbing, boob squeezing and whatnot. In a technical sense, the songs themselves did not convey the sort of emotional impact as the other two songs, and did not have the template which required such provocative moves to be executed. Let's put it this way, classy-sexy is appropriate and most importantly necessary for a song to be performed well, however Rainbow Blaxx and Dal Shabet seemed to have a speed test, trying to squeeze as many 'sexy' moves into their choreography as quickly as they could. I'm honestly not quite sure of their intentions, other than to appease to thirsty testosterone-brimming lads, but all they come off as is really really desperate.
In short, I do not see a problem with sexualisation. I see a problem with how it is executed, how it is portrayed and how it is received by the viewer. Image and meaning go hand in hand, and I hope entertainment companies can think about the image they are trying to put across and how they work WITH the artists or the songs in a complete united entity, instead of forcing distasteful sex down our throats.
- The Kpop Philosopher
Saturday, 1 February 2014
Tuesday, 28 January 2014
[Single Review] Miss A- "Hush"
Being out of one's element is a scary place to be, both for ourselves and also for our audiences. Having made a name of ourselves in a certain field or genre of study, changing the pace of our work would definitely come as a surprise not only to ourselves but also to those who have been loyally accustomed to our previous fields of expertise. This pretty much how I felt about Miss A's long-awaited, and completely unexpected comeback.
Oddballs are what I would say Miss A bring to mind first. They have dabbled in many different styles over the past few months and I honestly did not know what to expect for 'Hush'. From teaser photos, a recollection of Miss A circa 'Touch' era came to mind, exuding an aura of sultry yet haunting vibes. This really got me excited as 'Touch' was one of the most criminally underrated and tragically overlooked songs of 2012.
Onto the song.
I wasn't disappointed in the least, I'd say, as it was everything that I did not expect (which happens to be what I expect from Miss A every comeback ironically). The introduction is very sparse, with few notes and some eerie synths bouncing off the girls' hauntingly ethereal vocals. Min does a fine job holding her with some impassioned delivery, and the song is off to a great start. Suspense builds up with the inclusion of the guitar riffs and the climax of 'nareul wonhae' hits quite abruptly.
This is where everything sort of feels odd, yet right at the same time. As soon as the line is exclaimed, the pace drops way back down again, and a Wild-West-esque whistle emeanates in the background, forming parallels with the initial haunting atmosphere. I personally love the whistle as it is something creative yet somewhat sultry too. The chorus is a bit too quick for my liking with their mutterances sounding rather uncomfortable; still not too many complaints.
The first verse sung by Fei is decent, nothing much to say. Fei has a brilliant voice and I don't think I've ever seen her not succeed in showing that. It is Jia's part that really grabs me as her voice is a lot more firm and her pronunciation a lot crisper, resulting in a verse with slightly more impact.
This is also where it leads up to the chorus which had been feigned previously. The increasingly heavy guitar riffs and the relentless inclusions of different instruments and synths can really be heard around here, and the groove of the song really sets in, accompanied by a livelier chorus. It's almost anthem-like, and the fast-paced words do not pose such a big issue here due to their slight overshadowing by the instrumentals (which I do prefer).
The slow portion is rather abrupt, though the transition is not too jerky. Suzy's voice is rather underrated and out of all the members, I feel like she has the weakest voice but the one most suited for emotional sections like this. It is a well-sung part, which continues to stick to the ethereal and enigmatic theme without lulling off into one of Davichi's sob-story ballad genres.
The powerful chorus follows and the song comes to a resolute end, with a nice mirror effect, repeating the bleak, disperse, simplistic introduction and end with a resounding 'yeah' which had been a common theme throughout. Technically, why I feel this song felt complete was its structure which was very cyclic in nature; the symmetry of the introduction and the conclusion, the repetition of 'yeah', and the alternation of slow verse/bridge and quick chorus are present throughout the songs, which establish an identity even though it may appear that the song goes off tangent randomly.
Still, great song from Miss A. Clever use of song structure.
Long live the flawless kweens of unexpected music.
Oddballs are what I would say Miss A bring to mind first. They have dabbled in many different styles over the past few months and I honestly did not know what to expect for 'Hush'. From teaser photos, a recollection of Miss A circa 'Touch' era came to mind, exuding an aura of sultry yet haunting vibes. This really got me excited as 'Touch' was one of the most criminally underrated and tragically overlooked songs of 2012.
Onto the song.
I wasn't disappointed in the least, I'd say, as it was everything that I did not expect (which happens to be what I expect from Miss A every comeback ironically). The introduction is very sparse, with few notes and some eerie synths bouncing off the girls' hauntingly ethereal vocals. Min does a fine job holding her with some impassioned delivery, and the song is off to a great start. Suspense builds up with the inclusion of the guitar riffs and the climax of 'nareul wonhae' hits quite abruptly.
This is where everything sort of feels odd, yet right at the same time. As soon as the line is exclaimed, the pace drops way back down again, and a Wild-West-esque whistle emeanates in the background, forming parallels with the initial haunting atmosphere. I personally love the whistle as it is something creative yet somewhat sultry too. The chorus is a bit too quick for my liking with their mutterances sounding rather uncomfortable; still not too many complaints.
The first verse sung by Fei is decent, nothing much to say. Fei has a brilliant voice and I don't think I've ever seen her not succeed in showing that. It is Jia's part that really grabs me as her voice is a lot more firm and her pronunciation a lot crisper, resulting in a verse with slightly more impact.
This is also where it leads up to the chorus which had been feigned previously. The increasingly heavy guitar riffs and the relentless inclusions of different instruments and synths can really be heard around here, and the groove of the song really sets in, accompanied by a livelier chorus. It's almost anthem-like, and the fast-paced words do not pose such a big issue here due to their slight overshadowing by the instrumentals (which I do prefer).
The slow portion is rather abrupt, though the transition is not too jerky. Suzy's voice is rather underrated and out of all the members, I feel like she has the weakest voice but the one most suited for emotional sections like this. It is a well-sung part, which continues to stick to the ethereal and enigmatic theme without lulling off into one of Davichi's sob-story ballad genres.
The powerful chorus follows and the song comes to a resolute end, with a nice mirror effect, repeating the bleak, disperse, simplistic introduction and end with a resounding 'yeah' which had been a common theme throughout. Technically, why I feel this song felt complete was its structure which was very cyclic in nature; the symmetry of the introduction and the conclusion, the repetition of 'yeah', and the alternation of slow verse/bridge and quick chorus are present throughout the songs, which establish an identity even though it may appear that the song goes off tangent randomly.
Still, great song from Miss A. Clever use of song structure.
Long live the flawless kweens of unexpected music.
Monday, 4 November 2013
[Single Review]- "Block B- Very Good"
Block B is back! And so am I!
Sorry for the hiatus guys, my exam period was really really long and I had to study. And well I achieved pretty damn stellar results so back to blogging :))
Anyway, Block B has had a pretty tumultuous career thus far, reaching great heights in popularity and facing lots of controversy regarding their wild antics and arguments with their company. But each time they fell into an abyss of dispute, they always came back with something spectacular (hey there 'Nilili Mambo') and 'Very Good' is an indication of this unquenchable and undying spirit. 'Very Good' is exactly what I had hoped for and what I had expected from a group like Block B, a group which honestly doesn't give two hoots about what the public tells them and just wants to go out there onto a stage, and make music for its greatest purpose: to have a bloody fun time.
The beat for 'Very Good' is rather unconventional I'd say for an electro-dance pop song, which many variations in pitch and rhythmic patterns throughout the song.
Case in point, the intro of the song struck me as rather different, which a rather dragged out opening verse with a sparseness that seems chock-full of tension and uncertainty, before exploding into the chorus. Having a chorus before the first verse is a tried and tested formula that have not always worked well (case in point: 2NE1's 'I Love You'). What really makes a preluding chorus work would be its impact, in that it should project an instantaneous image of the song's shade, what the song is genuinely about. Why 2NE1 failed to do so was because their chorus was very mellow and unlike the identity of the song, which had its roots in a more varied yet powerful emotional template that could not be fully expressed by the comparatively lackluster chorus. In 'Very Good', the chorus happens to be the climax, the part where all hell breaks lose and people just want to get up and party. And it definitely fits the palette of the song, which is all about wildness and pure fun. This chorus as prelude is incredibly effective and grips me instantly to the song.
The wild prelude makes the first verse very effective too, as the toning down of the tempo creates a space of voidness, one where momentum is taken back for a very short period of time, but actually exploding within us. What this means is basically, because we have just come down from an emotional high in the prelude, we feel a sucking sense in our hearts having a more laid back verse; this makes us uncertain of the song's identity but faintly clear as to what it might be, resulting in uncertainty and tension within us.
In fact, this pattern is very prominent throughout the entire song, with emotional highs coupled successively with emotional lows, resulting in a roller coaster emotional ride, creating parallels with the actual feel of the song which is to live like a one on a roller-coaster, having fun and not caring about what others think.
I really admire this identity and strength in character that Block B has; their confidence in themselves is so unlike many other groups as they know who they are and pursue music to show the world what is essentially Block B. 'Very Good' re-affirms this point as Block B has shown to be incredibly confident in what they are producing as artist, and as listeners, we know that we will always be able to count of them for a good slice of Block B's identity in each and every song they produce. And well, it's also a plus point that their identity comprises of pretty kick-ass songs.
Rarely do we have songs that just scream a certain group's style as loudly as this one, and thus, I am not disappointed with this comeback.
Block B, I foresee, will always retain their infectingly addictive style and as a fan, I am definitely reassured.
Sorry for the hiatus guys, my exam period was really really long and I had to study. And well I achieved pretty damn stellar results so back to blogging :))
Anyway, Block B has had a pretty tumultuous career thus far, reaching great heights in popularity and facing lots of controversy regarding their wild antics and arguments with their company. But each time they fell into an abyss of dispute, they always came back with something spectacular (hey there 'Nilili Mambo') and 'Very Good' is an indication of this unquenchable and undying spirit. 'Very Good' is exactly what I had hoped for and what I had expected from a group like Block B, a group which honestly doesn't give two hoots about what the public tells them and just wants to go out there onto a stage, and make music for its greatest purpose: to have a bloody fun time.
The beat for 'Very Good' is rather unconventional I'd say for an electro-dance pop song, which many variations in pitch and rhythmic patterns throughout the song.
Case in point, the intro of the song struck me as rather different, which a rather dragged out opening verse with a sparseness that seems chock-full of tension and uncertainty, before exploding into the chorus. Having a chorus before the first verse is a tried and tested formula that have not always worked well (case in point: 2NE1's 'I Love You'). What really makes a preluding chorus work would be its impact, in that it should project an instantaneous image of the song's shade, what the song is genuinely about. Why 2NE1 failed to do so was because their chorus was very mellow and unlike the identity of the song, which had its roots in a more varied yet powerful emotional template that could not be fully expressed by the comparatively lackluster chorus. In 'Very Good', the chorus happens to be the climax, the part where all hell breaks lose and people just want to get up and party. And it definitely fits the palette of the song, which is all about wildness and pure fun. This chorus as prelude is incredibly effective and grips me instantly to the song.
The wild prelude makes the first verse very effective too, as the toning down of the tempo creates a space of voidness, one where momentum is taken back for a very short period of time, but actually exploding within us. What this means is basically, because we have just come down from an emotional high in the prelude, we feel a sucking sense in our hearts having a more laid back verse; this makes us uncertain of the song's identity but faintly clear as to what it might be, resulting in uncertainty and tension within us.
In fact, this pattern is very prominent throughout the entire song, with emotional highs coupled successively with emotional lows, resulting in a roller coaster emotional ride, creating parallels with the actual feel of the song which is to live like a one on a roller-coaster, having fun and not caring about what others think.
I really admire this identity and strength in character that Block B has; their confidence in themselves is so unlike many other groups as they know who they are and pursue music to show the world what is essentially Block B. 'Very Good' re-affirms this point as Block B has shown to be incredibly confident in what they are producing as artist, and as listeners, we know that we will always be able to count of them for a good slice of Block B's identity in each and every song they produce. And well, it's also a plus point that their identity comprises of pretty kick-ass songs.
Rarely do we have songs that just scream a certain group's style as loudly as this one, and thus, I am not disappointed with this comeback.
Block B, I foresee, will always retain their infectingly addictive style and as a fan, I am definitely reassured.
Sunday, 18 August 2013
[Single Review] 2NE1- "Do You Love Me?"
Ah, back from a long hiatus! And you know, who else has been on a long hiatus? 2NE1! One of my favourite girl groups ever.
I was initially deliberating between reviewing Brown Eyed Girls or 2NE1, but in short, I loved 'Kill Bill' too much to review it. I feel like anything I put up won't really depict the song's greatness as well as it truly is; I'd rather all of you listen to them yourselves and encapsulate yourselves in its silken wings of western infused-dance-electronica greatness.
So, onto 2NE1. Not hearing them for more than a year (and yes, I do not count 'Falling in Love' as a legitimate comeback single because, well, I really did not wish to associate that bore-fest with any other component of 2NE1's otherwise flawless discography), what was I truly expecting from them? I wanted to be blown away, and well that is pretty much as generic a description as anything any Kpop fan has ever said, so to get into specifics, I wanted something distinctively 2NE1.
2NE1 has a flavour which I can't really coin on any other girl group even after months of deep perusing. We see SNSD, Kara and even a dabbling of T-ara trying to go edgy and more, in a lay-man's method of speaking, 'swaggier'. And whilst their singles have been notably good, I never seem to be able to be amazed by them even though the swag image in a rather unique one for all of them. And why do I not feel that sense of stupefaction?? Well maybe its because my mind is still ruminating in 2009, when 2NE1 burst onto the scenes and took our hearts by storm. Recently, they have really sampled a number of different genres, and they have been pretty hit or miss. I understand that their image is like reggae hip hop, but to me, the style in which they were the most comfortable in would have to be, undoubtedly, hard banging dirty clubby dance pop. A cluttered mouthful indeed, but the simplicity in beats and dance break appropriate vibes given out by this genre of music is astounding especially combined with Minzy's inborn bad-ass-ness and CL's instinctive confidence.
So boy was I pleased when I heard 'Do You Love Me?'. The song is infectious and powerful, about as biting as some of 2NE1's best works, and it is a song that conjures those reminiscent auras that 2NE1 used to exude back then. Good times. But that is not to say the song has no demerits. There are certain sections of the song that do not really do much for it, but neither do they take anything away; still, they can and should have been improved on.
The song starts off with some computerised trills and synths which I feel originally had the purpose of being an energetic tart to the song,but ultimately fell pretty flat for me. The pace was just a tad too slow for any key momentum to generate and everything seems rather unexciting to be honest. What makes this bit worse is how disjointed and out of character it is from the following sections of the song, almost akin to putting an APink member in Wa$$up for example. (BTW Wassup is a new 'twerk-dol' group which debuted with a horrifically craptacular eponymous single 'Wassup'. Go check them out please. It will reshape how you view the industry as a whole, and will be an enlightening moment that you shall never ever consign to oblivion) As soon as the intro begins, it seems to abruptly stop giving us this feeling of voidness, like this section was never really meant to be.
Anyway, the real beat that I had been waiting for kicks in. And it kicks hard. Like a homeless dude kicking a pigeon for stealing his last hunk of bread. That hard.
CL's vocals are purposely monotonous, almost in a robotic, mechanical fashion, and they just add this undescribable power to the already foot-stomping beat. A fantastic switch up from the initially dull prelude that could have been entirely scrapped for the grand honour of having this awesome bass line as a persuasive and absorbing introduction.
The chorus shows up next and Bom's voice is surprisingly warm and emotional; not in a sappy, crybaby type of emotion, rather a more lucid and vividly colored palette of emotion that can be sensed from the get-go. As a result the chorus never loses pace and gives us an infectious hook that shall pervade our subconscious lyricist minds for weeks to come. Dara's verse is a very interesting part of the song that surprisingly, is my favourite. The other three memebers' voices are very deep in tone which add that almost robotic and hard hitting feel to their dance tracks. But as we know too much of a good thing is just unbearable occasionally and a slightly switch up can have instrumental beneficial effects as shown in this song. Dara's voice is like a whisper but incredibly peppy, light and shockingly complementary to the bass line. Her voice is hard in a different way, in that whilst her voice is not as powerful, she has conviction in her style and her more supportive role in the song, a sense of confidence which makes all her verses really successful in my opinion.
Minzy's lines are classic Minzy, smooth and bold. I really admire how she manages to convey this confidence and maturity in her performance and vocals considering her relative youth compared to the other members, but out of all of them I would say that she contributes the most edginess to their song in the group. Even more than CL who I feel is more responsible for setting the tone; Minzy just brings everything to another level.
Then the beat slows rapidly. Now usually I hate beat changes, but this is really good, simply because of the emotional template that is amplified through the slower, more pronounced and emotionally fleshed out lines. Because of the slower pace, Cl manages to maintain the confident vibe of the song but channels the confidence not into screaming or robotically chanting out lines, rather into a really beautiful verse with strikingly pronounced emotive effects. One of the best from CL that I have ever had the pleasure of listening to.
The rest of the song is good as can be inferred from my above reviews of the sections but I would like to bring up another verse, namely the entire song after the second chorus. This is where the party anthem vibe hits overdrive but the cold menacingly hard beats are substituted for more dubstep-like, lighter, fun bass synths that really cause you to start jumping in ecstasy. Whilst the beat is different and more laid back, the girls still project their voices out loud with pride and exuberance, exuding confidence and power like all the sections before. What could have been improved would probably have been a more noticeable bass line as it seems the chanting may have slightly overpowered the backing track, but that is only a minor quibble.
In all, a really strong comeback from 2NE1, though not as good as Brown Eyed Girls, but it really sent me back in time to help me understand the justification behind my love for the group. Now they have reconnected with tier roots, they could definitely go back to more experimental tracks. Well, until I get over 'DYLM' of course.
- The Kpop Philospher
I was initially deliberating between reviewing Brown Eyed Girls or 2NE1, but in short, I loved 'Kill Bill' too much to review it. I feel like anything I put up won't really depict the song's greatness as well as it truly is; I'd rather all of you listen to them yourselves and encapsulate yourselves in its silken wings of western infused-dance-electronica greatness.
So, onto 2NE1. Not hearing them for more than a year (and yes, I do not count 'Falling in Love' as a legitimate comeback single because, well, I really did not wish to associate that bore-fest with any other component of 2NE1's otherwise flawless discography), what was I truly expecting from them? I wanted to be blown away, and well that is pretty much as generic a description as anything any Kpop fan has ever said, so to get into specifics, I wanted something distinctively 2NE1.
2NE1 has a flavour which I can't really coin on any other girl group even after months of deep perusing. We see SNSD, Kara and even a dabbling of T-ara trying to go edgy and more, in a lay-man's method of speaking, 'swaggier'. And whilst their singles have been notably good, I never seem to be able to be amazed by them even though the swag image in a rather unique one for all of them. And why do I not feel that sense of stupefaction?? Well maybe its because my mind is still ruminating in 2009, when 2NE1 burst onto the scenes and took our hearts by storm. Recently, they have really sampled a number of different genres, and they have been pretty hit or miss. I understand that their image is like reggae hip hop, but to me, the style in which they were the most comfortable in would have to be, undoubtedly, hard banging dirty clubby dance pop. A cluttered mouthful indeed, but the simplicity in beats and dance break appropriate vibes given out by this genre of music is astounding especially combined with Minzy's inborn bad-ass-ness and CL's instinctive confidence.
So boy was I pleased when I heard 'Do You Love Me?'. The song is infectious and powerful, about as biting as some of 2NE1's best works, and it is a song that conjures those reminiscent auras that 2NE1 used to exude back then. Good times. But that is not to say the song has no demerits. There are certain sections of the song that do not really do much for it, but neither do they take anything away; still, they can and should have been improved on.
The song starts off with some computerised trills and synths which I feel originally had the purpose of being an energetic tart to the song,but ultimately fell pretty flat for me. The pace was just a tad too slow for any key momentum to generate and everything seems rather unexciting to be honest. What makes this bit worse is how disjointed and out of character it is from the following sections of the song, almost akin to putting an APink member in Wa$$up for example. (BTW Wassup is a new 'twerk-dol' group which debuted with a horrifically craptacular eponymous single 'Wassup'. Go check them out please. It will reshape how you view the industry as a whole, and will be an enlightening moment that you shall never ever consign to oblivion) As soon as the intro begins, it seems to abruptly stop giving us this feeling of voidness, like this section was never really meant to be.
Anyway, the real beat that I had been waiting for kicks in. And it kicks hard. Like a homeless dude kicking a pigeon for stealing his last hunk of bread. That hard.
CL's vocals are purposely monotonous, almost in a robotic, mechanical fashion, and they just add this undescribable power to the already foot-stomping beat. A fantastic switch up from the initially dull prelude that could have been entirely scrapped for the grand honour of having this awesome bass line as a persuasive and absorbing introduction.
The chorus shows up next and Bom's voice is surprisingly warm and emotional; not in a sappy, crybaby type of emotion, rather a more lucid and vividly colored palette of emotion that can be sensed from the get-go. As a result the chorus never loses pace and gives us an infectious hook that shall pervade our subconscious lyricist minds for weeks to come. Dara's verse is a very interesting part of the song that surprisingly, is my favourite. The other three memebers' voices are very deep in tone which add that almost robotic and hard hitting feel to their dance tracks. But as we know too much of a good thing is just unbearable occasionally and a slightly switch up can have instrumental beneficial effects as shown in this song. Dara's voice is like a whisper but incredibly peppy, light and shockingly complementary to the bass line. Her voice is hard in a different way, in that whilst her voice is not as powerful, she has conviction in her style and her more supportive role in the song, a sense of confidence which makes all her verses really successful in my opinion.
Minzy's lines are classic Minzy, smooth and bold. I really admire how she manages to convey this confidence and maturity in her performance and vocals considering her relative youth compared to the other members, but out of all of them I would say that she contributes the most edginess to their song in the group. Even more than CL who I feel is more responsible for setting the tone; Minzy just brings everything to another level.
Then the beat slows rapidly. Now usually I hate beat changes, but this is really good, simply because of the emotional template that is amplified through the slower, more pronounced and emotionally fleshed out lines. Because of the slower pace, Cl manages to maintain the confident vibe of the song but channels the confidence not into screaming or robotically chanting out lines, rather into a really beautiful verse with strikingly pronounced emotive effects. One of the best from CL that I have ever had the pleasure of listening to.
The rest of the song is good as can be inferred from my above reviews of the sections but I would like to bring up another verse, namely the entire song after the second chorus. This is where the party anthem vibe hits overdrive but the cold menacingly hard beats are substituted for more dubstep-like, lighter, fun bass synths that really cause you to start jumping in ecstasy. Whilst the beat is different and more laid back, the girls still project their voices out loud with pride and exuberance, exuding confidence and power like all the sections before. What could have been improved would probably have been a more noticeable bass line as it seems the chanting may have slightly overpowered the backing track, but that is only a minor quibble.
In all, a really strong comeback from 2NE1, though not as good as Brown Eyed Girls, but it really sent me back in time to help me understand the justification behind my love for the group. Now they have reconnected with tier roots, they could definitely go back to more experimental tracks. Well, until I get over 'DYLM' of course.
- The Kpop Philospher
Thursday, 4 July 2013
A Quick Word
Sorry for yet another hiatus guys...I've been really busy with school and I'm working on my writing technique so I haven't had time to post anything. I shall be posting a review tomorrow so check it out!
It should be about Girl's Day or 4Minute or even Shinhwa. Who knows?
- The Kpop Philosopher
It should be about Girl's Day or 4Minute or even Shinhwa. Who knows?
- The Kpop Philosopher
Saturday, 20 April 2013
[Single Review] Girl's Day- 'Expectation'
Firstly, I apologise for the long hiatus from posting. I have been so busy. I know Girl's Day had their goodbye stage already but I really wanted to share my opinions about this song.
The art of complete revolution involve little stages of gradual redevelopment, that ultimately culminate into something of a quality utterly different from another. A sudden change is not a revolution well-accepted as one is unable to be accustomed it, but one that reveals itself in little bursts actually make coherent sense. Girl's Day has had a recent transformation into a really sultry and mature image, which I personally have expected unlike many others. Most groups start out really cute and all and suddenly change gears to this hardcore dominatrix theme which no one seems to get. Girl's Day, with all their recent releases, have displayed the understanding of age and understanding of female psychology, thus their latest release does not actually shock me as much.
I stan for Girl's Day. None of their songs have had any faults and 'Twinkle Twinkle' is still a dance-pop masterpiece. Their videos and concepts are so out there (not as much as Crayon Pop, my ulti biases) but their sounds are simply infectious. 'Don't Forget Me' was brilliant and truly mature-sounding in its interpretation of innocent love, and it really signalled the beginning of this change that I was expecting Girl's Day to make.
Let's face it. We all expected 'Expectation' to come. Or at least something along the lines of it. It's deep and sexy, a motif that was hinted in their past couple of songs. Onto the frame analysis of it.
The intro with the cooing and almost marimbramic vibrations set the stage for the song. It has this upbeat rhythm going into the song, before being sucked away and plunged straight into the first verse. This shows complexity and introduces a new theme, the one of having something and letting go of it entirely only to get something back that is better. We have an awesome beat, but it gets taken away from us, before returning back to us in the first burst with an incredibly addictive Europop tribeca jive.
At the end of each line, the girls' breaths become apparent and high-pitched, adding a layer of feminity and vulnerability to the song and making it richer with emotion. Not to mention showing off their vocal chops.
The build-up before the chorus is the best I've heard in 2013 thus far. The whole backing track dissipates and we are left with this thumping bass groove and the girls' incredibly cogent voices. Their voices get louder and louder, and the backing track becomes more complex, adding riffs, then more drum beats then Nicki-Minaj-esque synths before climaxing.
Wait. Before the chorus, an important event takes place. Everything shuts down again and they repeat a single line. You know what I'm talking about. As the backing is sucked off, Hyeri sings out the line a second time, this time punctuated with greater emotion and leaving us in suspense. This act lasts only a fraction of a second and makes the chorus that much more explosive. About the chorus, I'm not really sure how to describe it. It is incredible, emotions reading high and channeling the sultry introduction only with greater pacing and feel. The rest of the song works perfectly well, pacing is excellent and there is this constant tone of pleading yet subtle empowerment.
The slow section is awesome too, as we feel that it sticks to the original emotional quality of the song only amplified by Minah's earnest vocals and the minimalistic backing. The backing track propels the song forward with its simplistic complexity.
Complexity should never be overly-complex. Girl's Day is a complex group, but their songs and goals are there for all to see and channel. They are direct to us and we relate to them. At least in my opinion. How could you not love them?
The art of complete revolution involve little stages of gradual redevelopment, that ultimately culminate into something of a quality utterly different from another. A sudden change is not a revolution well-accepted as one is unable to be accustomed it, but one that reveals itself in little bursts actually make coherent sense. Girl's Day has had a recent transformation into a really sultry and mature image, which I personally have expected unlike many others. Most groups start out really cute and all and suddenly change gears to this hardcore dominatrix theme which no one seems to get. Girl's Day, with all their recent releases, have displayed the understanding of age and understanding of female psychology, thus their latest release does not actually shock me as much.
I stan for Girl's Day. None of their songs have had any faults and 'Twinkle Twinkle' is still a dance-pop masterpiece. Their videos and concepts are so out there (not as much as Crayon Pop, my ulti biases) but their sounds are simply infectious. 'Don't Forget Me' was brilliant and truly mature-sounding in its interpretation of innocent love, and it really signalled the beginning of this change that I was expecting Girl's Day to make.
Let's face it. We all expected 'Expectation' to come. Or at least something along the lines of it. It's deep and sexy, a motif that was hinted in their past couple of songs. Onto the frame analysis of it.
The intro with the cooing and almost marimbramic vibrations set the stage for the song. It has this upbeat rhythm going into the song, before being sucked away and plunged straight into the first verse. This shows complexity and introduces a new theme, the one of having something and letting go of it entirely only to get something back that is better. We have an awesome beat, but it gets taken away from us, before returning back to us in the first burst with an incredibly addictive Europop tribeca jive.
At the end of each line, the girls' breaths become apparent and high-pitched, adding a layer of feminity and vulnerability to the song and making it richer with emotion. Not to mention showing off their vocal chops.
The build-up before the chorus is the best I've heard in 2013 thus far. The whole backing track dissipates and we are left with this thumping bass groove and the girls' incredibly cogent voices. Their voices get louder and louder, and the backing track becomes more complex, adding riffs, then more drum beats then Nicki-Minaj-esque synths before climaxing.
Wait. Before the chorus, an important event takes place. Everything shuts down again and they repeat a single line. You know what I'm talking about. As the backing is sucked off, Hyeri sings out the line a second time, this time punctuated with greater emotion and leaving us in suspense. This act lasts only a fraction of a second and makes the chorus that much more explosive. About the chorus, I'm not really sure how to describe it. It is incredible, emotions reading high and channeling the sultry introduction only with greater pacing and feel. The rest of the song works perfectly well, pacing is excellent and there is this constant tone of pleading yet subtle empowerment.
The slow section is awesome too, as we feel that it sticks to the original emotional quality of the song only amplified by Minah's earnest vocals and the minimalistic backing. The backing track propels the song forward with its simplistic complexity.
Complexity should never be overly-complex. Girl's Day is a complex group, but their songs and goals are there for all to see and channel. They are direct to us and we relate to them. At least in my opinion. How could you not love them?
Friday, 22 February 2013
Wrap-up of February (VIXX: 'On and on', SISTAR 19: 'Gone Not Around Any Longer', CNBLUE 'I'm Sorry')
I've been really busy the last few weeks since its test season :( But anyway, many new comebacks have been out since my last post, and I just want to touch on them in brief, just to say my opinions
;
VIXX released 'On and on' and boy, do I love it. It has a very dark tint to it, yet masked by this onslaught of electronica. It is definitely a lot more mature sounding, and the song progression really abides by the structure of classic storytelling, the rising action, climax and falling action. The 'I need therapy' bit, aside from being insanelly catchy, almost serves a reflection of the whole song, making the conclusion just as deep and frantic as the rest of the song had been.
SISTAR19 made their comeback too, with 'Gone Not Around Any Longer', and I really do like it, just not on the same level as VIXX. Personally, it sounds really lusty and sultry, all of which suit Hyorin's vocals and Bora's soft, enchanting yet impactful rap verses. Bora sounds great and Hyorin sounds beautiful, but it lacks a bit in progression. The build-up is very gradual, you can feel the backing track slowly adding layer upon layer of complexity, yet the chorus does it no justice. The short piano interlude is stunning, switching up the pace and returning back to the beat seamlessly, in a way so smooth and not jarring that the flow of the song is never interrupted. A solid song that could have been better.
CNBLUE's 'I'm Sorry' is a blast to the past for them. This is really some pop-infused hard rock, quite reminiscent of their 'Loner' days. Their previous tracks were so light and didn't really have the kick or anthem nature of their signature pieces. This is classic rock, sticking to unleashed power presented in various intensities to achieve incredibly complex emotive responses and energies and musical synergy. The progression is awesome, never letting up and hurtling to the end relentlessly. The slightly robotic sounds add variation and amplify the emotive identity of fierceness and almost metallic nature that is synonymous with the bombast of classic rock music. A really good interpretation of classic music and easily the best song to come out of late January-February thus far.
;
VIXX released 'On and on' and boy, do I love it. It has a very dark tint to it, yet masked by this onslaught of electronica. It is definitely a lot more mature sounding, and the song progression really abides by the structure of classic storytelling, the rising action, climax and falling action. The 'I need therapy' bit, aside from being insanelly catchy, almost serves a reflection of the whole song, making the conclusion just as deep and frantic as the rest of the song had been.
SISTAR19 made their comeback too, with 'Gone Not Around Any Longer', and I really do like it, just not on the same level as VIXX. Personally, it sounds really lusty and sultry, all of which suit Hyorin's vocals and Bora's soft, enchanting yet impactful rap verses. Bora sounds great and Hyorin sounds beautiful, but it lacks a bit in progression. The build-up is very gradual, you can feel the backing track slowly adding layer upon layer of complexity, yet the chorus does it no justice. The short piano interlude is stunning, switching up the pace and returning back to the beat seamlessly, in a way so smooth and not jarring that the flow of the song is never interrupted. A solid song that could have been better.
CNBLUE's 'I'm Sorry' is a blast to the past for them. This is really some pop-infused hard rock, quite reminiscent of their 'Loner' days. Their previous tracks were so light and didn't really have the kick or anthem nature of their signature pieces. This is classic rock, sticking to unleashed power presented in various intensities to achieve incredibly complex emotive responses and energies and musical synergy. The progression is awesome, never letting up and hurtling to the end relentlessly. The slightly robotic sounds add variation and amplify the emotive identity of fierceness and almost metallic nature that is synonymous with the bombast of classic rock music. A really good interpretation of classic music and easily the best song to come out of late January-February thus far.
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