The Ark’s Music Video – “The Light” Review

Reviewed on April 26, 2015

The Ark – The Light (Music Video)

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Personal Message: Miraculously, I am returning to writing reviews despite how I was supposed to take a week off. Due to finishing work significantly sooner than expected, which may be in credit to writing for 6 hours straight, my latest milestone in terms of longest writing sessions, I am able to begin the reviews that have been requested. Girls’ Generation’s stamina in “Catch Me If You Can,” my previous review published 4 days ago (as of the time I wrote this sentence), thankfully transferred over. However of course, endurance does not predicate quality, of which is most likely lacking in the paper. Ignoring the strenuous research paper, to the person who requested The Ark’s music video of “The Light,” thank you very much for the request and for being incredibly patient. I feel incredibly guilty for the delay. Furthermore, future apologies if this review does become horrid; I truthfully struggle with reviewing any medium outside the realm of songs (as seen in my reality show review of “Channel Fiestar”). Thus, due to being bereft of the skills necessary for deconstructing a music video as this will be the first occasion, this review may falter heavily. It will be a learning experience at the least, and for what will certainly be beneficial, this review will provide readers variety along with being, predictively and hopefully, a shorter write.

Focusing on The Ark’s music video of “The Light,” or more accurately, on the group itself, The Ark is a newly debuted group of 5 members. Unlike traditional debuts with a standard K-Pop genre, their label company, K Entertainment/Music K, opted for a new route: a ballad. The marketing scheme behind this was to showcase The Ark’s musical capabilities, of which is certainly unveiled. From what I have heard, The Ark will be focused on K-Hip Hop. Perhaps future reviews will cover other releases, but as of now, this is my current knowledge regarding the group.

Now to truly focus on the music video, I have thoroughly enjoyed it, and definitely, it will remain a memorable music video for quite some time if not forever. If readers have yet to click the link, I will leave a few recommendations: watch alone if possible, and secondly, have a few tissues nearby. As mentioned in a previous post of acknowledging this review request, I did state, admittedly, that I cried due to the video and used 2 tissues. That said, however, being able to provoke me into crying simply requires saddening music and equally sad visuals, and thus, I do feel confident that many readers will be fine. Or perhaps people are rather heartless, such as my friend who shed zero tears and who also takes pride in her inhumane teasings mature and are capable of utterly controlling their emotions.

To explain why I did cry, many factors are at play: the video directing, and also, in part of a few personal choices. Regarding the personal choices, subconsciously, I placed myself in the mother’s position; the video was watched in the perspective of the mother and I attempted to understand her feelings. Before realizing it however, my attempts to understand became sincere emotions. I began to genuinely feel the mother’s depicted emotions, and expectedly, the agony and melancholy of losing a beloved daughter struck painfully. Furthermore, with, as mentioned in one or multiple past reviews, desiring two daughters should I have children in the future, I was also incredibly emotionally impacted as I did feel as if my daughter passed away. Now, in terms of giving credit to the director, she/he did a phenomenal job with details. Simplistic, minimal aspects were manipulated to deliver certain tones. I will save elaborating here for the review itself.   

Before beginning the review itself (feel free to skip to it by now), the mentioned topic of 2 daughters, and in fact, parenting, both elicit important discussions, ones that are related to the subject of gender. Specifically with the topic of 2 daughters, a seldom, yet necessary, concept is needed to be discussed: gender preference in terms of children. To offer personal background as I believe in blunt honesty and intimacy with readers, certain incidents have prompted this discussion: many friends, if not all, showcased complete distaste towards my claim of desiring daughters. Though defensive reactions generally render this situation as friends simply “disagreeing,” diving into a more critical perspective unveils more than disagree and agree; glancing closely and deeply on why many friends repulse the idea or, humorously phrased, offer “good luck,” discloses society’s valuing of males over females, even in the situation of having children.  

Arguably, the biggest remark heard is one claiming I would be incapable of “understanding” my daughter; as a father it would be impossible to even remotely comprehend her. Although the following words are not meant to be directed at any friends or persons who have said so, offering a harsher rebuttal, I believe I will understand my daughter as she is a rational human unlike the initial claim that is incredibly bereft of any form of logic whatsoever. It is incredibly pitiful on how society has socialized gender. Rather than viewing gender as simply “male” and “female” (and in fact other gender identifications, such as pansexual), society has created borders and divisions: gender is no longer a simple physical trait (gender norms is another discussion, though one for another time), it is now a justification for preventing genuine human relationships as gender is now seen as polar opposites, and thus, a reason to view someone of the opposite gender as “the other” exists. Relating back to the notion of being unable to understand a daughter, on the sole basis of gender, the claim exists; due to being a father, many are claiming I will be incapable of understanding my daughter. If I was told that I was horrible with children, and therefore, would lack the ability to connect with my daughter, it would be a sound reason. Unfortunately, with solely gender as a factor, it showcases a current rife issue of how society depicts “male” and “female” as sheer opposites and not humans. In that sense, as my daughter would be a human, I know unequivocally I would understand her, and moreover, be able to love her, regardless of gender.  

For a slightly more reasonable side to the argument, many have mentioned the point of how biological differences can, supposedly, create a lack of understanding. For example, being able to assist with my daughter’s menstruation is claimed to be impossible. This idea simply reiterates the value of health class and learning about the human body the prior point, however. More aspects exist to create division, but furthermore, to atrociously devalue females. Interestingly, objectifying females occurs even on the level of having children; a widespread reason to prefer sons over daughters is to reduce “hassles.” Daughters are considered “hassles,” emotionally and biologically. What is never critically analyzed is how those claimed hassles are truly skewed and exaggerated, and strangely, not applied to males when they can certainly be emotional and possess their own biological hassles, even if not equivalent to menstruation (though male menstruations will be discussed later). Tying back to the topic of understanding, with the blessing of knowing basic human health, I will be able to explain to my daughter changes to her body, and furthermore, am also able to assist her in purchasing items for menstruation, of which is strangely, but not surprisingly, an alien idea for fathers. Division of gender applies to why the alienation exists, but also, parent/gender roles (which may be elaborated below if time/length permits).

Diverging to another discussion point, once more one that is vastly overlooked, menstruation is in mind. Periods are prime examples of showcasing how society socializes, discreetly, that males are superior to females due to “naturalism.” To bring in bitter humor and irritation, recalling “jokes” of periods will deliver context to the upcoming discussion. Phrases of “it’s that time of the month again,” “someone’s on their period,” or “she’s extra sensitive today since she’s on her period” are not jokes. At all. Those phrases are ones that perpetuate sexism as it presents an imagery of males being superior via having more maturity over emotions “naturally.” Firstly, observing those phrases and their focus, those sayings ironically do not present menstruations as “natural”; the phrases are not “it’s that time of the month again since she openly stated so,” instead, the phrases stem from a female showcasing anger or irritation. As such, periods are no longer natural biological happenings, but instead, periods become excuses for males to shut down females showcasing anger and emotions as females are now automatically “naturally” angry due to biology in the form of menstruation, not specific circumstances such as harassment, sexist jokes, and more.

Simply put, jokes regarding periods are connotated with sexist ideas, intentional or not. Utilizing those related phrases exploits “naturalism” so that females lose an active voice and are rendered miniscule if displaying anger and such. While menstruations may certainly cause discomfort, and thus, susceptibility to irritation, the current levels are overly blown out of proportions by existing phrases/jokes that merely socialize people with the idea that females are “naturally” more emotional than males, of which is incredibly false and simply reinforces the idea that females are inferior. Interestingly, males are never scrutinized or mocked for their own periods. Male readers may now be confused or even concerned for my mental health, but explanation will occur to soothe worries: males, while not possessing biological menstruation in the form of females, still have equal mood changes during certain periods. (Individual research should be done if readers are curious on sources and credibility of my words, which is good as being critical should always be in mind.) During certain phases, males are, like females’ menstruations, susceptible to being more emotional and irritable due to hormonal changes and such (the minutiae of biology is vague, though personal research will clarify so). As noticed, male privilege takes hold and never does society mention males having periods, but instead, solely females. This disparity unfortunately serves to favor males as they can seen as more emotionally stable when, scientifically proven, males do have their own menstruations and therefore are equally emotional.

How I digressed from the subject of understanding a daughter to periods will remain unknown forever, but as an overall, vital message to deliver to readers who decide to read this portion, being able to view differences and embracing such is what is necessary in this world. It would be blinding and ignorant to believe the idea of gender is nonexistent, similar to believing race is nonexistent. Differences of gender or even race are not issues; issues that are prevalent is the inability to tolerate and understand and to appreciate those differences. In the first scenario that began this digression, despite being a male, if I have a future daughter, I will be able to understand her as, though she is a female, gender does not dictate my ability to love and understand her, it solely exists to showcase that, blatantly put, she is a female while I am a male, and there is no issue in that difference. Of course, realistically, I would love my children despite they were male or female or even other traits such as sexual orientation.

With all of that said, and props to readers who read the incoherent prior section, in focus of the first music video review to be conducted, while I am incredibly inexperienced with analyzing a visual medium, The Ark’s “The Light” is a highly engrossing video and deserves thorough examination. Although the video may be tear-inducing, a music video requires more than pathos; multiple aspects will be inspected to gauge whether “The Light” has truly found the light to success.

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Plot Score: 8/10

Addressing the plot in “The Light,” it is an incredibly admirable one. Before critiquing it however, summarizing will take place (also in part of allowing readers to know my interpretation and therefore the basis from which I will rate the plot).

The music video initiates with a mother and daughter walking together on a rainy night. Before they nearly pass a store, the daughter shares her wish of a purple backpack on display in the story. Sadly for her, the mother rejects purchasing it as the daughter’s current backpack is still usable, and thus, the teenager does the stereotypical act of stomping away in frustration. For the next scene, it showcases the couple’s assumed daily morning routine: the mother prepares and gives a drink to the daughter who is finally waking up; she also finishes cooking shortly after, though only to have her daughter steal 1 piece right after showering; and afterwards, preparing the daughter’s backpack and applying makeup. Once the morning routine is completed, the two venture off to a bus stop in a comical, affectionate way as they both tease one another. Eventually, the daughter heads off to the arrived bus in addition to leaving her mother a reminder: smile. Progressing on afterwards, with the mother now at work in a restaurant, a TV broadcasts horrible news. Although vague, close inspection reveals a bus accident on the TV screen, and connecting the prior scenes, the daughter was in the bus and, quite sadly, is now dead.

Time is fast forwarded as the mother, now seen alone, walks past the same store with the purple backpack. With the music resuming, the mother is now replicating the earlier scenes: the mother takes a sip of the usual morning drink; she prepares the same dish prior to the accident in addition to a purple backpack; she applies makeup but adds a reminder to smile, as her deceased daughter has told her; lastly, she walks the same route to the bus stop. However, though there are similarities, two main differences exist: her daughter is gone and she is not heading towards work. For the final scene, to answer where the mother did travel to, while I have personally yet to come to a definite conclusion, due to the concrete bricks, it appears to be a road and, therefore presumably, where the bus accident occurred. The mother visited the place where her daughter died (though I have heard a few people claim it is a cemetery or park). She leaves container of food on top of the concrete bricks, and as a final act, the mother hugs the purple backpack as both tears and memories arrive. Ultimately, for the last seconds of the video, the daughter’s final reminder to smile plays out.

Truthfully, with rewatching the music video in detail to summarize it, it proved to be partially tear-inducing. Nevertheless, ignoring my pitiful, slightly watery eyes, while the plot itself is saddening, as mentioned, simply instilling tears does not constitute a solid story; the feelings and emotions that emanate from the video is not sufficient enough to deliver a high score. That said, “The Light” does still achieve a respectable score, and the reason for such is a potent tactic for any story: plot twist. Based on other music videos or films and how the characters were acting, a foresighted scenario would be that the mother dies. After all, the daughter showed little to no gratitude at times, the mother appeared rather exhausted unless if with her child, and for the most part, seldom do younger characters, in general, die in plots (though as a disclaimer, I rarely watch films and shows that are drama/story-based; variety and reality shows, for examples, are the ones I watch). Appallingly, the unexpected occurred of the daughter dying.

Overall, with a video that showcases the lost of genuine love between a mother and daughter due to a powerful plot twist, a high score will be granted. The story remains simplistic yet retaining of important details, and with an unexpected event taking place, “The Light” will hold as solid in regard to its plot.

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Structural Score: 9/10

Swapping to the Structural Score, this section will critique the video’s layout. Observed examples include miniscule details that deliver different emotions or messages, such as change in lighting or how scenes were conducted. In terms of “The Light,” the structural component of the music video is phenomenal, and overall, the predominant reason for provoking tears in viewers. Contrary to the surface belief of the plot eliciting tears, it is not necessarily the heartwrenching plot that does so, but rather, the delivery of said plot.

Peering at one example, the bus accident scene is incredibly influential; the sole scene that truly triggers emotional reactions is it, and it is not just due to the blatant layer. Elaborating, the bus scene is the climactic moment of “The Light”; the daughter dies during the scene and the mother finds out. Apathetically phrased, the death of the daughter itself is not sad. In fact, any person’s death is not sad in itself. Before misunderstandings occur, I will return to the initial argument: how this specific scene was executed is what makes “The Light” depressing and, along with other factors, what instills tears. Firstly, the news scene is incredibly short; according to my basic mathematical counting skills, 6 seconds at most is the total duration, and more accurately, 2 seconds if accounting for when solely the TV screen is displayed. Due to the short span of time and a blurred TV screen, many readers would dismiss the scene. Confusion takes place, or for those who did manage to glean the background, anxiety occurs as viewers fear a possible correlation of the daughter’s bus and the accident. Regardless of the route viewers adopt, the following scenes will, eventually, trigger comprehension: the daughter died. Once that realization is met, along with other aspects, tears will begin trickling, or at the very least, a solemn attitude arrives.  

Bringing another prime factor to the music video’s beauty, though I generally loathe repetition (refer to countless reviews), as in a few songs, repetition can certainly become a promising tool if utilized properly. In “The Light” ‘s case, the latter holds true; the music video exploits repetition in order to augment the sadness that is apparent. Pre and post death of the daughter have significant subtle changes, but all within a repetitive routine. Before the daughter’s death, the family’s daily routines and quirks are displayed. After her death, interestingly, the same, tedious routine does occur. However, there are two changes: blatantly, no daughter, and secondly, lighting. Viewers will notice the same schedule is conducted via the drink, same meal, preparing a backpack (although it is purple as, heartbreakingly, the mother bought her daughter’s final desired item), and even the reminder to smile. Everything is the same except for the mother’s child. Furthermore, with the lighting reflecting a duller, lifeless atmosphere, the tone is set to that of the mother’s; though her life, in essence, remains homogenous as before, it is dramatically different as her beloved daughter is gone. The genuine, loving bond the two had–and arguably more accurately phrased, have, as the mother still loves her daughter, dissipated. Therefore, for an overarching image, the repetition used emphasizes the couple’s love for one another via showing the emptiness the mother feels without her daughter, the sole, crucial missing aspect from her daily life.

In addition to what is visually depicted, many viewers also forget the impact of the song itself. Without the song, many would cease to cry, and personally speaking, I would have still been torn, but using 2 tissues would not happen if it were not for the sonic component. For those curious on when I did begin crying, 2:40 of the video is when. Answering why that is the case, a deeper look at the song will disclose such. The lyrics at that moment follow as “Whenever you call you know that I’m right by your side.” and once adding other layers to the song, the song begins to reflect not a third-person perspective, but instead, potentially the daughter’s. Ignoring the mechanical aspect of The Ark’s singing, in focus of the ladies’ style, “The Light” absurdly possesses a cheerier tone; for a song that is orientated towards a daughter dying, it is awfully and disturbingly happy. However, if the song is taken in the point of view of the daughter, the message behind it is seemingly for her mother, and in many ways, as if the daughter sang the song. “I didn’t know living for others could make me happy, now I will be there” and “Hold my hand when you need somebody, I’ll be that somebody somebody, we’re in this for life yeah,” a few lines from the song, showcase messages to the mother, and thus, once meshing this lyrics component to “The Light” in its entirety, additional sadness exists. This also explains the happier tone; the daughter, knowing her mother’s sorrow, wishes for her to remain happy, even despite her absence.

As a final, prominent detail, many viewers have found this music video’s  plot to, as the phrase goes, “hit home.” Potentially, this is not an accident; the director of the video could have decided to create a scenario that was relatable and not merely one of dramatization. Due to this mindset, it allows “The Light” to become understandable, and therefore, viewers are easily able to feel empathetic, of which results in tears and gloom. This situation does not have to be a daughter and mother: the plot could be a father and son, a mother and son, a father and daughter, both parents and a child, and more. Family does not even have to be the case; a situation of friends could also hold reasonably. Relationships is the focus. Love and compassion. Small details, such as waking up and having to ward off a sibling from preemptively eating food, is what is highlighted. Small acts and the people involved is what is important. As seen, the mother’s life has not physically changed; she still attends work, wakes up with the same drink, and more. However, obviously, her life has taken a dramatic change: her daughter is gone. Thus, with the plot remaining real in the sense of being able to comprehend the character’s lives, the music video remains potent with its emotional appeal and the overlooked, cliche message of how love matters.

In total, with many incredibly influencing factors at play, a very high score will be granted. “The Light” is simply beautifully directed. Many details are used to deliver specific emotions, and with it all being discreet yet effective, a 9 is well deserved.

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Overall Score: 9/10 (8.5/10 raw score)

In the end, The Ark’s music video of “The Light” holds at a 9, which, in translated terms, represents an amazing, fabulous video. I wholeheartedly agree to the score. Ignoring the emotional side, the director of the music video deserves much credit for her/his fantastic work. Music K (or whichever is the name of The Ark’s label company) chose excellently for the style of debut for The Ark. Although they will be revolving around K-Hip Hop, I do wish for future ballads, and if not such, at least for other artists to attempt their own trials for a music video concept similar to “The Light.”

As I always say, thank you very much for reading. To the person who requested this, apologies for subpar writing and analysis; many sentences are most likely incoherent, and the analysis could be more in-depth. If future music video reviews take place, I will continually revise this outline. Nevertheless, thank you to readers and requester, and I also apologize for the longer publishing. Though I did begin this review earlier than anticipated, a pause was necessary to catch up on newly arrived work.

For the upcoming review, Dal Shabet’s “Joker” will finally be critiqued. To the person who requested it, I will have it finished as soon as possible. I am quite excited to review it. With this being the end, thank you once more to readers and for being patient. Since “1 is loneliness and 2 is company, together we’re the A team, a match and gasoline,” I do hope that “when you need somebody, I’ll be that somebody somebody.” Stay tuned for an upcoming review of Dal Shabet’s “Joker.”  

Girls’ Generation – “Catch Me If You Can” Review

Girls’ Generation – Catch Me If You Can (Music Video)

Girls’ Generation – Catch Me If You Can

Reviewed on April 18, 2015

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Personal Message: Though it has been quite a while since I have last done a standard song review, I am incredibly excited, and in many ways, finally feeling at ease as this outline is what I currently have the most experience and comfort with. Girls’ Generation made a recent comeback of “Catch Me If You Can,” and from memory, the sole song I butchered reviewed from them was “Mr. Mr.,” which should be incredibly inaccurate and a horrible read (I recall dropping 9s and even a 10 which, embarrassingly, are highly false numbers). Nevertheless, changes have occurred for both the ladies and blog; Girls’ Generation is now an 8-membered group versus 9 as Jessica is no longer in it, and my rubric for review has become more realistic and strict due to gaining more experience. For those curious on my take of Jessica’s departure, due to being oblivious to details (from what I know, she no longer had time for the group as she is the CEO of her fashion company, Blanc), I will not dive into a discussion regarding it.

My pure take is changes occur, desired or not, and moving on is what needs to happen. The current debates and minutiaes on whether harassment or pressure occurred and thus reinforced her leave is, in truth, not entirely worthy of time. For those curious on my stance regarding idol news, I find the exact details less important than how people react to the news; it is moreover telling and intriguing to analyze how the general public reacts to certain news rather than the news itself. For example, with news involving idols dating, it is less vital to care for the couple than to gauge the common reactions of “She is a whore” or “She only wants his money.” Though I will not dive into this discussion (or at least I am claiming so; Miss A’s mini-album of “Colors” shows my hypocrisy of those words), it does reiterate my point of how the idol news is not important itself, but rather, how people interpret and react to the news (and in this case, pondering over and realizing solely the female is cursed while the male is praised during dating news).

To focus back on Girls’ Generation, this review may spark slight controversy in the realm of music. Although I generally cause uncomfort on a social level with digressions (which is great; readers should care of those topics), this review may instill heavy disagreement in terms of my ratings. As such, I am excited as my reviews should be, hopefully, bringing a new perspective to a song. Whether that is agreed with or not is the true beauty of reviews. Reviews are solely opinions of the author, and as a result, being able to understand multiple perspectives is gained, and that is a vital skill to have and what I believe makes reviews important, more so than the single layer of the review’s content itself. (Feel free to skip to the review itself now.)

On that note, and to actually tie in the music video for “Catch Me If You Can,” while my reviews are dedicated towards the songs and dances, as I constantly emphasize, including the social aspect to pop culture is equally pressing, and in many ways, without doing so would be to create a world utterly orientated towards “mechanics.” To address the link first before clarifying my previous point, the music video will be utilized as no live performances or dance practice have been released, but that is of no issue as the music video is focused on the choreography. That said, the music video simply showcases the group dancing on a construction site setting, and coincidentally, the background ties into my earlier point.

To focus on K-Pop without the social side is to live a world dominated with pure construction (like the setting in the music video), technology, science, and more. Though arguably those “mechanics” are the essence of life and necessities, and to draw a parallel to my reviews, the actual deconstruction of songs themselves, it would be blinding and ignorant to solely focus on the mechanics without the humanities/social side. What is the point of having the most advanced technology in the world when everyone, socially, is still incapable of treating male and females fairly (and more such as race, religion, sexual orientation, and a plethora of other aspects). What is the point of having futuristic technologies that allow utter elimination of cancers when solely one group of people have access to it because certain social aspects of equality and equity were not challenged. What is the point of, and a more realistic example, investing unimaginable sums of wealth into state-of-the-art technologies of space and weaponry when there are people who will never benefit, direct or indirectly, from those technologies and could have actually gleaned resources to better their daily lives if the wealth was properly allocated.

Though my latter claim might actually be rather controversial (I am actually seeing many rebuttals of that claim against myself), it would be more clear and relevant to rescope into my initial point: the “mechanical” works of life matters, but equally so does the social side. Both parties must exist for a thriving world in both layers of social and mechanical, and that is the ultimate point to deliver. Caring of solely humanities would be to ignore the actual physics of life and to live in a dream, but solely focusing on the mechanics of life would be to forget cooperation, compassion, and other needs that, while not physical, are arguably equally essential to life.

To tie this all into my blog (and props to readers who read this bit), while I could simply review K-Pop and its mechanics, what is the point of claiming Fiestar’s “You’re Pitiful” or Apink’s “Luv” are 7/10 songs if the incredible ladies of Fiestar are going to be degraded as purely “hot bodies” or if Apink is assumed to exhibit certain behavior on the sole basis of being females, or, for a male group that I have yet to review (but will at one point), if BTS is going to be highly sexualized via homosexual objectification. Though both reviewed songs are admirable (BTS has yet to have a song reviewed, and thus, I cannot give an official stance; but speaking biasedly for the others, I believe “Luv” is 6/10 and “You’re Pitiful” is a 9/10 or 10/10 due to being my favorite song), forgetting the social side would be to solely view the idols as numbers (or worse), not humans, and it would be a shame to lose prime opportunities for readers to realize how pop culture and media are more than pure entertainment. As such, at the very least, should readers ever feel “guilty” or even insulted for investing time into K-Pop, that should never occur as K-Pop should be, and is, more than music and dancing and aesthetics; pop culture and media of any sort is a beautifully wrapped gift of many subtle yet important social topics, and those topics is what drives humans. Being capable of understanding those invisible driving forces is what matters as our lives are made for the better or worse on the sole basis of such, directly or indirectly, and furthermore, those forces also impact the mechanical aspects, of which certainly do influence lives.  

If readers managed to stay, I am utterly grateful. Nevertheless, now that my digression is over and in hopes of clarifying and justifying my digressions in general, Girls’ Generation will resume as the sole highlight. The 8 ladies have returned with a new song, and arguably, a new genre. Assuming EDM (electronic dance music) is the proper label, that is what the ladies are tackling. However, “new genre” may be inaccurate as Girls’ Generation has done a similar concept: “I Got A Boy” (and actually, that is my latest review of Girls’ Generation; I truthfully lose track of what I review). Nonetheless, their prior song of “Mr. Mr.” is better. Significantly better. Truthfully, “Catch Me If You Can” is a rather horrendous release, and though the ladies’ high tier of talents are still proven, despite being one of the elite groups in the industry, even those on top will struggle to create a sculpture out of dirt.

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Song Score: 5/10 (5.2/10 raw score) – “Average”

– Vocals: 5/10 – In truth, though I was excited to return to the usual review format, I feel uneasy due to how long it has been. On topic, the vocals in “Catch Me If You Can” are split between “slightly above average” or “slightly below average”; moments of the pre-choruses display the sharper vocals of the song, though still lacking in terms of the group’s standard, and for the other sections, the latter unfortunately also applies though to a more negative scale. Specifically glancing at the pre-choruses’ vocals, an exceptionally lively, charming melody exists. However, despite sounding captivating, little fluctuation occurs as the pacing remains stagnant and notes used remain linear and overall mundane, even if pleasing on the individual level. Furthermore, for the other sections that are not the pre-choruses, though the lower notes of “Catch Me If You Can” are disclosed, the melody remains, in opposite to the pre-choruses, highly dull and lifeless. For what is similar to the pre-choruses, though not a desirable trait, the lack of variety is once more a prominent issue for the vocals.

Overall, with averaging out the averages, average simply holds. For Girls’ Generation, this is a disturbingly lower score as the group is certainly capable of 7, at the least, and 9 at the best.

– Sections: 3/10 (3.17/10 raw score)

Introduction, Verse, Pre-Chorus, Chorus, Verse, Pre-Chorus, Chorus, Bridge, Pre-Chorus, Conclusion (Chorus)

1. Introduction: 3/10 – The introduction consists of no vocals as purely the instrumental is used.

Though I certainly enjoy EDM based soundtracks, “Catch Me If You Can” challenges that statement. Mechanically, the introduction discloses a lower tiered EDM instrumental: the electronic bass line proves to be moreover plain than exciting, and even the additional lighter beats that occur later prove equally so. With the bass line being relatively heavy, though structurally a foundation is set for the song, the sonic component is nearly nonexistent; a singular bass line being heavy is incapable of providing fluctuation and variety, and thus, sonically the introduction suffers. Additionally, the lighter beats, while contrasting to the bass, are still highly abstract on the individual level and grant minimal musical pleasure due to being absurdly plain.

Now while the sonic aspect of the introduction falters, the structural side partially holds. With utilizing the bass at the very initial moments, the tone and tune of the song become instantly set: “Catch Me If You Can” will be EDM based and will expectedly reuse that bass line. As for the beats, it further complements the anticipation for EDM and provides a blatant transition to the upcoming verse. Another positive point is the natural progression of the introduction; the heavy bass line swapping to the beats, though sonically distressing, is suitable as the lighter sounds simply utilize the bass as a foundation.

Nevertheless, below average will be the score for the introduction. While the structural component is admirable, the mechanical aspects are not compensated for.

2. Verse: 4/10 – While the two verses in “Catch Me If You Can” slightly varies, the overarching format remains homogeneous. Nevertheless, I will include both verses’ characteristics for grading. Yuri, Hyoyeon, Yoona, and Sooyoung handle both verses.

To address the mechanical aspect, the sole differing part from the first and second verse, regardless of whether it is the lower pitched or midrange pitched verse, both are unfortunately lacking. The first verse discloses deeper vocal notes toward the beginning, and though it may be somewhat alluring due to the pitches hitting the lower ranges, the vocals overall remain dry due to a lack of variety. Lower notes, or any note in fact, have the potential to be highly captivating, but it generally requires more than the sheer pitch itself; accentuating the vocals’ pitch via instrumental, prior sections, and variating pacing and melody are a few examples of factors that are vital to having specific pitches thrive. Even once the midrange notes are heard in the second verse or the second half of the first verse, the same issue exists: no variety or support are available to allow the specific note range to succeed.

Structurally, the layout of the verses is neither beneficial or alleviating to the mechanical aspect’s issues; how the verses are laid out does the utter opposite with creating emphasis towards the poorer mechanical side. With repetition existing, whether in the form of the pacing, melody, or more distinctively for the second verse, words, the weaker sonic aspect is, blatantly, merely repeated, and thus, the impaired sound becomes heard for a longer duration. While the repetitiveness may cause the melody to linger, it is not a desirable one to loop; as the mechanical aspect is truthfully distasteful to an extent, having its remnants is not a desired outcome.  

Slightly below average will be the score. The singing’s notes have the ability to succeed, but without other essential components, the notes are moreover abstract than pleasing pitches in a song.

3. Pre-Chorus: 5/10 – For what allows some hopeful prospect to “Catch Me If You Can,” the pre-choruses are respectable, to some degree. Seohyun, Sunny, Yuri, Tiffany, and Taeyeon cooperate for the first pre-chorus and likewise for the second, though Yuri is replaced by Yoona.

Both the section’s mechanics and structure are noteworthy. Nevertheless, issues still vastly arise. Focusing first on the mechanical side, “Catch Me If You Can” becomes significantly more lively. For example, the singing occurring remains incredibly melodic, and due to a multitude of members being involved, an incredibly beneficial point, other aspects such as pacing and power are equally enticing. By incorporating 5 members in one section, constant alternating exists and thus, translates into variety. Utilizing an example, the first pre-chorus showcases the impact of alternating lines: Seohyun’s part offers a melodic, soothing aspect to which Sunny offers an opposite via a power-orientated line. Afterwards, Yuri and Tiffany follow suit the pattern, and eventually, Taeyeon finishes the section her own lines’ format.

On the topic of format, while the mechanical aspect is pleasing due to an alluring melody and the alternating lines bringing diversity, a downfall pressingly holds: an overly simplistic structure. Though “Catch Me If You Can” is an EDM genre and therefore, the pre-choruses’ structure are rendered as usual, commonality does not justify the structure. Upon the pre-choruses occurring, a very distinct transition is heard: a lighter tone. This is a rife concept and trend for EDM songs, but unfortunately, is one that is bereft of layers. Hype towards the chorus may certainly be created, however, the process of doing so is what remains loathing. With the pre-chorus in this song replicating the countless others of creating a lighter tone along with gradual accelerating beats, the lack of uniqueness drains appeal; there is nothing enticing of this common concept of creating buildup for the chorus due to mass-use and arguably misuse. Furthermore, another issue with “Catch Me If You Can” recycling the overused method, the vocals and beats are excessively repeated, and thus, leached of their charms.

Overall, average will miraculously hold. The vocals in the sections are potent enough to compensate for the poorer structure.

4. Chorus: 2/10 – While I was able to “find my heart” for the pre-choruses (which credit to the ladies, minus Tiffany as she knows English, for properly pronouncing; “heart” in Korean sounds moreover as “hurt” and is often said as such), the choruses are not as fortunate. Yoona handles the first, Yuri the second, and Hyoyeon for the final (though arguably every member is involved, based on the music video, I will assume this current lineup for the rest of the review).

Truthfully, the two major aspects of sonic and structure are horrendous. In fact, this may be the worst section I have yet to hear in a song (there is another “song” that has trekked very low numbers, but I tend to be precise with my labels, and “song” for a certain one is a flattering claim). Diving into why this is the case, addressing the mechanical aspect first, the vocals are minimal concerns; the vocals are solely “catch me if you can,” and with a single line remaining moreover as a statement than singing, little focus will be placed on them. For what truly functions as the mechanical component and will be critiqued, the instrumental is in spotlight. A grinding, chaotic electronic sound is in full force, and sadly, it is far from seducing. Being a pure soundtrack is not the flaw of the choruses, but rather, the soundtrack itself; many EDM songs tend to construct the choruses as solely the soundtrack, but in many cases, the soundtrack is decent. “Catch Me If You Can” differs in that the used soundtrack is, bluntly, rather appalling.

Switching to the structural side, attempts to alleviate the section from being stagnant are futile; adding the occasional “catch me if you can” is simply drowned out by the relentless looping of the instrumental. As a result, the chorus is simply a horribly meshed section consisting of a phrase and an ear-tearing electronic sound. No other complexities are included in the choruses, let alone variety, and thus, in addition a poorer mechanical aspect, a structural layout that places more emphasis on the latter exists.

Bad. If I am correct with what a 2 represents (3 is truthfully the lowest I have ever foreshadowed), “bad” and “not good” are the proper depictions of 2/10. Sadly, those terms can be applied to the choruses.

5. Bridge: 3/10 – Progressing on after an unsightful number, Taeyeon and Sooyoung are the duo for the bridge which, if not transparent yet, will be a lower score as are many other sections.

Though certainly not to the degree of the choruses, both components of sonic and structure are feeble. During the bridge, the sonic aspect does exhibit the higher end notes of “Catch Me If You Can” in credit to Taeyeon’s and Sooyoung’s singing, but akin to the verses’ downfall, solely reaching a specific pitch range is gleaned; the bridge remains identical to the verse excluding how high notes are heard versus lower notes, and thus, many issues correlated with the verses are simply translated: lack of variating pacing, a stagnant melody, and a tedious instrumental, for a few aspects. As such, though the mechanical side reaches for new, higher notes, the absence of other crucial, fundamental aspects prevent those notes to be more than a plain set of pitches.

Regarding the structure, with both members’ parts being identical, no diverse moments exist at all. Expectedly, this proves to be a vast issue as the utilized notes are already excessively monotonous, and therefore, having a repetitive structure simply perpetuates that mundanity further. If the bridge possessed a pausing or climactic trait, which does occur for the upcoming pre-chorus, then the section would have potential. Unfortunately, in truth, the bridge is simply a weaker verse; the same format is kept though shifted for higher notes.

Overall, the bridge will hold as below average. The higher notes, although new to the song, are not musically pleasing, and with a structure placing emphasis on the weaker sonic aspect via repetition, the section suffers drastically.

6. Conclusion (Chorus): 2/10 – With the conclusion taking the form of a chorus, an incredibly dreadful section, the conclusion will be indirectly affected negatively. Hyoyeon is responsible for the final chorus.

With the mechanical section already being discussed earlier, the structural component is what will be of focus. Utilizing the chorus as the final section may suit a standard conclusion’s role, but fulfilling such is, paradoxically, unbeneficial in the song’s case. “Catch Me If You Can” lingers due to an increased duration of the choruses, and blatantly from the section itself, however, due to the choruses holding atrociously, leaving a residue of those sections is not beneficially applicable; by having “Catch Me If You Can” concluding with a lasting chorus, the horrendous sections are the final impressions and thus, the weaker sonic component is vastly emphasized, which blatantly is undesirable.

As a rating, bad or not good will return. Utilizing a section that is significantly tainted moreover impaired than helped.

– Line Distribution: 10/10 – With 8 members in Girls’ Generation, equal distribution of lines may be slightly more challenging. However, with the main vocalists of Seohyun, Taeyeon, and Tiffany being less prominent than in many prior song releases, a higher score is anticipated.

Girls’ Generation’s leader, Taeyeon, possesses lines at the first 2 pre-choruses, the bridge, and a single line at the final  pre-chorus. In total, 4 sections are accounted for. Recalling previous reviews, 4 is generally a desirable quantity and thus, Taeyeon’s share should not instill issues.

Addressing another main vocalist, Tiffany has an incredibly infatuating voice her spotlight in every pre-chorus. Therefore, 3 sections is her count which is admirable, though that is liable to change based on the other members.

Seohyun, Girls’ Generation’s youngest, remains identical to Tiffany; her lines consist of all the pre-choruses, and thus, 3 will also be her numerical count.

With the main vocalists having equal share, the remaining members should automatically follow suit. Sunny’s highlight involves, like the prior 2 members, all of the pre-choruses. 3 is her count, and at this rate, the distribution in “Catch Me If You Can” is in trajectory for perfection.

Hyoyeon’s sections include the introduction, one verse, and the final chorus. Once more, 3 sections is the count, and assuming the trend continues, a perfect score is utterly viable.

In hopes of Yuri continuing so, her lines appear at the introduction, the first pre-chorus, one verse, and one chorus. 4 is her count, similar to Taeyeon’s distribution. In the overarching view of the song, 4 sections will not be menacing to the score. No issues are present.

Assuming Sooyoung possesses either 3 or 4 sections, a higher score will remain possible. With both verses, the bridge, and the final pre-chorus, 4 is her total count. With 3 members now possessing 4 sections, should Yoona, the final member remaining, be responsible for 4 sections as well, a perfect score will become granted.

Verifying Yoona’s sections, her spotlight consists of the first 2 verses, the first chorus, and one pre-chorus. Miraculously, 4 sections is her total, and as a result, the line distribution in “Catch Me If You Can” can certainly be rendered as perfect.

For an overall score, 10 will be given. Unlike older song releases from Girls’ Generation where the main vocalists (Taeyeon, Tiffany, Seohyun, and even former member Jessica if accurate) were prone to dominate, this song remains free from such. Mathematically, 3.5 is the average lines per member, and with the group following such with half of the members possessing 3 sections and the remaining with 4 sections, it is unequivocally a perfect distribution.

– Instrumental: 3/10 – While a 10 does astoundingly exist, the music-orientated aspects are still low. Regarding the instrumental in “Catch Me If You Can,” while structurally supportive, it is incredibly dysfunctional sonically. Focusing on the positives, with being an EDM song, the soundtrack naturally provides for vital roles. For example, transitions are largely in credit to the soundtrack: light quick beats are utilized during the verses to prompt alternating of members, and for the most prominent example, the pre-choruses are seamlessly switched due to the instrumental adopting a lighter tone. Unfortunately, despite providing the song its natural, fluent flow, the drawback of its mechanical component does hinder much of the instrumental. Moments excluding the pre-choruses are either dull or simply horrendous due to being moreover chaotic than harmonious. Now, for the pre-choruses, the instrumental does become acceptable; the lighter tone is not overwhelming and meshes well with the vocals that also utilize a similar style and tune. However of course, one decent section is incapable of compensating for the remaining ones, of which are extraordinarily poor in terms of the instrumental’s sounds.

As a result, for an overall score, 3 will holds which indicates below average. The structure is not entirely bad, and the pre-choruses provide a few seconds of enjoyment, but with the other sections proving to be unpleasant, the score will be significantly lowered.

– Meaning: 5/10 – “Catch Me If You Can” does emanate the idea of provoking, though that may be linked to my agitation towards the song. Nevertheless, on a more serious note, the song title does prove to be intriguing and prompts multiple questions. Through the following Korean-to-English translated lyrics, the story will hopefully become unveiled, and likewise, the answer to why the song is labeled as such. As always, the lyrics are not 100% accurate:

(Did it) Rather than clumsy words
(Did it) it’s your actions
(Did it) that I believe
(Did it) Rather than knowledge
(Did it) it’s consciousness
(Did it) that moves me
You’re staring at me as if it’s love at first sight,
but I can’t accept you easily
My heart changes every minute every second without rest
You’ll be so anxious

Don’t stop, go past the limit, go faster
I’ve got a feeling
I can’t even catch my own heart, it’s a new me
I’m going to find my heart,
my heart, my heart
I’m going to find my heart,
my heart, my heart

Catch me if you can
Catch me if you can
Catch me if you can

Came to this place some day
Drew out this dream some day
You passed by some day
But I’m not at the same place now
I don’t have the same dream
The same you isn’t here either
I’m not the girl who talked in front of you anymore
Want an even more different me?
I’m like new every minute every second, watch over me
Women keep changing

Don’t stop, go past the limit, look at the changed me
I’ve got a feeling
Suddenly, even this moment will become the new past
I’m going to find my heart,
my heart, my heart
I’m going to find my heart,
my heart, my heart

Catch me if you can
Catch me if you can
Catch me if you can

Look at me, shining on you more hotly than the sun
Passing like a dream, my soul,
dancing in the real life

Can’t stop
I’ve got a feeling
I’m going to find my heart,
my heart, my heart
I’m going to find my heart,
my heart, my heart
(I’m going to find my heart)

Catch me if you can
Catch me if you can
Catch me if you can
Catch me if you can
Catch me if you can

While the lyrics are vague (in a good sense), a romantic plot, or the lack thereof, seems to be the story. In a summarizing phrase, a lady is rejecting a love-interest due to an ever-changing “heart”; a love-interest wants to be accepted but the main character refuses as she is still uncovering her own desires and such. Diving into specifics, with the love-interest “staring at [the main character] as if it’s love at first sight” (which is incredibly false; I have went over the subject of “love at first sight” in a past review, though I forget which), the main character responds by not “[accepting] [the love-interest] easily.” Her reason is not one motivated of distaste, but rather, to keep the love-interest at ease as they would be “anxious”; the main character is unpredictable due to a “heart” that “changes every minute every second without rest,” and thus, would make a relationship difficult. Progressing after the love-interest’s futile attempts to be in a relationship with the main character, she embarks on a journey to “find [her] heart.” This is where the title arrives: “Catch me if you can” is in reference to both the love-interest and herself; for the love-interest, it is a warning of whether they would be capable of following through a relationship despite her transforming heart, and for herself, it is a question of whether she would be able to find her “own heart.” Additional details exist, though the overarching idea is simply more reiteration towards her continuous change.

For an overall score, the score will slightly falter. The lyrics do contain a unique plot in juxtaposition to many other songs, but the lack of additional details do hinder the score. The choruses and pre-choruses are highly repetitive and simply regurgitate the same, identical ideas of “Catch me if you can” or “I’m going to find my heart” respectively. Therefore, while the plot itself remains special and inviting of speculations, the tedious lines will lower the score to one of average.

– Critical Corner: Ignoring the more blatant layer to the song, deeper analysis may elicit some important connotations, and potentially, even points of discussion. “Love at first sight” is one, though due to covering it in another review, I will not elaborate here (I should attempt to find the review at one point, however). In short, “love at first sight” is erroneous as appearances are negligible. Furthermore, defending the “natural” argument is also equally false; love, in its ultimate form, cannot stem from sheer physical appearances, and thus, it is not “natural” to “fall in love at first sight.” The idea of beauty, physical and non-physical, is another subject in mind, though from memory I have partially addressed such in another review (I believe my review on Juniel’s “I Think I’m In Love,” though I am unsure and thus will not directly link it).

As an overall point, rather than claiming it is natural to fall in love with a person on the sole premise of physical appearances, understanding the implicit and explicit ways society has taught the idea love and beauty will disclose how false the “natural” argument is; solely physical beauty is emphasized, and furthermore, in terms of what physical beauty is indeed highlighted, uncovering the specifics to such reveal additionally how those specific traits are also merely taught. To clarify my incohesive phrasing, for a very simplistic example (the same one I utilized in the unknown review), society has socialized the idea that taller people are more attractive. Interestingly, while “statistics” may exist to gauge and prove that height does correlate to attractiveness, if a culture exists where height is shunned and thus, shorter people are desired, the “natural” argument would instantly collapse.

For an example that would make more sense, one that many will understand, hair is a prime example. Many claim it is more attractive for a female to have longer hair as it is apparently “natural”; studies have supposedly shown that females with longer hair are attractive. Now, males will also participate in this example: studies claim it is “natural” that males with shorter hair are more attractive. However, by meshing the two points of males and females, something construing occurs: males with long hair are considered repulsive, and in opposite but equal in terms of response, females with short hair. Rather than merely disregarding the repulsion as simply a reaction to those who do not fit the “natural” ideals of beauty, posing the question of how males with long hair and females with short hair are not natural would be better. Hair growing is natural, and equally is cutting it. In that case, males with longer hair should still be considered “natural,” and similarly for females with shorter hair. Overall, rather than claiming hair length correlates to beauty on the basis of naturalness, it is more realistic to understand society has socialized these specific ideas of beauty, and thus, there is no “natural” beauty. Females have been taught that long hair is considered beautiful; it is not innate for females to know longer hair is connected with beauty. For males, the same applies except in terms of short hair.

Nature versus nurture is a subject seldom challenged, let alone discussed, and thus, it is vital to allocate some time towards pondering this subject. Natural possesses too many variables to truly ever prove, and overall, even if humans are natural in certain aspects, that should be irrelevant as humans are blatantly above “natural,” and therefore, should no longer reinforce it or justify actions on the sole idea of natural. After all, claiming solely males should be in authoritative positions due to the idea of “naturalness” simply perpetuates inequalities and inequities in life. Even if it was true that males are natural leaders, humans are, or at least should be, intelligent enough to glance over minuscule animalistic behaviors; humans are certainly advanced enough to not rely on pathetic “instincts,” but instead, true compassion and cooperation for one another. In that sense, even with the assumption that naturalness exists, it should be heavily combated. By falling and justifying actions as natural, it simply offers the idea that humans have yet to mentally advance, and certainly, that is false as, by even reading this sentence, it proves that humans are past natural living standards. Returning to the prior example, females are unequivocally capable of authoritative positions; the issue is not whether females are capable of such, but rather, whether society is capable of moving past the idea “naturalism” and animalistic behaviors that justify unfair treatment and systems.

Though another discussion point has occurred, I will most likely save it for another review. The idea of “partnership necessity” is one worthy of discussing, and similar to the digression above, is related in terms of how society has socialized specific ideas, or in this case, needs for life. It is also interesting to observe the role of gender in terms of “partnership necessity.” Briefly put (assuming I am not a hypocrite like in Miss A’s mini-album review of “Colors.”), society ushers the idea that partnership, whether in the form of dating or marriage, is necessary for life. Unfortunately, and as mentioned in the album review of Miss A’s “Colors,” by teaching partnership as necessary, and with gender norms intersecting, a disaster is created: for example, boys are taught to be aggressive and such, and with society also teaching that partners are necessary, it leads to multiple issues with how males could potentially treat females. I will end it here as the linked review covers such, though moreover in focus of gender norms.

_______________________________________________________

Choreography Score: 7/10 – Ignoring the longer digressions, though as always I hope are ones worthy of ruminating over, it is now time to focus on Girls’ Generation’s “Catch Me If You Can.” While the Song Score is not entirely impressive and has been largely compensated by the perfect Line Distribution, the choreography that takes place is thankfully respectable, for the most part.

Syncing for the choreography remains highly accurate, even despite how chaotic the song mechanically is. Every physical snap connects with a musical snap, slower musical moments are met with movements that follow suit, and for the more intense sections, such as the choruses, equally energetic and upbeat maneuvers are exhibited. The sole moment where syncing becomes vague is during the choruses’ hip-spinning key point; every other moment excluding that portion is clearly connected with the song’s beats and flow.

On the subject of key points, “Catch Me If You Can” unveils a complex choreography. Many key points vary from prior sections, such as how the first pre-chorus’ dance differs from the second pre-chorus. Furthermore, the complexity involved is a proper amount; the dance may possess a copious amount of formations, but it is all a proper scope and thus not overwhelming. Transitions and other details are equally impressive, and overall, with excellent syncing existing, possessing many different, excelling key points accentuates the potency of the choreography.

7 will be the rating. Above average is a proper label to encapsulate the dance. Should the sole moment of disconnected syncing be revamped, an 8 would easily be earned. _______________________________________________________

Overall Score: 6/10 (6/10 raw score) – With the Song Score and Choreography Score averaging out, 6 remains as the final numerical value. Slightly above average is the translated meaning, and that is agreeable to. Biasedly, the Song Score should be much lower, potentially a 3 or even pessimistically, a 2, but with the perfect Line Distribution and even an admirable choreography, the current 6 is acceptable. Nevertheless, a 5 for average may be more suiting. Summing up “Catch Me If You Can,” the ladies of Girls’ Generation definitely prove their adeptness, but their vocals and dancing cannot carry the entirety of a song to success. As such, for a comeback, it is a disappointing one. Positively, however, a future comeback is awaiting, one that will be truly promoted unlike the current one.

As I will always say, thank you very much for reading this review. I wholeheartedly appreciate it and cannot express enough gratitude. It sincerely means a lot. That said, I will apologize for a delayed release; I did claim the review would be finished by Friday night, but it is now Saturday. For what also requires apologies, perhaps due to an absence of writing standard song reviews, I feel as if this one is in poorer quality. As such, if it is, I will work harder to correct such in the future.

In terms of future reviews, as listed in a previous post regarding requests, the current list will be followed. As such, The Ark’s music video of “The Light” will be reviewed, and for the person who requested it, forgive me for the lengthier delay. Nevertheless, it will be published as soon as possible, and furthermore, it will possess a structured outline. Other news to offer is that the upcoming review will be slightly later (a week perhaps) due to finishing academic related work. Of course, once that is cleared, the review will promptly begin, and considering it is a music video review, I expect it taking less time than standard song reviews (this one required approximately 3 days of writing, though I lost track of the total hours).

Keep checking back for the first music video review to be conducted. Of course, “rather than clumsy words it’s [my] actions that [you] believe,” and thus, I will do my best to finish work in order to have time for reviews. That said, “I’m going to find my heart” for the upcoming review as it requires one, but certainly however, I have already found my heart: the readers. Thank you once more, and keep checking back for the upcoming review on The Ark’s music video of “The Light.”

Firstly, apologies to many readers for a slower reply. Due to receiving a mixture of anonymous and user sent requests, I will answer in one take versus the usual separate responses. Furthermore, this will also update readers on upcoming reviews.

Bless you if you could review CLC’s Pepe and Dal SHABET’s Joker when it’s out (: that would be great

crumblingheart

“Joker” will definitely be on my list of songs to review. Personally, it has been replaying for a decent amount of time on my playlist. Nevertheless, there are still a few flaws with the song, but in comparison to “B.B.B” in the past (review link attached), I see visible improvement. As for CLC’s “Pepe,” that transitions perfectly to another request:

Hello once again! thank you for reviewing fiestars “Youre pitiful” from my request! i would like to request another review, maybe CLC’s pepe? Anyways hope u consider this review as i am convinced that u covered nearly every aspects of fiestars songs. Btw its nice to meet a fellow steam gamer who enjoys kpop ^-^. Best regards~  

soshisonyuh

With two requests on CLC’s “Pepe,” it will certainly be a song to review. It will be a bit on the later timescale (I will post my current review list at the very end), but nonetheless on the list and to be reviewed at one point. Also, I am glad that you enjoyed the review on Fiestar’s “You’re Pitiful” and you deserve equal thanks for requesting it, so thank you. As for the last part, likewise so though my gaming time is gradually decreasing, and thus, being a gamer may no longer be accurate (and this reminds me of how I may write a reflection of the time I have spent with “competitive gaming”). Due to schoolwork consuming time and equally reviews, time for gaming is less, but regardless of schedule restraints, in truth, writing and creating reviews is by far more satisfying and entertaining than gaming these days. The current sole drive for gaming is a future plan of streaming it along with K-Pop in the background, but this will be attempted much later.

Again, thanks for the review. I can’t wait for Gain’s Hawwah and Minah’s I’m Woman Too reviews. 😀 And as a suggestion, pay attention to EXID’s ‘Ah Yeah’ upcoming EP and title track.  

– Anonymous

Though I did not include the other comments, I am glad that you enjoyed the review. As for the other comments, thank you for sharing your own insight for the songs; reading different perspectives to songs, or anything in fact, is always interesting and allows for further understanding, so thank you. As for the reviews on Gain’s “Hawwah” mini-album and Minah’s “I Am A Woman Too,”, both will, unfortunately, be delayed. Nevertheless, both songs will still be on the list of reviews (my schedule will be given at the end), and I am utterly thankful for your anticipation. Addressing the last bit of EXID, the next question will be transitioned to:

hi!! i love your reviews and if it isn’t too much could you do a review of exid – ah yeah? only if you want to or have time to do it though!!

– Anonymous

I have also been listening to “Ah Yeah” lately and would have many points of critique if I were to review it, which of course will be done due to it being requested. Thank you for the request, I am glad someone did so as I do want to review this song. I have been paying more attention to EXID, musically and as a group, and I believe it would be proper timing to finally have one of their songs reviewed. On that note, male groups are also in dire need of being added to the blog, and thus, I will now disclose my current review schedule:

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1. Girls’ Generation – “Catch Me If You Can”

2. The Ark’s music video – “The Light”

3. Dal Shabet – “Joker”

4. Infinite – “Last Romeo” or EXO – “Call Me Baby”

5. CLC – “Pepe”

6. EXID – “Ah Yeah”

7. Gain’s Mini-Album – “Hawwah”

8. Minah  – “I Am A Woman Too” (though there is a high chance of it not following through)

The review of “Catch Me If You Can” will be finished very shortly, and at the latest, by Friday night (April 17). Afterwards, I will be incredibly consumed with schoolwork, and thus, reviews may not be released until an entire week if not even more. However, afterwards, I plan on returning with the awaited review on “The Light” (music video), and for the person who requested so, thank you very much for your patience. Every other song for review is based on request order, though the fourth review will be my personal review of a male group due to previous feedback and a desire to bring more exposure to male groups. As a result, an advanced apologies for requesters as it may be a while until I reach the desired song. But, with patience, every review that was requested will certainly be done. I cannot express enough gratitude to be receiving review requests, and I do encourage many others to continue doing so. I would love to review songs based on what readers actually desire, and with requests doing so, it allows proper guidance for the blog.

Once more, thank you to the specific requesters and to those who are readers. I will attempt to publish these reviews as hastily as possible. Girls’ Generation’s “Catch Me If You Can” will be finished extremely soon, and afterwards, the requested reviews will be conducted.

Why are you doing just girls band Reviews?

Hello, and this is definitely a great question to ask and I would like to thank you for doing so. Also, while I did receive a question similar to this in the past, I am glad that you did not include something such as “Are you sexist towards males?” (Refer to the linked review below to understand why that statement is inaccurate in a critical social context.) That said, in the past I did receive a question exactly as this, except it had the latter statement attached. However, rather than answering it directly, I decided to answer it in a review, Dal Shabet’s “B.B.B” (feel free to read it for further understanding in addition to what I will say here).

However, with this being asked once more, and especially with a huge disparity occurring (I just looked over my archive page and I can understand where this question stems from), I will directly answer it and explain what is currently ongoing, and thus, why reviews of female groups are occurring more so than male groups.

Firstly, for the more blatant and technical reason, requests are the most prominent reason. Here are a few examples: Dal Shabet’s “B.B.B” was a recommended song, but I chose to review it as an indirect way of thanking and respecting the reader who took time to send me multiple songs from Dal Shabet. Afterwards, “Erase” by Hyorin and Jooyoung was reviewed due to it being an incredible song, and on the discreet level, it is by both a male and female artist. Juniel’s “I Think I’m In Love” was due to a Valentine’s Day theme, and with that song being the most akin to that day, I decided to review it. Now after those reviews, I have been exceptionally lucky via being gifted with a few requests.

Fiestar’s “One More” and “You’re Pitiful” were both requested (though I was going to review “You’re Pitiful” regardless, and for a side note, it has won my personal rank of being my favorite song). BESTie’s “I Need You” was also requested. As noticed, 3 of those reviews did happen to be female groups, but the decision to review them derives from readers sending in requests. Now addressing the non-requested ones, 4Minute’s “Crazy” was due to it being trending as it was recent, and thus, many readers would prefer newer content than the more archaic songs. In terms of the album review of “Crazy,” I wanted to experiment once more with album reviews, and with 4Minute already being reviewed, I decided to simply continue with the group. As for the last review of March 2015, Jessi x Cheetah x Kangnam with “My Type,” I chose that song as it was the first Korean Hip Hop song to be reviewed on this blog. It allowed readers to have more variety rather than the usual K-Pop genre, and furthermore, both male and female artists were involved. Progressing to April 2015, my review of “Tricked Again” by AOA, which, if not caught onto by now, was my April Fools’ Day joke, was conducted as a way of revisiting an older review of their song, “Like a Cat.” That review did provide this blog with some popularity, and thus, as a way to directly thank readers, “Tricked Again” provided both humor and gratitude. For the 2 more recent reviews, Fiestar’s reality show of “Channel Fiestar” was done as I wanted to experiment with show reviews once more, but with it being the only show I have recently watched, I decided to review it. Lastly, Miss A’s mini-album of “Colors” was requested, and it happens to be that the request was once more for a female group.

Overall, on the technical level, I still did include a few male artists, but with many requests being female groups and other types of reviews relying upon female groups (now a critical reader may ask why was I watching “Channel Fiestar” versus a male group, or why choose “Crazy” when a male group had a comeback relatively at the same time, and I will answer that), it caused no time for male groups. I did have many male groups in mind, and I still plan to review them: Infinite’s “Last Romeo” is an amazing song I plan to review, more recent songs of EXO’s “Call Me Baby” and Boyfriend’s “Bounce” are also songs in mind, and lastly, a review that has been archived due to time restraints, BTS’ “Danger.” However, as noticed, with requests coming in and choosing to bring in variety for readers, it did cause those reviews to be delayed, but of course, not permanently erased (BTS’ “Danger” has been on my list for 3 months now, but still on my review list nonetheless). 

As a result, male groups will be included, and at one point, I may dedicate a month to reviewing the songs I have delayed. For those who want male groups, I highly encourage sending in a request. Though this is most likely a horrible example, the idea of voting is similar to this issue; by not voting (not sending in requests), only received votes (sent in requests) from certain people are accounted for, and thus, certain perspectives or groups of people are excluded (for a serious point, it is important to vote as it brings a more accurate representation to the table). To clarify this example, if I receive solely female requests and absolutely none for male groups, a disparity will occur as I will review the requests, and with time being limited, solely those requests will be conducted. However, if I began receiving male group requests, I would gladly review them. For an actual example, I received a request for The Ark’s music video regarding “The Light,” but I intended to review EXO’s “Call Me Baby.” Due to requests deserving priority, I will once more delay a song. However, if both were requested, I would instead remove my personal choices and properly allocate time for requests to be met. 

For a final point on the technical side of this disparity, I urge readers to voice their opinions, whether it be requests or feedback on reviews. If readers are upset at the current gender disparity for reviews (and it is rather interesting that the opposite is occurring here; in general, there is often time more pushing for more female representation as males are prioritized), sending in requests, specifically as “Please review EXO’s “Call Me Baby” or even more generally as “Please review a male group” will allow for more equal, diverse reviews as the only perspective I am receiving is “Please review this female group’s song.” Though there may be an argument of how females deserve more spotlight as males are already highlighted enough, that does not justify my current gaping disparity. The more realistic approach would be to invest time for both in an equitable manner as, in the long-term, it allows for a more equal representation, though that may seemingly appear one-sided initially (this topic is one I would love discussing, the idea of “equalizing” current disparities through equity; a prime example being scholarships for minoritized groups is something worthy of deconstructing). In this case, arguably there should be more female groups for reviews, but as of now, with male groups being nonexistent, the current scale is overly one-sided as they should still be present, even if slightly less than female groups.

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Now as I have been mentioning, this is the technical side of this issue. There is, as I believe in being truthful, a more biased perspective. As in the linked review of Dal Shabet’s “B.B.B,” though I am a firm believer of social equality and equity, I am still a human, and thus, have my own biases. In the review of “B.B.B,” and even Miss A’s mini-album of “Colors,” I stated  that I am more comfortable with females as I have spent more time around females and such. As a result, for what personal choices I did have for reviews, I could have chosen to not review “Channel Fiestar” and instead to do Infinite’s “Last Romeo,” for example. In this case, I may have, and most likely, been biased, discreetly. I do not wish to create an image in which I appear as utterly understanding and unbiased, that is unrealistic and simply never true. 

As a result, I confess, while there is the technical aspect of requests being dedicated to female groups, my personal choices should be more mindful of groups I neglect. In that sense, I do apologize for readers frustrated at the current ratio of male and female artists, and I will be honest and directly confront that perhaps my prejudices are in play, even if unintentional. Nevertheless, what matters now is correcting such, and my current plan is to dedicate multiple reviews with male groups in highlight. My March 2015 reflection, which I have just noticed is missing as I truthfully forgot it, should have been done as this issue would have potentially been prevented. Self-reflections in general are beneficial for this reason; by dedicating some time to glance over what has occurred, more understanding, and redressing if necessary, is gained. If I did the March 2015 blog reflection, I most likely would have noticed the disparity much sooner (I am finally looking at my archive page after a long time).

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As an overall point, I am really glad readers are directly challenging and asking questions that confront more serious and sensitive topics. The prior question related to racism and this one in terms of gender are both topics many avoid as, blatantly, it can be rather uncomfortable. Nevertheless, that discomfort is even more motivation on why these topics need to be thoroughly discussed. Furthermore, as clearly depicted, though this blog is dedicated towards K-Pop and its mechanical aspect (the music, choreographies, and more), the social component is equally pressing, and thus, is why I tend to include it as it would be tunnel-visioned to solely focus on the music and dances. 

Summarizing final points, the technical layer of my published reviews may explain the current disparity, and thus, I encourage readers to send in male groups requests (I will be excited for the first, correctly stated, first, male group request), but for what I will personally need to correct, I will begin reviewing more male groups on my own choice. That said, due to already doing a vast amount of work for Girls’ Generation’s “Catch Me If You Can,” I will finish it (and to spark some controversy; many readers will be upset at what I rate the song). However, for Minah’s “I Am A Woman Too,” I will vastly derank it terms of review order. After the review of “Catch Me If You Can,” I will handle the requested music video review, and afterwards, begin the list of male groups that have been reserved for a while. 

Once more, thank you very much for the question, and if you would like, I encourage you to be first to send a song by a male group for review. For other readers stumbling upon this, Girls’ Generation’s “Catch Me If You Can” will be finished as soon as possible (I will be busy with schoolwork for a while), and afterwards, to the requester who desired the music video of “The Light,” that will be finished shortly as well. From there, male groups are in mind, and hopefully, comebacks occur during that period (from what I know, BTS will have one around the final week of April, and if so, it would be of perfect timing). Stay tuned for upcoming reviews, and specifically, for male groups. 

Hello. I just read your review about miss A’s album review. Although I enjoyed it, I didn’t like one part, about the racism. I know what Wendy did was wrong and it was also wrong for Jia and Fei to laugh, but why bring it up. It’s old news and has nothing to do with the album. Also, Jia and Fei have friends who are black, and maybe laughing due to the awkwardness.

Hello, and I will definitely answer this to provide clarification. Firstly, I am thankful that you enjoyed the album review itself, and I am also thankful that you are willing to ask this question which should definitely be asked.

To answer, I brought it up as, while it is older news, I wanted to clarify current misconceptions that many still have, and in the past, that I had. In the album review I explained the “racist binary” concept, which, in summary, depicts “non-racist” people as utterly accepting people and “racists” as the sheer opposite with being murderous, heinous people. In terms of the previous incident with the idols, I unfortunately applied that binary (as seen in a Blog Opinion post I made in the past) and made the idols seem as if they were horrible people. However, as explained in the album review, that is not the case as everyone possesses, to some degree, prejudices, and that is not negative as it is impossible to avoid having prejudices. As a result, what matters is not antagonizing people who, intentionally or unintentionally, commit racist actions, but instead, understanding it is moreover a social leveled issue and thus, should be discussed there versus on the individual level (such as what I did in the past of passive-aggressively degrading the idols).

Overall, if readers are confused, I apologize for my mediocre writing making it vague. I brought it up in hopes of clearing up Fei, Jia, Zhoumi, and Red Velvet; I wanted readers to recognize that even if what they did was racist, they should not be directly attacked. Furthermore, though it would seemingly be better to not discuss it all, I believe we must dive into uncomfortable subjects. Self-improvement and education solely arise if certain topics are discussed head-on in a logical, critical way. If I did decide to not venture into this topic, it would be, metaphorically, simply putting dust under the rug versus permanently removing the dust. As such, I revisited this old incident to, hopefully, bring a more enlightening and educative perspective to the situation versus current ideas of “Those idols are horrible racist people” and “Those idols didn’t mean it that way, they were just joking and are good people” (and as noticed, those common reactions simply fall into the current binaries of racism which blinds the real discussion of racism on a social level). What I personally would desire to see is a reaction moreover as: “What those idols did are indeed racist actions, but it isn’t exactly Jia, Fei, Zhoumi, and Red Velvet being horrible people; instead, it is what society teaches everyone and instead of focusing on the incident itself, we should focus on the bigger image of (subtle) racism.”

So, in short, I brought it up as it needs to still be discussed, but rather than viewing my words as a form of attacking or defending the idols, my words can be interpreted as directing the attention on that incident to a larger scope, a scope that focuses moreover on racism in a more general, social scale. In terms of what I believe and stated in the review, unlike in the past where I rendered the idols as horrible people, I now believe they are all genuinely accepting, welcoming people. What occurred during that broadcast was how racism has seeped into their lives, discreetly or blatantly, and thus, it is not their individual faults, but rather, society collectively. Everyone is, believe it or not, racist (and other “-ist” terms whether that is sexist, classist, and more). Though the degree will vary, everyone possesses their own prejudices. What matters is being able to discuss those prejudices without getting defensive, and the whole reason people do get defensive is due to current binaries (”left” versus “right”) depicting that possessing prejudices of any sort automatically means that you are a horrible person when, quite blatantly, that is not true. 

Overall, being able to discuss these sensitive and controversial topics is the only way for proper change, but if people keep evading these topics due to fear of being negatively labeled, then no change will ever occur at all. Once more, I brought it up in hopes of offering a more logical, educative perspective to the involved idols’ incident, not to attack or to defend their characters. 

As such, I hope this provides clarification. I am sincerely grateful that you were willing to ask a question that, truthfully, is sensitive as discussing racism and such is not an easy topic at all. Hopefully this provides clarity on why I mentioned it and what my intended point was (to view that incident on a social  scale versus an individual scale of solely the idols). Thank you for the question, and if any other questions do occur or even disagreement, I do encourage responses. As always, (even for reviews themselves) I am merely offering my take, though I hope my take is supported by critical thinking through a social lens. While I love K-Pop in a mechanical sense of its music, choreographies, and more, the social side to pop culture is equally important to include. 

Miss A’s Mini-Album – “Colors” Review

Reviewed on April 11, 2015

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Personal Message: As mentioned, a requested album review will take place. To the person who sent in the request, thank you very much. That said, with this being an album review, I will leave a disclaimer of how it may be mediocre; I am inept with album reviews and am still in the progress of refining the outline (feedback from readers is greatly appreciated). For a disclaimer regarding the audio links, though they are currently functional, for readers in the far future, the links may be copyrighted and thus unreliable. Should that occur, manually searching up the songs will be the solution. Also, after this review, Minah’s “I Am A Woman Too” will be the upcoming one.

Progressing past technical background, I am rather ecstatic to review this album. Although I am not utterly familiar with Miss A, I do recognize the 4 incredible ladies of Fei, Jia, Min, and Suzy. In fact, at the very beginning of this blog’s existence, I planned to taint review their song of “Hush.” Another very prominent song in mind, one that is incredibly famous in terms of Korean pop culture, is “I Don’t Need A Man.” Though I have yet to critically deconstruct it musically and socially, to offer my current stance regarding the musical component, it is lower, but the social aspect is definitely one I find empowering (I will spare readers from my digression regarding that topic as the upcoming review will do so). However, I have yet to fully analyze the meaning of the song, so that claim may not hold as completely true. Something to constantly bear in mind, the blatant layer of anything seldom discloses the entire picture; what is seen on the surface does not reflect what is underneath. As such, though “I Don’t Need A Man” is blatantly empowering to females, a deeper glance may in fact showcase it perpetuating sexism (this being an example; as stated, I have yet to truly analyze the song). Bringing a sheer opposite example, AOA’s “Miniskirt,” though seemingly sexualizing and degrading to females, it is instead the opposite: empowering.  

Focusing back on Miss A, besides recognizing their songs of “Hush” and “I Don’t Need A Man,” I have watched/listened to the Chinese and Korean radio show, “Idols’ True Colors,” where Fei and Jin are hosts along with Zhoumi (though I do confess I am unfamiliar with the group he is from). Due to the radio show, additional exposure to the two members of Miss A exists. On the topic of that show (and, at this point, feel free to skip below) and all of the hosts, I feel the need to truthfully correct an incredible mistake I made in the past: being passive-aggressive towards the hosts, and in fact, members of Red Velvet, specifically with Wendy. If this does not bring up memories, I am referring to the time where Red Velvet’s Wendy made racist impersonations on the mentioned radio show of “Idols’ True Colors.” Although a few shades of the idols’ true colors might have been unveiled, I wish to revisit this situation. If readers are feeling defensive and feeling as if I am going to humiliate the hosts and Red Velvet, that is not my plan; my plan is, in a few ways, the utter opposite: I will discuss a topic of “racist binaries,” assuming that is the proper label.    

Firstly, what was done, said, and reacted to is still wrong; Wendy’s impersonations are still racist, and the entirety of other Red Velvet members and Jei, Fei, and Zhoumi laughing along are still all equally racist actions (notice: actions and not people). However, unlike in the past where I dedicated a post that did passively-aggressively degrade the members and hosts, I would like to redress what I said and bring a more enlightening, educating moment. Though I do not recall exactly what I have stated in the archaic post, I am certain that I created an image regarding Red Velvet and the hosts as horrible people, unintentionally and discreetly. This is where I have created a huge mistake, and ironically, contributed to racism versus my intention of combating it. Readers may now feel confused; by directly confronting the racist impersonations and calling out the idols, it would seem that I was fighting against racism. This is where explanation will occur: I fell upon the trap of racist binaries.

To bring a deeper understanding to the situation, I will first explain what a “racist binary” is (and once more, I am not confident on if the label is correct, but nevertheless, the idea should be what is concerned). A racist binary depicts an antithesis between two people: the non-racist and the racist. The non-racist is someone who is depicted as genuinely friendly, open to differences, accepting of differences, and much more. The racist is someone depicted as a villain; this person plots for the deaths of minoritized groups (another discussion on “minoritized” and “minority” could take place, but in summary, minority is a false label while minoritized is the accurate one), hates people of a minoritized group, and is simply an atrocious person.

Relating this back to the racist impersonation situation, I unfortunately applied the racist binary idea to it. I created an image of how the hosts and Red Velvet were the “atrocious persons” who sought to be racist and inhumane when, truthfully, all of those idols are indeed genuinely friendly, welcoming people. This is the issue with discussing racism and how it becomes easily perpetuated. Racism is not restricted to people with heinous intent; racism is possessed by every single person, to some degree, but nevertheless, existing. With the racist binary concept applied, no longer are people willing to accept their racism, miniscule or significant, but instead, becoming defensive and evading topics of racism take over as reactions due to current depictions of racist and non-racist. If racism is to be truly discussed and challenged, rather than labeling racists as individual people with horrible intentions, understanding that racism is discreetly taught and perpetuated on a social level, such as from institutions or even individual/personal sources (which still stem from a social background), will be the method of being constructive, productive, and ultimately, the catalyst for proper change. In this sense, while the idols’ actions were indeed racist, the idols are, as absurd as it seems, not necessarily bad people at all. Rather than defending the idols or disregarding their existences due to what was said, being able to remove the racist binary and instead view this moment as a way to address racism on a social level is what should result, not insulting or defending the character of the idols as racism is possessed by everyone, of varying degree.

As an overall point, remembering to disarm the racist binary idea of how being racist automatically equates to being an appalling monster will be how productivity occurs from racist moments. Being able to admit to racism and to understand that it is not an individual’s fault, but rather, society as a whole, is where self-correction and self-improvement as a person, a human, will begin. Addressing racism and correcting it via understanding and critical thinking is vastly more reliable than denying being racist due to the existing binaries that depict racist people as vicious animals, which no person would want to be correlated with.

To truly focus on Miss A’s mini-album of “Colors,” though I encourage and hope readers do take a few moments to ponder over my previous point, their latest comeback is decent. Their title song from the album is “Only You” (for readers curious on whether I will do a standard song review of it, I will most likely not, sadly). 6 songs exist, but as usual in album reviews, “One Step” at a time will be the procedure. Every “Love Song” in the album will be analyzed for its lyrics and its overall vocals and structure. While I am “Stuck” with ideas on how to improve the review outline, I hope readers will claim “I Caught Ya” with a “Melting” mistake. After all, “Only You” are able to give proper feedback and new ideas on how to not induce cringes during transitions.

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1. “One Step”One Step (Audio)

– Lyrics: Addressing the lyrics to “One Step,” though slightly vague, the overarching story is a man or lady expressing unease at their love-interest for rushing a relationship. As explicitly stated, the main character urges the love-interest to “stop rushing,” and instead, to “slowly come into” the main character’s affection. Of course, this is not the main character attempting to utterly repel the love-interest; the man/lady feels “empty when alone,” and thus, desires to be with the love-interest as “if it’s not the two of [them], there’s no point.” Having a gradual, properly spaced and paced relationship is what the main character desires, and realistically, that is a highly respectable and an advisable mindset.

– Vocals+Structure: Swapping to “One Step” in terms of its overall sonic component, a ballad genre takes place. In terms of the vocals, Miss A showcases smooth, melodic, consistent singing. With the song as a whole being moreover calm, the vocals fit accordingly. Furthermore, the instrumental also emulates such via being equally slower paced, and, most prominently, having an exceptionally potent, deep bass line that occurs frequently. As a result, in terms of the mechanical aspect to “One Step,” with vocals remaining alluring through serene, tuneful singing, and the instrumental identically following suit, it holds well. However, though the mechanical side may thrive, the other side of its structure endures an expense: lack of variety. Much of the singing and even instrumental remain linear; very little deviation occurs for both parties as “One Step” remains consistently calm. Due to such, over a longer period, the song gradually yet definitely begins to drain of its appeal. After all, with every section to the song (verse, chorus, etc.) remaining awfully akin to the prior, and with the overall flow simply being stagnant, “One Step” loses its charm.

Overall, “One Step” is a highly relaxing song. Mechanically, the song does possess solid singing and a highly soothing instrumental, such as from the delightful bass line. Unfortunately, for where the song lacks, the consistency in its structure does not directly translate over for its appeal; with the song being linear, the absence of being dynamic causes appeal to languish versus remaining consistent.

2. “Only You”Only You (Audio)

– Lyrics: For an utterly irrelevant note, there is a humorous homophone incident that occurs: “no” versus “neo” (means “you” in Korean). The latter is what is being said as it would make sense, but, as I have pointed out in other reviews such as in Fiestar’s “One More,” anything is open for interpretation, and thus, there is no positive answer on whether the lyrics were meant to be “no” in English or “neo” in Korean. Grammatically of course, “No other guy/male but you” would sound more proper than “No other guy/male but no.”

Ignoring the off-topic point, the lyrics of “Only You” depict a romantic plot. A lady is, in essence, proposing to her love-interest, but for what is explicitly occurring, she is attempting to win a boy’s love. Briefly mentioned earlier, the main character claims there is “no other guy but [the love-interest]”; even despite having “a lot of male friends,” she views the love-interest as the “only” one, “only you,” hence the song’s title. Now while the love-interest is reluctant due to fear of her simply “playing around,” she insists that is not the case. “[Her] heart is racing” and with “no one else” being capable of making her feel such, she acknowledges the love-interest is “different from other guys,” and thus, should “accept [her]” as, implied, a partner.

One interesting line in the song does press a few discussions, but for the sake of progressing the review, I will not necessarily cover it. Nevertheless, the line is: “Because girls who don’t know men aren’t that great.” In context, this is the main character’s rebuttal for having a lot of male friends, which then leads to the following line/point, an assumption that she could not fall in love due to many male friends. While this may merely be the main character’s own thoughts, it is not restricted to simply a story, and truthfully, may be actual mentalities. To quickly address the discussion points, no assumptions of a person should ever be made on the sole basis of their friends’ gender. In the lyrics’ case, the main character may have more male friends, but that should not equate to the idea that she is incapable of loving males on a more intimate level. Therefore, the following defensive claim of “Because…that great” is also incorrect; regardless of whether or not more male friends are known, no assumptions should be made either. (And since it is becoming incoherent, the lines I am referencing: “I have a lot of guy friends, but that doesn’t mean I can’t fall in love,

because girls who don’t know men aren’t that great.” Also, feel free to skip to the next section at this point.)

As a final point (though multiple discussion points have spawned; it is interesting to analyze how females and males that have closer friends of the opposite gender are treated, and furthermore, to also peer at how there is a discreet standard that closer friends are assumed as the same gender), the displayed lines are worth nitpicking. A female not knowing a lot of males, or even knowing a lot of males, is great regardless, and for what can be agreed with, despite having more friends of the opposite gender, it does not indicate that one is incapable of being in a more personal, romantic relationship. And to actually dive into the other points, it is rather unfortunate that as a society a standard has been established in terms of the gender of close friends; often time friends of a person are assumed to be the same of the person.

Although this may appear as a minuscule point, there are subtle consequences of such (and for even deviating apart, which I will cover later): there is more division between gender, and from there, more justification and normalizing of horrendous treatment, such as sexism, occurs. For example, with the standard of same-sex friends being rife, it allows for alienation of the other gender when, quite obviously, the sole difference between a male and a female is in reproductive organs. Males and females are secretly taught and socialized with the idea that the other person of a different gender is exactly such, an “other.” Now, this highly invisible division is what harms; in the long-term run, it prevents the idea of “human” and instead, “male” and “female,” and as the ultimate point, this is what allows highly strict, unmalleable gender norms/binaries and sexism to thrive as no longer are males and females seen both as humans, but as stated, antitheses of one another.

This is also more troubling when considering how this current trend self-perpetuates; attempts to challenge the binary/separation of genders is often time met with hostility due to the already established idea of it. With a more sensitive topic, and with me believing in honesty and being open and intimate to readers, as I have mentioned in the past (I believe my review of Dal Shabet’s “B.B.B” covered so), I am more comfortable around females than males. Of course, I still do have male friends, and there are many males I do highly admire and respect, but nevertheless, as anticipated, I do have more female friends than ones who are males. Though there has been only one incident, backlash has occurred before from this: a question of whether I was homosexual or not.

Though it is another discussion on how society has socialized traits based on sexual orientation (and actually, an old yet my most popular review on Apink’s “Luv” does cover this), I will not go in-depth as the linked review does (or at least I hope it does). As a quick addressment to that point, behaviors and traits do not stem from sexual orientation. Simply put, a sexual orientation is solely who a person finds attractive, nothing more or less. With personal examples, I am a heterosexual male who adores makeup, cries easily when watching emotional videos such as Fiestar’s Hyemi crying, and likes “feminine” colors, and though I have not been personally burdened yet (minus the mentioned incident), it is irking to find people shaming and creating assumptions for males who drift away from false ideals of “masculine” (a later review will truly elaborate “feminine” and “masculine”).

Returning to the original topic of same-sex friends and how it self-perpetuates, from the females’ perspective, unlike my current privilege of being a male, females are bashed to a significantly greater extent for having more male friends than females. After all, I would rather have assumptions towards my sexual orientation than to be utterly objectified via slurs of “slut, whore” or “sleeping around,” and truthfully, even females are not exempt from having their sexual orientation questioned due to not having many same-sex acquaintances.

As an overall summarizing lesson, in addition to the fact that I should be prohibited from writing at 1:00 a.m. due to extreme digressions (I still encourage readers to ponder over this, whether that is in the form of disagreement or agreement), it does not matter who a person’s friends’ gender are. If a female has more male friends or a male has more female friends, it does not indicate anything. In fact, even if a female has more female friends and vice-versa for a male, it all simply is utterly minuscule. Creating aggressiveness towards people who deviate from the norms, be it same-sex friends or gender norms, is purely an act, intentional or not, of ensuring the current norms remain intact. Thus, challenging it by also deviating or accepting those who do so will be what should occur, not current acts of attacking, figuratively and literally, those who do not fit into the unrealistic standards.

– Vocals+Structure: If I am not a hypocrite, then I simply have no idea on a proper label. I am genuinely laughing as I did claim “but for the sake of progressing the review, I will not necessarily cover it.” Regardless, to return to K-Pop and Miss A’s “Only You” (though the whole reason the discussion took place was due to the lyrics; pop culture does matter, K-Pop is more than music, and thus, I encourage readers to always be critical with consuming it) after going to bed; anything after this will be written after I slept to spare readers, the song, expectedly, possesses its strengths and weaknesses.

Though shamefully no time exists to review this song via my standard outline, I will give my deconstruction. Vocally, Miss A discloses their versatility: different scales of power exist, the pacing fluctuates, and the melody remains diverse. Though nothing extreme is present, the vocals remain highly appealing due to the possessed variety. Switching to the song’s structural side, while the mechanical aspect of their vocals and simply how the song sounds is impressive, the layout of “Only You” becomes partially hindering. For example, while the progression is beautiful, it does not finish as such; the verse to pre-chorus to chorus route is utterly delightful and follows a gradual yet organized flow, but once the post-chorus occurs, the transition to a heavier bass and slower pace does not grant the intended outcome of a climactic point; instead, the sheer opposite of an unsatisfying and overly contrasting section is given.

Nevertheless, overall, “Only You” is not too bad. The vocals remain energetic and melodic, and the general structure possesses potential. The sole issue lies in that the occurring post-choruses are highly unsuitable.

3. “Love Song”Love Song (Audio)

– Lyrics: With a title of “Love Song,” anticipation of it being a ballad would be in mind. Interestingly, and contradictingly, that is not the case; “Love Song,” though still in the realm of a romantic story, takes the form of an EDM/electronic song. Nevertheless, for what is depicted, the lyrics are absurdly bereft of details. The plot showcases a man or lady who is hypnotized by love. A love-interest has made them “go crazy for countless nights.” As a result, it causes the main character to partake in “singing [the love-interest] in a love song,” as seen in the title. Other minuscule details exist, though it is all moreover the same idea as the first initial line. In that sense, the lyrics to “Love Song” are rather disappointing and extremely lacking.

– Vocals+Structure: Unluckily for the musical side, the lyrics being lacking is not restricted to solely the story; the sonic component to “Love Song” is, while different, equally deprived. For the vocals, lines that follow a calm, melodic style are admirable, but for all else, the vocals are on the lower tier as the adopted style is moreover chaotic or overly mundane. Furthermore, with the instrumental taking the spotlight due to the EDM style, the same chaotic trend continues. Although the new take of utilizing standard instruments versus pure electronic sounds is respectable, electronic sounds are often used in EDM music as, even in its name of “electronic dance music,” it is more suiting. In “Love Song,” the “violin drop” that occurs is moreover vexing than pleasing, and in many ways, could have been genuinely potent should the violin have become replaced with a standard electronic sound.

Overall, this song has vast potential and is a welcoming attempt to the EDM genre, but with lacking lyrics and a highly drained musical side, it becomes disappointing. T-ARA’s “Sugar Free,” which I did review in the past (though it would be a miserable read as I was even more inept than currently; at the very least, the numerical values should still be accurate), is a prime example of how EDM could potentially be handled.  

4. “Melting” Melting (Audio)

– Lyrics: Homogeneous to the prior song, once more, “Melting” does deliver a love related story. In terms of the genre, it is neither ballad, EDM, or even standard pop, and thus, I truthfully an unsure on a proper label. Focusing on the lyrics, equal to “Love Story” where lines were absurdly empty, the same issue is present: around 70% of the lyrics are solely “nanana.” Nevertheless, for what little  is unveiled, the story shows a lady or man who is overwhelmed with their affection for their love-interest, and thus, they feel as if they are “melting” or “in a spell.”

– Vocals+Structure: Though lyrics are usually not congruent to a song’s musical capabilities, the current trend as seen from “Love Song” and “Melting” conflict such; “Melting” is as equally plain as its lyrics. The vocals are highly repetitive and lacking due to the raspier, whispering style, and additionally, having to repeat identical words and lines. Even the tune is equally stagnant by itself, and with no fluctuation occurring to redress such, the vocals drastically deteriorate for the worse. Structurally, akin to the vocals and instrumental being plain, “Melting” utilizes a layout that practically recycles one song section for the entirety of the song’s length; it is as if a dull post-chorus was repeated endlessly for the whole song. Of course, there are still identifiable sections, but with it all sounding overly similar to the previous, no variety exists.

Overall, as blatantly seen, “Melting” certainly melts as the song is highly sluggish. With no change and variety occurring, and with the sections all individually holding poorly, a low rating is what “Melting” will be rendered as.

5. “I Caught Ya” I Caught Ya (Audio)

– Lyrics: Though the last 2 songs have been in poorer quality, I do admire the mini-album’s attempt to bring in diversity of genres. “I Caught Ya” takes another new genre for the album: rock. Thankfully, unlike the prior songs, “I Caught Ya” has respectable lyrics (perhaps in credit to the member, Suzy, writing the lyrics) along with the sonic aspect. For the involved story, though the topic is still involving love, it is not necessarily romantic. “I Caught Ya” reveals a lady who, as the title, “caught” her partner cheating. The main character caught the “boy” “red handed”; after all, his “fake face” “revealed” the truth “pretty quickly.” In reaction, anger takes place for the main character. She refuses “to hear it” and would prefer the boy to “piss off.” Furthermore, though the boy is now “sad” over the situation, the main character remains apathetic and considers herself superior as she is “too good” and has no intentions on wasting her time with the incident.   

– Vocals+Structure: Glancing at the song itself, though other experiments with different genres have failed, “I Caught Ya” succeeds with adopting a rock genre. The vocals remain charming due to reaching incredibly seducing lower notes but also the slightly higher notes. Additionally, the guitar provides a pleasing foundation for the vocals. With the guitar riffs and even beats possessing lower pitches, the contrast from the singing’s general higher pitch and the instrumental augments both parties. As for the song’s structure, excellent progression exists as every section flows to the next properly. Transitions are also well done in credit to the alluring guitar riffs; moments of solo guitar allow not only a mechanical aspect of the guitar itself to thrive, but additionally, a natural, theme-suiting switch that aids the structural component is gleaned.

In the end, “I Caught Ya” is an admirable song in “Colors.” The rarer take of rock is well conducted. The vocals remain variated and tuneful, and likewise, the instrumental with its key guitar.

6. “Stuck”Stuck (Audio)

– Lyrics: Though I am uncertain, while Suzy has written “I Caught Ya,” Min supposedly handled “Stuck” and wrote its lyrics. If this is true, it showcases not only how additionally creative and intelligent the ladies are, but that Miss A should handle their own lyrics as, from “Love Song” and “Melting,” lyrics given to them have been of horrendous quality. Following Min’s work, the lyrics through the medium of a ballad showcases a romantic plot. A lady or man is infatuated by their love-interest and is sharing an intimate moment as “it’s just the two of [them] right now.” The main character adores how the love-interest is able to “set [the main character] free” and feels, overall “stuck in love.” Other details exist such as the lady/man desiring to “kiss [the love-interest’s] shining lips” or to hear “[their] sweet voice.”

– Vocals+Structure: With “Stuck” utilizing ballad, promising vocals are foreshadowed. Thankfully, it can be confirmed: the vocals presented remain incredibly tuneful and diverse with pace and notes. Variation of power also occurs, though vastly more minimal. For how the ballad is structured, an overall calmer style is in place. As a result, “Stuck” retains its ballad tone and is capable of delivering a more romantic style as the vocals hold the spotlight. Nevertheless, while the vocals are decent and the structure is beneficial towards the overarching atmosphere, as seen in “One Step,” a linear layout loses much appeal over time. The same issue applies for “Stuck”: with every section remaining highly similar to the others, the created consistency prevents fluctuation, and while that is supportive to the vocals and mood, appeal becomes easily lost.

Overall, “Stuck” may possess a lovely story, but the lack of being slightly more dynamic hinders it from being a more efficient and solid ballad.  

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Personal Ranking:

With every song being partially deconstructed, I will now leave my personal rating of the best to worst song in the album of “Colors.”

1. “Only You”

2. “I Caught Ya”

3. “One Step”

4. “Stuck”

5. “Love Song”

6. “Melting”

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As a final verdict, Miss A’s mini-album of “Colors” is not too solid. Only “Only You” and “I Caught Ya” remain impressive, and even then, flaws are still prominent. For the rest, the included ballads are moreover average, and for “Love Song” and “Melting,” they can be rendered as failed attempts at different genres. As such, unless if an avid fan of Miss A or disagreeing with my take, I do not recommend purchasing the album. However, I do recommend purchasing “Only You” and “I Caught Ya,” and for what everyone can certainly do, supporting the 4 ladies of Miss A.

As always, thank you very much for reading this review, and as consistent readers may know, apologies for longer digressions (but they are still vital topics to discuss). For the requester, thank you very much for this request, I wholeheartedly appreciate it. Also, I cannot express enough gratitude for your patience and, in fact, readers for taking the time to read this review (whether that is in bits or in its entirety).

In terms of upcoming reviews, I did receive an interesting music video review request. That will be covered after my upcoming one: Girls’ Generation’s “Catch Me If You Can.” For those who were looking forward to Minah’s “I Am A Woman Too,” it will be placed in the backburner (assuming that is the right phrase) for now. Nevertheless, the 2 upcoming reviews will be exciting due to either being unique, or in the other case, upsetting due to my current criticism.

Once more, thank you for reading. Do not forget to leave feedback on my current album review structure as “Only You” are capable of claiming “I Caught Ya.” Through “One Step” at a time, I will slowly improve and hopefully not get “Stuck.” Even then, I wish every reader enjoys a “Love Song,” and more importantly, that I genuinely stop this type of conclusion as readers have their eyes “Melting” in anguish. Stay tuned for the upcoming review of Girls’ Generation’s “Catch Me If You Can.”

Could u do a review on the ark the light mv

Firstly, hello and thank you for the request.

To answer, I will certainly review The Ark’s “The Light,” and specifically, the music video as requested. Though I am skeptical on the review itself holding well as it would be the music video and not the song, I will create a formal but prototype layout of a music video review. This will ensure that it remains as cohesive as possible, hopefully. 

On that note, for readers curious on the song and music video, The Ark is a newly debuted group, and in fact, as of the time I am writing, this is the exact day of their debut (or at least by a day or so). Judging “The Light” from a musical perspective, the group has a lot of potential and I will be looking forward to other releases. Specifically, their rapper has definitely caught my attention. Now in terms of the music video, though I will elaborate further in the review, I will be honest and embarrass myself: this music video is the first one to ever make me cry, and the degree to which tears fell required two tissues. Due to making a very harsh mistake of putting myself in the mother’s position at the very start, it became exceptionally emotional. After all, with personally desiring a daughter if I become a father in the far future, the music video’s plot is incredibly traumatizing.

As such, while the music video is beautifully done and induces tears and emotions except from people, such as my friend, who managed to nonchalantly claim “it’s an alright video” due to her lack of a heart, being able to peer at the mechanics involved and how it translates to viewers’ reactions will be one component of the review. More details will arrive once the review itself is published.

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For other news, to the requester of Miss A’s mini-album of “Colors,” it is currently being worked on. It will be finished in a few more hours, but nevertheless, finished and ready for posting by today. Afterwards, before diving into The Ark’s music video of “The Light,” I will swap over to Girls’ Generation latest comeback of “Catch Me If You Can.” That review will be incredibly interesting, and hopefully, provocative with instilling multiple opinions and debate. Of course, this unfortunately does mean Minah’s “I Am A Woman Too” will be tossed for storage. Nonetheless, I still plan to review it, but it will be later and considered moreover an archaic review versus one that reviews a newer release.  

Thank you once more to the requester, and apologies to the person who is patiently waiting for the review on Miss A’s album of “Colors.” Time is highly uncooperative as many school assignments are due soon, but I will do my best to ensure reviews are still released on schedule (but, obviously, school over reviews).

Fiestar’s Reality Show – “Channel Fiestar” Review

Reviewed on April 7, 2015

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Though I did not necessarily intend to review this show (nor in this order; this review was to be after an album review, sorry to the reader who requested it), for the purpose of adding variety to the blog and to experiment with show reviews (and, in truth, a shorter write), one will be conducted. However, unlike past show reviews where, truthfully, merely summarizing the show occurred, I will now focus moreover on my opinion regarding the show. Nevertheless, minimal summarizing will occur to bring in context, and, for what many readers desire, pictures (on the subject of pictures, I am utterly grateful with my friend creating multiple blog icons, and after some debate, I have settled down with this current one). With all of that said, the show of focus is Fiestar’s reality show: “Channel Fiestar.”

Addressing why the show is labeled as such, it is due to exactly that; “Channel Fiestar” is as if Fiestar possessed their own TV channel. As a regular television channel, many different “shows” are in one channel: variety game shows, sports, interviews, or even traveling. Expectedly, “Channel Fiestar” replicates those different shows in their own reality show. Ignoring confusion of how the reality show consists of shows in the show, due to the unique take, while “Channel Fiestar” may be labeled as a reality show, a more accurate label would be “variety reality” as there are a plethora of different, entertaining activities done, all within a reality show perspective. Brushing aside technicalities, a brief summary will still be conducted of the show, but afterwards, my overall opinion regarding its entertainment value and potential criticism will be given.

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Firstly, to clarify the “shows in the show” concept, I will utilize a few examples. One particular segment of “Channel Fiestar” is the section labeled as “Korean Reading Glasses.” Simply stated, this segment discusses Korean slang. Through a hypothetical situation/skit, a few Fiestar members act a potential scenario involving a certain slang word, and after the [s]questionable[s] utterly stellar acting, one member will arrive amidst the chaos and clarify the slang’s meaning. In multiple ways, this is similar to Fiestar’s mini-series, “A-ha,” and potentially, the idea for “A-ha” might have derived from this segment of the reality show. On the subject of “A-ha,” I will recommend readers to watch the mini-series. Like “Korean Reading Glasses,” the sections are short yet highly jocular. At the very least, the behind-the-scene footages for “A-ha” are incredibly humorous and worthy of time.

On topic with “Channel Fiestar” ‘s segment regarding slang words, in terms of how it holds, due to being unique, on the level of industry and individual, it is a welcoming segment. Elaborating why it remains highly distinctive, seldom does an activity simply orientate towards acting skits; often time activities solely involve games, athleticness, or even singing and dancing. As a result, a simplistic skit is, despite being plain, incredibly delightful.

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Now of course, games are utilized in shows for a reason: entertainment. “Channel Fiestar,” in addition to their acting, participate in a copious amount of competitive games. For example, a “phrase-transfer” game was played, the objective: carrying a phrase accurately to the next person via yelling through earbuds and headphones. As anticipated, comedy ensued. In addition to the simulation of how rumors begin, other games were played and of equal, if not more, humor, such as the “Ostrich” game or even simply guessing words, which, as seen by Linzy’s “pengun” pronunciation, can be difficult. With a large quantity of variating games played, and of all being highly intriguing due to a combination of the game itself or laughter, “Channel Fiestar” does excel with the “variety show” aspect.

For a slight digression, one of a more serious tone, the imitation/”Ostrich” game does elicit an important, previous discussion. Though slightly discussed in my review of Fiestar’s latest comeback, “You’re Pitiful,” this moment will provide a prime example of my prior claim: sexualization is moreover the consumer’s take versus purely the delivery (but the delivery can still be rendered as a factor). To clarify the “Ostrich” game, one player creates a pose with solely their body, and afterwards, the opposing player is blindfolded and has 30 seconds to touch the poser in order to exactly imitate their pose. Unfortunately, a simple, fun game has been construed by a few as one that is sexual; the touching occurring during the 30 seconds is no longer for a game, but rather, exaggerated and seen from a sexual lens. This reiterates my prior claim of how sexualization is not necessarily what is delivered, but instead, what viewers themselves construct.

Of course a more technical and critical discussion should occur such as addressing the delivery of content, but I will limit the discussion and redirect readers to my review on “You’re Pitiful.” During that review, the music video for “You’re Pitiful” is discussed. Unlike the “Ostrich” game, the music video is explicitly emphasizing sexual components, but as an overall point, even with the certain emphasis, it does not constitute belittling the incredible ladies of Fiestar as mere objects for reproductive purposes. After all, claiming Fiestar, a highly admirable, talented, and intelligent group of ladies are “sexy,” physically and non-physically, is more realistic and appropriate than “those chicks have hot bodies” (for even more advertisement, refer to my review of Juniel’s “I Think I’m In Love” for my take on the word of “chick”).

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Ignoring the short digression that, blatantly, became somewhat lengthy, other activities existed besides acting skits and games: cooking, a dating game/scenario, “secret cameras,” and more. To slightly expand those various activities, a cooking tournament was held among the 6 ladies. In addition to the competitive cooking side of Fiestar, the more romantic side was seen; earlier episodes of “Channel Fiestar” consisted of scenarios where the members were paired up with dating partners. Many other activities were also showcased, be it hidden cameras capturing Yezi’s fierceness and willingness to stand up for others, or the group’s own take on interactive plots and weather forecasts, both of which were once more, questionable laugh-inducing, even if arguably overly corny.

As for how these other activities aid “Channel Fiestar,” variety is key. Every episode, and in fact, more accurately, every part to an episode remains individually appealing (one episode is split into 3 parts). “Variety reality” becomes a viable label due to the differing events that occur, and with every activity remaining enticing, in sum, high entertainment is kept.

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Transitioning to another prominent aspect of “Channel Fiestar,” sports and athletic related activities were also featured. With “Channel Fiestar” ‘s recording taking place in the winter, many outdoor activities utilizing snow occurred. However, for moments away from the cold, bowling was a highlighted, intense game due to Yezi and Linzy providing vigorous rivalry. Overall, by factoring in the more physical-intensive incidents to “Channel Fiestar,” further variety is gleaned. Every activity possible in a variety show does occur in the group’s reality show, and thus, constantly possessing high appeal exists.

Returning to the topic of anxiously close games, tying in a previous review of “My Type” by Jessi, Cheetah, and Kangnam, the point of underrepresented female sport players does come to mind. Sport competitions among highly skilled female athletes, regardless of the sport itself, are entertaining and worthy of spectating, but unfortunately and interestingly, male sports remain as the highlight for sports in general; despite how both males and females are capable of displaying excellent games, both to an equal caliber of competition and adeptness, solely males’ sports are invested into (certainly figuratively with attention, but also potentially quite literally with money).

To spare readers from a lengthier digression (though it is still worthy to ruminate over), the linked review does partially cover the topic. Nevertheless, it remains highly absurd and disturbing to witness the current lack of equality and equity among genders in sports. With gender being the sole difference between male and female games and not competition or talent, it brings the questioning of why such is the case, and sadly, a simple answer exists: as a society, collectively, a decision has been made, unspoken or transparently stated, that males’ sports, or even more generally, males, deserve priority, regardless of whether it is even about sports or not. As mentioned in the review of “My Type,” challenging the current system by being attentive to both male and female sports will be a way to disassemble the current structure that holds.

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Since the review has already slightly side-tracked, which is, overall, fine as this is moreover a bonus review, I will already leave my current opinion on my show reviews. Personally, I am in truth rather flustered and frustrated at myself; I currently lack the adequate skills to properly deconstruct shows in order to give a more constructive, clear opinion regarding my stances on them. As a result, show reviews will still exist, but solely for the sake of variety. Manipulating “Channel Fiestar” as an example, show reviews will be the equivalent of a game segment on the show. Of course, however, the more realistic and proper approach would be to view this review as a learning moment, and thus, to build upon current mistakes, but with song reviews being highly more organized and desired, rather than allocating time to improve show reviews, it would be more beneficial to augment song reviews.

On topic with Fiestar’s reality show, and to strive for a sufficiently satisfying end, the final main component to the ladies’ show is the segment labeled, peculiarly, as “Goosebumps Experts.” Although it did take a while to understand to show’s title, this segment has yet to be deciphered in terms of why it is called as such. Nevertheless, the segment consists of two members interviewing one victim lucky member and subjecting them to a barrage of either serious or jocular questions. Due to such, the entertaining aspect from jokes and genuinely learning more of the members’ personal lives is gained.

Biasedly, I have found this segment to be the most promising as it provides an entire spectrum of solemnness to lightheartedness. Despite two heavily contrasting points, one consistent aspect, personally speaking, does occur: this segment induces tears. Whether it is due to being overly humorous or rather melancholy, both instances did bring slight tears. For example, the interview regarding Fiestar’s leader, Jei, proved to be incredibly ridiculous yet jocular: a poor dance battle took place along with a prestigious lesson regarding proper texting etiquette in the context of flirting, and of course, adolescent stories and experiences from Jei. While I may be akin with Jei in terms of receiving the identical scolding of “you don’t think” due to texting manners, without even the context of flirting (truthfully, thinking of the idea of flirting is rather alien), the texting teachers of Yezi and Cheska did elicit, once more, a moment worthy of digression: ensuring that a boy is truly interested in the conversation, in the context of flirting. In short, the ladies mentioned that if the scenario of flirting does occur through text, the boy must be checked in terms of being certainly interested in the relationship.

Of course, the ladies may be referring to this as a general statement, but it does shed light onto a topic worthy of discussing, the topic of how males have been socialized to, literally in a few cases, chase females in order to fulfill current ideals of masculinity. To offer an actual example, an experiment (though arguably a method) that has been executed by two friends, an interesting one that female readers could attempt (males should also feel free to attempt this, but if predictions are correct, the specific outcome should occur less frequently; I will address why that may be the case) is faking, or truthfully, mentioning a relationship partner (the latter being what my friends have done). Now, to bring in further context and clarification on what exactly is happening, if a male is overly friendly, to the point of being suspiciously friendly, often time, unfortunately (unfortunate in the perspective of a social lens; this is great for expelling unwanted attention), the simple mentioning of a partner will instantly repel the “interested” male by a significant amount if not entirely. What is disturbing is attempting to unpack why this is the case; through glancing at why males will often time fade away once hearing of a partner, and even why males are overly “friendly” in the first place, discloses many upsetting points.

For one, the idea of possessiveness becomes rife, even if highly discreet. Males being absurdly exceptionally friendly to a female (context is key; for clarification and in defense of male readers, there are men who are very genuinely sweet people, do not mesh them into the same category) in an attempt to garner affection simply perpetuates the idea of ownership; rather than viewing females as actual human beings, a trophy is seen instead, and thus, a desire to “win” a female is created, and as a result of that, being exaggeratedly nice occurs. However, upon hearing the female has a partner, and humorously phrased, “taken,” that drive to “win” ceases as this female has already “been claimed.” As clearly depicted, both cases have instances of ownership occurring, as if females are trophies to be obtained. Interestingly, should we reverse the situation of genders, as stated, the idea of “ownership” will most likely be less common, and to answer why, it has to do with how society socializes different genders accordingly so; males are taught to “chase” females while females are taught to be “passive” and such. Gender roles and masculine and feminine will be further discussed in the second upcoming review of Minah’s “I Am A Woman Too.”

On this note, I will also address the fun and, harshly stated, stupid topic of “friendzone.” Nevertheless, to address this topic, the concept of “friendzone” exists on the sole premise of giving a false reason to the previous idea of ownership; many males will utilize the friendzone excuse in order to justify their exaggerated kindness, or in certain cases, lack thereof and direct attempts to “obtain” a female. Clarifying what the “friendzone” concept is, in summary, it perpetuates a highly false idea that females will not be in a relationship with a male who is a friend. If the logic behind that does not sound ridiculous, then my review of AOA’s “Tricked Again” might as well be rendered as sincere.

Explaining why the friendzone concept is erroneous, its sole purpose is to justify males’ behavior towards females, as mentioned; sudden, intrusive behaviors or any forms of undesired attention are now considered reasonable as the male wants to “obtain” a female but can only do so if not a genuine friend. In short, being able to objectify females and to view them as trophies become legitimate as the friendzone concept exists. Quite obviously, the friendzone idea is false. A partner relationship does not develop from a person entering a relationship with dating in mind; partnership occurs over time, a long period of time, where two people begin to equally feel the same for one another, all without extraneous influences. As a final point, challenging the root, the idea of masculinity, will be the method to address the current situation of males discreetly or blatantly “owning” females.

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OVERALL:

In truth, I am slightly laughing as this review has been arguably the worst I have ever written. While the review itself is not necessarily over, the amount of digressions in juxtaposition to what is truly reviewed is astounding; I have spent more time on the digressions than addressing “Channel Fiestar.” Compensating through the upcoming album review and “I Am A Woman Too” will be the solutions.

With the major components to the show being covered, I will now give an overarching stance regarding the show (which I should have done versus any of the summarizing). Firstly, to address the entertainment value, “Channel Fiestar” is, by a vast amount, the most entertaining reality show I have yet to see. Every part of an episode remains varying from other parts, but furthermore, every activity conducted is appealing on its own. Accounting for both of those aspects, individually solid and individually unique from the rest, it allows “Channel Fiestar” to thrive with constantly remaining appealing. Furthermore, with an overall lighthearted tone (minus the single sole moment regarding Hyemi’s interview), the show emanates with positivity and humor.

Swapping to over to the more subtle details of the show, the structural side (non-entertainment) versus the mechanical side (entertainment), “Channel Fiestar” wavers with different aspects. In terms of being a reality show, the variety show style is a differing take; often time a reality show features a camera following a group/idol, as seen in other ones such as “The TaeTiSeo,” “Hyuna’s Free Month,” or “Jessica & Krystal” but in “Channel Fiestar” ‘s case, the camerawork was orientated towards being purposeful and directive, as if shooting a variety show. With the topic of reality show versus variety show, for where Fiestar’s show lacks, the “reality” is nearly nonexistent. Simple, daily tasks would have been preferred over the constant games and activities; witnessing the group’s dance and singing practice sessions, interactions with staff members regarding their industry work, and such, would have significantly augmented the show. If that were to exist, “reality and variety” would definitely hold as accurate as both aspects would be apparent. Unfortunately, the lack of that makes “Channel Fiestar” moreover a “variety reality” than the prior.

Overall, Fiestar’s reality show of “Channel Fiestar” is still worthy of watching if entertainment is a priority. Readers and fans seeking for a behind-the-scenes aspect to Fiestar will feel rather bleak. At the very least, the members’ closeness and affection for one another is displayed, but regarding their industry work (yes, technically we are witnessing the “broadcast” work of their jobs), there is none. While it does possess the role of being the most entertaining reality show I have watched, I will still claim “Jessica & Krystal” holds the throne for being the overall best reality show I have watched. Perhaps I may be biased as “Jessica & Krystal” made me bawl a river (though as stated, Hyemi’s interview in “Channel Fiestar” did induce a few tears, and furthermore, Fiestar’s anniversary video did so as well) it is exceptionally produced in terms of maintaining high appeal while keeping a reality show theme and perspective.   

With this being the end, as always, thank you very much for reading. This has been a horrible review in honesty. I will blame a naive mindset of diving into the review with absolutely no planning whatsoever. At the very least, I have learned prior planning is crucial. Nevertheless, for readers who have managed to read this, thank you very much. Show reviews are bonus reviews, and in that sense, I do hope readers enjoy the variety versus the poorer content and writing.

The next review, one that should have been finished significantly sooner, is a requested review on Miss A’s mini-album, “Colors.” Afterwards the long awaited review of Girl’s Day’s Minah’s first solo, “I Am A Woman Too,” will be published shortly. Stay tuned and keeping checking back. I will return to where I feel most natural and content: music reviews.

Your reviews have so much criterion and sense that I love. Please, review Gain’s Hawwah and Miss A’s Colors. Is Hawwah a masterpiece? Is Colors a good job? These are questions I would like you to answer in your review. Keep well baby!

Firstly, thank you very much. I am utterly joyful to hear that you enjoy my reviews. I appreciate it, thank you. Also, this is the first review request sent anonymously, and thus, I will have to reply publicly, but that will be of no issue. On that note, I do hope readers are not deterred away from leaving requests or comments due to being anonymous. Whether a Tumblr account is owned or not, I still value feedback from anyone.

On topic with this request, I will certainly review both of those mini-albums. In fact, as of the time I am typing this sentence, I have just finished formatting those reviews. That said, I will finally have a prototype outline for album reviews, though more trial and feedback from readers will leave it liable to change. 

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For other news, as of this moment, I have 5 reviews ready to finish: one song, Minah’s “I Am A Woman Too,” two show reviews, and the newly added, two album reviews. Though I am already busy with schoolwork this weekend, I will definitely grind out a review (or at least nearly finish one). Due to the album reviews being faster and requested, I will prioritize them. However, I will most likely review Miss A’s album first as it is their comeback, and thus, still fresh and trending. Afterwards, I will finish Minah’s solo, and then afterwards, return to Gain’s album. Expectedly after all of those reviews, the show reviews will take place (though overall in truth I may scrap them depending on other reviews). 

Adding on to the miscellaneous updates, I revamped the blog’s description in order to make it more mobile-friendly; the “Archive” page and the “Request/Recommendation/Questions” page are now links directly in the description. Thanks to a reader notifying me (and how I wished I knew significantly earlier) of how the mobile page does not have the built-in links for those pages, the newly added links to the description itself should fix that issue. 

One final update would be an upcoming change to the blog’s current picture. For those who are unfamiliar with my blog’s current picture, the amazing lady is Nine Muses’ former leader/member, Sera. From memories I have addressed the picture (to do discreet advertisement find it, searching every post will have to do), but in summary, she is one of my role models (T-ARA’s Soyeon is another huge role model to me). While she inspires me in a multitude of ways, having the courage and perseverance to begin this blog is in credit to her. That said, in terms of what will become my picture, a friend is willing to create a unique avatar for the blog. Though she is not necessarily a professional artist, she has experience with creating icons and such. In terms of what can be expected, “Atrocity’s K-Pop Review Blog” was my sole request and specification; I have utter trust in her choice and, at the very least, to thank her was to allow her own creativity to flow. 

In a quick summary, more reviews are coming in addition to a new icon. As always, thank you for reading, and to the requester, thank you very much for sending this in. I appreciate every single viewer and cannot express enough gratitude. Stay tuned for more a review on Miss A’s mini-album, “Colors.”

AOA – “Tricked Again” Review

AOA – Tricked Again (Music Video)

AOA (Ace of Angels) – Tricked Again

Reviewed on April 1, 2015

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Personal Message: Though it has only been a few months, AOA has already delivered their comeback: “Tricked Again.” Interestingly, however, rather than their usual style of songs, “Tricked Again” takes the form of a ballad. Furthermore, it is rather peculiar that this comeback went relatively discreet; very little advertising and promotion went towards this release. To offer my speculations, I predict this ballad release to be identical to 4Minute’s ballad of “Cold Rain.” For those unfamiliar, 4Minute’s latest comeback possessed a title song of “Crazy” (read my review on it here: 4Minute – “Crazy” Review), but strangely, a ballad was released first. Relating 4Minute to AOA, the same marketing idea seems to exist, and thus, a standard K-Pop genre song may become released versus the sole song of “Tricked Again.”

Regardless of whether “Tricked Again” is indeed AOA’s title song or not, for their latest comeback, it holds rather well. To already give a quick glance of the song’s rating, I will still claim their other ballad of “Time” remains significantly superior (I partially reviewed the song at: AOA’s Mini-Album – “Like a Cat” Review). But, without comparing it to other songs, “Tricked Again” is a solid ballad. To address the link, it is the music video. Being a ballad, a dance is not expected, and thus, the standard music video will serve in the place of a dance practice or stage performance. What does remain highly enticing, however, is the music video follows not a standard protocol of creating a plot and multiple stages, but rather, simply footage of AOA’s recording process and studio work.

For a final digression before the review (though at this point, feel free to skip to it), I will share a story of this blog’s growth and how it truly correlates with AOA. AOA holds a positively influencing position for my blog and I. In addition to genuinely looking up to the ladies and striving to be as intelligent, hardworking, tenacious, friendly, and physically and non-physically pretty as them, AOA has, indirectly, given a gift to this blog: “spotlight-light-light-light”. Likewise to how “Like a Cat” gave AOA the necessary momentum to finally be highly popular, my review of the song allowed my blog to be more heard of (though I feel that the review is incredibly horrible). While I did not replicate the exact scale of AOA’s earned popularity, this blog gained a hefty amount of viewers due to the review, and more gratefully, many consistent readers that now read my reviews came from the one on “Like a Cat.” In that sense, I am incredibly grateful towards AOA for indirectly helping, but more realistically, I am thankful and appreciative of the readers who stumbled upon my review of the song and are still returning on a consistent basis. Though I write and create reviews for fun and do not seek popularity, I am still extremely grateful and honored to have readers that are willing to invest some time to read my reviews, even if my writing is rather mediocre and lengthy.

On another note, besides being the review that brought attention, it provided a moment of realization: people read my reviews. With that, and additionally, a specific teacher (though multiple people have also influenced me, she remains the prominent one) instilling passion towards writing and enlightening the purpose of such, I became highly motivated to vastly improve my reviews. Rather than perceiving reviews with a casual, careless mindset, I began to view them as an opportunity for improvement of skills; assessing my reviews in order to find errors and places for where my analysis and mechanical writing could be refined became a new priority. Overall, a much more serious, striving demeanor became my mentality due to the review on “Like a Cat” garnering some form of popularity.

Returning to AOA themselves and a more lighthearted atmosphere, which was my intended tone initially, their ballad of “Tricked Again” is definitely solid. Though it may be inferior to previous ballad releases, it still fares well individually. AOA claims to have been “Tricked Again,” but hopefully, readers do not follow suit. Also, while I should have mentioned it much sooner, I have been having a technological issue of copying/pasting. Copying a link, for example, and then pasting seems to give an archaic copy. As a result, if the music video link is incorrect, apologies, though from checking once more, it should be fine.

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Song Score: 7/10 (6.8/10 raw score) – “Above average”

– Vocals: 7/10 – The vocals in “Tricked Again” may excellently suit the overarching melancholy tone of the song, but through a sonic lens, the vocals do slightly falter. Every member showcases very melodic, soothing singing, but a main crucial aspect remains lacking: variety. Though AOA’s voices are highly captivating, minimal fluctuation occurs, specifically with power and pacing. Throughout “Tricked Again,” every line follows a gentler, fragile style. Though the style is highly effective when coupled with how melodic their vocals are, it proves to be highly dull and uninteresting as every line begins resemble the previous one. Furthermore, the pacing, homogenous to the unmalleable vocal strength aspect, remains highly stagnant. Every line follows a slower pace, and with it never changing, the issue of dullness becomes widespread. Nevertheless, while the linear pacing and power remain a downfall for variety, it does prove beneficial towards the melody. AOA’s singing remains highly emotional, tuneful, and simply infatuating. The slower pacing accentuates the members’ notes and allows for sharp, crisp sounds, and the strain of vocals, while unchanged, allow a consistent saddening mood to exist.

Overall, above average will miraculously hold. The melody emanating from AOA’s singing does compensate for the lack of diversity.

– Sections: 7/10 (6.5/10 raw score)

Introduction, Verse, Pre-Chorus, Chorus, Post-Chorus, Rap, Pre-Chorus, Chorus, Post-Chorus, Bridge, Conclusion (Post-Chorus)

1. Introduction: 6/10 – Jimin, as seen throughout nearly, if not every song released, handles the introduction.

Diving into the mechanical side, Jimin’s voice is given for the start. Simple statements, high in sadness, are said. While no singing necessarily exists, the accompanying piano instrumental and her whispering voice mesh well and offer a lower noted, soothing start. Structurally, with the slower pacing and lower pitch, and additionally, a saddening atmosphere instantly given, a solid start is gleaned. The ballad is properly prepared, both emotionally and sonically, due to Jimin’s  statements.

Despite the structure holding well, the mechanical portion does remain lacking. Slightly above average will be the rating. Also, should the music video link be incorrect, these words will, blatantly, not reflect the false video, but instead, what would have been the proper song.

2. Verse: 7/10 – Truthfully, I did not expect to even come this far and have practically excavated all possible creativity by now Seolhyun deserves additional respect towards her singing as seen here. Seolhyun and Choa are in charge of the sole verse in “Tricked Again.”

Sonically, Seolhyun’s softer singing becomes highly captivating. Her slower pacing sets focus on her gentle and clear vocals, and additionally, towards her melody. Choa follows suit. Structurally, the section, as mentioned, possesses the issue of becoming highly tedious due to a lack of variety.

Above average will be the score. Though the structure impairs the section, the duo’s singing prove to be potent enough to bring a promising verse.

3. Pre-Chorus: 7/10 – Hyejeong and Mina are in charge of the pre-choruses in “Tricked Again.”

Sonically, Hyejeong’s softer singing becomes highly captivating. Her slower pacing sets focus on her gentle and clear vocals, and additionally, towards her melody. Mina follows suit. Structurally, the section, as mentioned, possesses the issue of becoming highly tedious due to a lack of variety.

Above average will be the score. Though the structure impairs the section, the duo’s singing prove to be potent enough to bring a promising pre-chorus.

4. Chorus: 7/10 – Choa and Yuna are in charge of the choruses in “Tricked Again.”

Sonically, Choa’s softer singing becomes highly captivating. Her slower pacing sets focus on her gentle and clear vocals, and additionally, towards her melody. Yuna follows suit. Structurally, the section, as mentioned, possesses the issue of becoming highly tedious due to a lack of variety.

Above average will be the score. Though the structure impairs the section, the duo’s singing prove to be potent enough to bring a promising chorus.

5. Post-Chorus: 6/10 – Every member is in charge of the post-choruses in “Tricked Again.”

Sonically, AOA’s softer singing becomes highly captivating. Their slower pacing sets focus on their gentle and clear vocals, and additionally, towards their melody. Structurally, the section, as mentioned, possesses the issue of becoming highly tedious due to a lack of variety.

Slightly above average will be the score. Though the structure impairs the section, the members’ singing prove to be potent enough to bring a promising post-chorus.

6. Rap: 7/10 – Jimin and Chanmi are in charge of the sole verse in “Tricked Again.”

Sonically, Jimin’s softer rapping becomes highly captivating. Her quick pacing sets focus on her gentle and clear vocals, and additionally, towards her melody. Chanmi follows suit. Structurally, the section, as mentioned, possesses the issue of becoming highly tedious due to a lack of variety.

Above average will be the score. Though the structure impairs the section, the duo’s rapping prove to be potent enough to bring a promising rap section.

7. Bridge: 6/10 – Choa and Yuna are in charge of the bridge in “Tricked Again.”

Sonically, Yuna’s softer singing becomes highly captivating. Her slower pacing sets focus on her gentle and clear vocals, and additionally, towards her melody. Choa follows suit. Structurally, the section, as mentioned, possesses the issue of becoming highly tedious due to a lack of variety.

Slightly above average will be the score. Though the structure impairs the section, the duo’s singing prove to be potent enough to bring a promising bridge.

8. Conclusion (Post-Chorus): 6/10 –  Every member is in charge of the post-choruses in “Tricked Again” and therefore the conclusion.

Sonically, AOA’s softer singing becomes highly captivating. Their slower pacing sets focus on their gentle and clear vocals, and additionally, towards their melody. Structurally, the section, as mentioned, possesses the issue of becoming highly tedious due to a lack of variety.

Slightly above average will be the score. Though the structure impairs the section, the members’ singing prove to be potent enough to bring a promising conclusion.

– Line Distribution: 6/10 – “With a size of 7 members, distribution of lines may be slightly challenging. Nonetheless, it is very plausible to achieve a high score.

Starting with Choa, she appears at the verse, the bridge, and of course, the choruses. To excessively add more, she also performs two-part singing at the conclusion. As many can tell, she had sufficient time; “sufficient” is a questionable term, however, considering that she might have been given too much time. Being too prominent might cause scarcity of lines for other members, but we shall find out.

Next up is Jimin. The leader’s moments involved the introduction, the solo lines during the post-choruses, and lastly, the rap section. No issues exist here. Every section she appeared at was rather influential; the introduction radiates with her presence along with the other sections.

Yuna had no issues, either. Her lines included the choruses, and she had a part in the bridge. While she may seem lacking in comparison to Jimin and Choa, for what a member should be given in this song’s duration, Yuna had the perfect balance; not lacking but not excessive.

Hyejeong’s lines occurred at solely the pre-choruses. Since her lines were on the longer duration, no issues truly stem from this except for a lack of variety. For the most part, no issues.

In Mina’s case, her “Spotlight-light-light-light” (I’m sure people saw that coming) consisted of solely the pre-choruses. Similar to Hyejeong, since her lines were lengthier, she had enough time. Although singing different, additional lines would have been preferred, there is little trouble here.

Seolhyun, unfortunately, does remaining somewhat lacking. She occurred at solely the first and only verse, but unlike Jimin, her lines did not leave any impactful, lingering memories. Due to that, she can be seen as deprived of some singing time. Having one more additional moment elsewhere would have been desired.

Lastly, we the maknae (youngest person) of AOA: Chanmi. If Seolhyun’s lines, or lack thereof, proved to be an issue, then Chanmi is in a rough situation. Essentially, her lines are completely unnecessary, and sadly, it would have been even viable if Jimin simply took her lines. Chanmi occurred at the rap section in which predominantly Jimin was rapping; only two lines were rapped from Chanmi. Similar to an old review of Boyfriend’s “Witch,” the rap section in that song had the same issue; two people rapped, but in reality, only the main rapper was necessary.

Anyhow, a horrendous distribution for Chanmi; her lines were not only short, but furthermore, were completely replaceable with Jimin simply taking over.

One additional factor to account for is that all the ladies sing during the post-chorus, but unfortunately, since that section leaned moreover towards chanting than singing, it loses its value of being “lines” in the song.

In the end, 5/7 members had adequate lines, and even then, scrutinizing further would reveal that it is still somewhat imbalanced. Choa comes off as too prominent although biasedly, I can’t complain, and Mina and Hyejeong were slightly lacking. The only member with a near-perfect distribution was Yuna. Overall, disappointing for a share of lines. For the score, considering it was mainly 5/7 members (that equates to roughly 70% of AOA) singing, adding in the vital factors of how Choa slightly overpowered the song and Mina’s and Hyejeong’s semi-lacking lines, a lower score will be given. 6 for slightly above average. Normally, 6-membered groups do fine, so even adding one more person should not prove to be troubling. On the other hand, even 9-membered groups are capable of solid distributions. It is somewhat disappointing to see issues occur here.”  

For those who claim this Line Distribution rating or that the Sections portion are seemingly copied and pasted, it is a mere coincidence (on a more serious note, however, I am rather ashamed of the poor writing done for this Line Distribution that is seemingly identical to the one in my review of “Like a Cat” but is somehow not it; many conventional errors exist along with simply horrendous writing). It is also a mere coincidence that my copy and pasting still seems functional, as my proposed claim of it failing still holds true.

– Instrumental: 7/10 – “The instrumental in ‘Tricked Again’ is pleasing. It adds a supportive foundation for the vocals along with other utilities. Meshing with the vocals was natural; neither parties contrasted the other one harshly. In terms of matching up to the song’s flow, that was followed through. The instrumental was only as energetic as the vocals. A clear example is observing the pre-chorus to the post-chorus: the instrumental steps up a notch to accommodate the singing, but once the post-chorus arrives, it plays out as slightly passive in order to fit the chanting. Individually, the instrumental had a soothing, attractive, and catchy influence. A solid soundtrack by itself.

Overall, above average. It lacks the extra spice to gain a higher rating, but nevertheless, it holds as very suiting towards the vocals, and on its own, it comes off as a catchy soundtrack.”

Once more, if this seems awfully familiar, it is purely a coincidence.

– Meaning: 7/10 – With a song title of “Tricked Again” and an accompanying sorrowful tone, a one-sided relationship would seem to be the story. Nevertheless, through these Korean-to-English lyrics, which I did translate on my own as no translation source has done so yet, the story should hopefully become unveiled. As always, and especially due to personal translation, the lyrics are not 100% accurate:

Hey, no matter where I go
(No matter where you are)
The pretty girl disappeared
You know, you know
You used to be good and fresh
And now, you’re nothing but a Sound

You say you’ve wished you’ve never seen me before
You had a feeling and said that I never
shined in the first place
Your head turns to look at me
My eyes are filled with tears
Seeing you hesitate
to talk to me, I can feel it

The sunlight shines on you like a spotlight
I am in your head as a news headline
Even when you dream, you’ll remember me
Are you worrying?
Come to your senses

I’ll walk past you
Picking a rose, I’ll give it to you
I’ll surprise you, you’ve been caught
I’ll walk past you
Even when you’re asleep,
I will softly appear as a memory,
I’ll surprise you

Dudududu
I’ve been tricked, deceived, hurt, lied to
Dudududu
I’ve been tricked, deceived, hurt, lied to

I want to go to you like a thief
Tonight, without anyone knowing,
I wanna steal back our kisses from your lips
when you’re sound asleep,
You will dream of our last sweet night
Hold tight to the memory
You’re a wolf, I’m your hunter

The sunlight shines on you like a spotlight
I am in your head as a news headline
Even when you dream, you’ll remember me
Are you worrying?
Come to your senses

I’ll walk past you
Picking a rose, I’ll give it to you
I’ll surprise you, you’ve been caught
I’ll walk past you
Even when you’re asleep,
I will softly appear as a memory,
I’ll surprise you

Dudududu
I’ve been tricked, deceived, hurt, lied to
Dudududu
I’ve been tricked, deceived, hurt, lied to

We used to fly, remember hugging me at night?
We could’ve flew higher, but
I can feel what’s wrong
The clouds and the moon are not one
Like my trembling heart,
both fly so lightly
Oh don’t talk to me, oh leave me
Never kiss me baby, never again

Dudududu
I’ve been tricked, deceived, hurt, lied to
(Tricked again)
Dudududu
I’ve been tricked, deceived, hurt, lied to
(Tricked again)
It’s all over

Since I have spent a significant amount of time “translating” the lyrics are rather detailed, I will briefly cover of them. A couple has split up due to unknown circumstances, and now the main character resents their former partner and yearns for them to anguish over the separation.

Due to the significant level of creativity and effort placed into composing the lyrics, a higher score will be granted. The amount of details and the unique story itself deserve it. Also, in no way is this being biased; though the composer, through an interview, has claimed the process to create the lyrics was rather strenuous, I am not delivering a higher rating on the sole basis of sympathy, but instead, talent and admiration towards the composition. Above average will be the rating. The composer is also in no way arrogant with their lyrics.

– “Critical Corner”: Though I am sure the lyrics may have points valid for discussion, nothing remains urgently pressing. Also, I am in no way hastily covering this review.

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Choreography Score: X/10 – As briefly mentioned at the beginning, no choreography exists for “Tricked Again.”

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Overall Score: 7/10 (7/10 raw score) – With solely the Song Score holding as a 7, the Overall Score will follow suit. This indicates AOA’s recent comeback of “Tricked Again” is above average, and I certainly agree as explained through this very thorough, elegant, and sophisticated review.

As always, thank you very much for reading, and I hope this read is, at the very least, entertaining if not jocular. Though I would be confused as to why it would be comical, I do hope readers enjoy this serious review. AOA’s comeback is definitely one to follow as their standard style may be resumed. In terms of upcoming reviews, due to the time I wrote this, it will be unclear. In fact, BESTie’s “I Need You” was the review prior to this one (not that I preemptively wrote this review with a certain date in mind).

Nevertheless, stay tuned for upcoming reviews. Since this review will be published on April 1, it will mark the first review of the month. Though this review may strangely be inferior to previous reviews due to peculiar, unknown reasons, future reviews will be significantly better. Keep checking back for upcoming reviews, and of course, unlike the song, please do not become “Tricked Again” if trickery did occur on April 1 for whatever reason.