TWICE – “Like Ooh-Ahh” Review

– Like Ooh-Ahh (Dance Practice)

– Like Ooh-Ahh (Music Video)

TWICE – (Like) Ooh-Ahh

on November 12, 2015


Personal Message: Before
beginning, huge thanks and shout-out (this may the first time I have ever used
“shout-out”) to a reader for requesting this review. I have not received many
requests in a while, and admittedly, that is saddening in the sense of not
being exposed to more artists and songs. Also, it is saddening as, recalling
prior reviews, many were guided by requests, and I very much do enjoy that as I
am able to review songs that readers directly desire. But, considering how I
have been horrendous with quickly finishing requests, it is understandable on
why requests may have become unpopular. Nevertheless, I do appreciate every
reader’s voice, whether it is requesting or recommending a song, disagreeing or
agreeing with ratings, or even giving general feedback on the blog and writing.
For a final note before discussing TWICE, there is another rookie group I plan
to review in the future: GFriend. Especially after watching their dance
practice videos for “Glass Bead” and “Me Gustas Tu,” I remain in utter awe at
their adept dancing. The members of GFriend are, to say the least, incredible

the spotlight to TWICE, the group to be reviewed, like GFriend, this group can
also be considered rookies. In fact, they are newer to the K-Pop industry than
GFriend as, if accurate, TWICE debuted around early October due to an audition
reality show that recruited members (readers should correct me if I am wrong)
and have only one title song while, in contrast, GFriend has two. Due to such,
as “Like Ooh-Ahh” is a debut song, I do wish to clarify that if the ratings are
low (I am predicting that to be the case), that should not be equated to the
group’s lack of skills. Improvement is guaranteed for future songs, and it
should be noted that very few debut songs are indeed excellent. A few
exceptions may be MAMAMOO’s “Mr. Ambiguous” or SEVENTEEN’s
“Adore U”
for examples, but regardless, even those groups
certainly can improve—and have improved—and overall, “Mr. Ambiguous” and “Adore
U” are still not utterly outstanding songs even if, for debuts, they are

example is with Girls’ Generation. Though defensiveness may arise, the ladies’
debut song of “Into The New World,” while not repulsive, is far from being a
charming song. But, given years to grow and improve, Girls’ Generation is now
very much respectable and the group has released stellar songs, such as
“Party,” “Lion Heart” and so forth. Leaving a final example and one that may
directly relate to “Like Ooh-Ahh,” Red Velvet comes to mind. With their debut
of “Happiness,” though I did not review the song, I will confidently and
harshly claim that song was mediocre. Very mediocre. However, following the
group to their latest songs, improvement is unequivocally seen. Thus,
connecting TWICE, if “Like Ooh-Ahh” results in a disappointing score, rather
than interpreting such as bashing towards the group’s skills, it should be
understood as a critique to the song itself. They are, after all, in the K-Pop
industry, and thus, do possess the merits that allow them to even be in it in
the first place. Again, improvement is always possible, and of course, even
talented, veteran groups are not immune to releasing poorer songs as there are
moments where, despite the talent, a song may be weakly produced (according to
my review rubric, that is).  

the subject of my review standards, while I strive to keep reviews well
supported with valid arguments, it should be clear that my ratings are entirely
subjective; music, after all, can never be objectively critiqued. At most,
analyzing songs in a mechanical sense with the production (pitches used, etc.)
is possible, but when it comes to deciding what sounds from said production are
deemed “good” or “bad,” that does fall within pure opinions—opinions that are still
backed up by evidence and reasoning, that is. Besides, music is a phenomenon
that cannot be explained scientifically; there is no obvious reason for its
existence or for why it releases dopamine (if a reader disagrees, I would be
interested to hear the science behind music). Therefore, it is not automatically
negative for song reviews to be subjective as not everything can or should be
directly linked to science. Coincidentally, this topic of “humanities versus
sciences” was discussed in an older review of Girls’
Generation’s “Catch Me If You Can.”
Readers who are
interested should refer to it, but in short: both are necessary. Focusing on
solely sciences will cause the loss of humanity—the loss of human connection
and love towards one another. Not having or caring for humanities is to
essentially be a robot. Conversely, caring solely for humanities is to not
physically live; sciences are necessary if physical health is to be improved
and even livable. Sciences allow societies to have technologies that aid in
surviving, or more modernly, to have a more leisure life. Both are needed is
the message.

for a more serious digression (readers should feel free to skip to the review
itself), with discussing the topic of opinions, there is one crucial question I
should have addressed months ago, and especially with becoming a future
educator, it is one worthy of asking myself: Am I trying to force readers to
think in a specific way musically and even socially? Directly answering: no. I
will first discuss the answer in a musical context as that is easier to first
comprehend, and afterwards, I will then include a social context as that is the
more critical piece to ruminate over. With the many digressions reviews have
regarding topics that derive from lyrics, music videos, or regular K-Pop news,
it very much is worth asking if I am attempting to change readers’ opinions on
certain issues.

Musically, reiterating the earlier point, I do
not wish readers to accept my review criteria as “right.” Drawing an obvious
example, my outline should not be rendered as the default method for
deconstructing a song. There is an infinite amount of ways to break apart a
song—my method happens to be one view out of the infinite. Referring to other
song reviewers, whether of K-Pop or not, truly discloses such. Furthermore,
even within the outline, the way in which I dissect a song’s lyrics, sections,
vocals, and so on, vastly differs from others. It is solely one perspective.
For example, I tend to grade “intense” vocals (tuneful singing, note holds,
note stretches, etc.; think of Ailee) more highly, but clearly, that is a
biased take on what constitutes as excellent vocals. There are certainly songs,
such as with raps, where vocal intensity is minimal to nonexistent, and yet, it
would unfair to judge a rap’s vocals as average because of such. Nonetheless,
even with attempting to be flexible with criteria, it is all based on a
personal perspective. What is classified as a solid chorus or instrumental
certainly does differ from another person’s view, and no one is ever “right” in
regard to music quality.

a final point, rather than hoping that readers blindly accept my reviews as
“correct,” I merely hope to provide new insight towards songs. That is the
ultimate purpose of my reviews: giving new perspectives. Now, this does not
permit lousy and horrible arguments for reviews; it instead means that reviews
are personal, supported interpretations of a song. Likewise, social topic
digressions follow suit: I hope my positions on certain social topics are
supported by decent reasons, but in the end, those stances are still all
relative to my view—a single view. I may, and probably do, have stances that
are very controversial, even if there are valid reasons. CLC’s
’s digression is a perfect example. My stance
regarding shaving is somewhat extreme, but nevertheless, it is supported with
evidence and is not an abstract, pathetic idea. However, as noted, it is still
a peculiar view, and thus, rather than forcing that stance onto readers, I
simply hope I have given a new perspective. After all, with the shaving
example, I very much do hope readers disagree with my position; my personal
stance with shaving admittedly does not support equality and equity—it is
one-sided take.

I do not ever wish to force my ideas upon readers (and future students) as
correct. For what I do expect, however, is that through sharing my
perspectives, readers develop their own opinions and become critical with what
is believed in. Using the shaving example once more, many do in fact disagree
and that is what I desire: not forcing readers to accept my views, but forcing
readers to critically think over my views and over their own views—musically
and socially. No matter a view and how much it may be disliked, being able to
respect the perspective and to critically think over it is vital and of main
importance. Whether my views are agreed or disagreed with is irrelevant; what
matters is asking why my views are agreed or disagreed with, and why my views
are as they are.

that said, the review will now officially begin. TWICE is a newly debuted
group, and with their first song of “Like Ooh-Ahh,” this review will determine
if the song does cause listeners to go “ooh-ahh.”


Song Score: 4/10
(4.2/10 raw score) – “Slightly below average”

Vocals: 4/10

Sections: 4/10
(4.43/10 raw score)

Introduction, Verse,
Pre-Chorus, Chorus, Rap, Verse, Pre-Chorus, Chorus, Bridge, Chorus, Conclusion

1.     Introduction:

2.     Verse: 4/10

3.     Pre-Chorus: 5/10

4.     Chorus: 5/10

5.     Rap: 4/10

6.     Bridge: 3/10

7.     Conclusion:  5/10

Line Distribution: 3/10

Nayeon: Verse 1, Chorus 1, Chorus 2
(Total: 2)

Jeongyeon: Chorus 3 (Total: 1)

Momo: Verse 1, Verse 2 (Total: 2)

Sana: Verse 1, Verse 2 (Total: 2)

Jihyo: Verse 1, Pre-Chorus 1, Chorus
1, Pre-Chorus 2, Chorus 2, Chorus 3 (Total: 6)

Mina: Verse 1, Pre-Chorus 1 (Total:

Dahyun: Rap 1 (Total: 1)

Chaeyoung: Rap 1 (Total: 1)

Tzuyu: Pre-Chorus 1, Pre-Chorus 2
(Total: 2)

All: Bridge 1, Conclusion

Value: 2.11 sections per member.

Instrumental: 4/10

Lyrics: 5/10

People can’t leave me alone for a single minute
I’m so pretty,
I make everyone smitten
No matter where I go, the floors are red
Like walking down a red carpet,
everyone is staring at me
Some people ask “Who’s your mama?”
They take a fresh approach,
but I don’t feel a thing
But I wanna fall in love with someone
Wanna fall in love baby
Listen up my boy

I’m waiting for someone who can make me feel
something like never before
(That’s who I’m waiting for)
I’ll wait, no matter how long it takes
I just wanna fall in love

What to do, keep me still
Make me like ooh-ahh ooh-ahh
Fake, fake, empty-hearted fake
Goodbye, good riddance huh (Like ooh-ahh)
What to do, make me speechless
Make me like ooh-ahh ooh-ahh
Bla-la-la-la stop talking, start doing
Make me feel huh (Like ooh-ahh)

Look at me and see me again
Pass by once and look back (Twice)
Wherever I go, I go without makeup
And I still shine the most
Flat shoes can’t hide my high value

Movie like scenes run through my head la-la-la
Just thinking about it
makes me excited yeah
Now I want to love somebody
Wanna fall in love baby
Listen up my boy

I’m waiting for someone who can make me feel
Something like never before
(That’s who I’m waiting for)
I’ll wait, no matter how long it takes
I just wanna fall in love

What to do, keep me still
Make me like ooh-ahh ooh-ahh
Fake, fake, empty-hearted fake
Goodbye, good riddance huh (Like ooh-ahh)
What to do, make me speechless
Make me like ooh-ahh ooh-ahh
Bla-la-la-la stop talking, start doing
Make me feel huh (Like ooh-ahh)

Don’t wanna start with just anybody
I’m not a girl who gives it up so easily
Let me see how you gon’ treat me
I ain’t no “easy”
Better think about it twice
Let me see how you gon’ treat me
I ain’t no “easy”
Better think about it twice

What to do, keep me still
Make me like ooh-ahh ooh-ahh
Fake, fake, empty-hearted fake
Goodbye, good riddance huh (Like ooh-ahh)
What to do, make me speechless
Make me like ooh-ahh ooh-ahh
Bla-la-la-la stop talking, start doing
Make me feel huh (Like ooh-ahh)

Like ooh-ahh

Choreography Score: 7/10

Overall Score: 6/10
(5.5/10 raw score)


Analysis: For
a fun fact, as of this sentence, it is nearly two in the morning. The phrase,
“the things I do for-readers-and-to-keep-my-review-schedule-on-track-without-losing-valuable-homework-time”
certainly applies here. And perhaps a loss of composure. Jokes aside, this may
be the lowest scored song yet. The Song Score does average out at a four, and
though disappointing, it is understandable on why that is the case.

Line Distribution rates at a three for below average, and that is because of a
significant disparity: Jihyo has six sections while three other members are in
need of one additional section. Should Jihyo have lost three sections, a rating
of nine would have been granted. But with the current share, four out of nine
members being unequal in quantity will significantly decrease the score along
with how, based on Jihyo’s count, a large gaping disparity exists.

also on the non-musical side of the Lyrics category, a five is in place. “Like
Ooh-Ahh” contains lyrics that are, as the rating, average. Many sections repeat
similar ideas if not identical ones, and additionally, for the repeated lyrics,
many are dull in detail. For example, the choruses and pre-choruses contain
lyrics that are not alluring as the lines are composed of very simplistic,
short phrases. Worse, however, is the repetition as every chorus and pre-chorus
recycles the same mundane lyrics. Even with the overarching plot, it fails to shift
away from the traditional theme of romance—though it is not inherently negative
for lyrics to reuse that theme. What is negative for “Like Ooh-Ahh” is how
within its theme, it is an incredibly plain story. It can, after all, be
summarized in one line: a confident lady is looking for a love-interest that
will make her go “ooh-ahh.” Optimistically, for why the score is at least a
five versus a lower score, it is unique in the sense of using “ooh-ahh” as its
key idea. Similar to MAMAMOO’s
“Um Oh Ah Yeah”
(on a side note, I love that song), exclamations
are used to describe the main character’s feeling, though for “Like Ooh-Ahh”
specifically, it is used moreover to describe her desire. Also, for the
sections that are not of the choruses, pre-choruses, and bridge, those sections
are indeed appealing and deliver great detail to the plot’s main character.

over to the musical side of the song, coincidentally the Vocals, Sections, and
Instrumental category all hold at a four. (Also, as of this sentence, happy
Pepero Day for those who celebrate it.) Beginning with the vocals, immaturity
is an encapsulating description—not in the sense of physical sounds, that is; TWICE,
based on “Like Ooh-Ahh,” significantly lacks vocal control. While true that the
vocals are diverse in notes, style, and that at the end there is a short note
hold, the execution of it all is not alluring. For example, the choruses do
possess many desirable qualities, such as the ones mentioned earlier regarding
note diversity and all, but despite those traits, the produced sounds are not
enticing. There is minimal complexity and the vocals sound mundane and overly
basic. Likewise, the instrumental falls in a similar situation in that, though
complementing to the vocals and helpful for progressing the song, it sounds
incredibly plain. Overall, if both the vocals and instrumental utilized sounds
and styles that were more distinct and not of stereotypical “pop” music, higher
ratings may be earned. As of now, the lack of specialty will be negative for
the song. Obviously the genre of pop is not inherently bad (no genre is), but
when very basic pop music sounds, such as in “Like Ooh-Ahh,” is indeed
produced, it is difficult to receive anything higher than a five. There is
simply minimal creativity, and in such a “popular” genre where many songs are
created, being distinct is vital—both for publicity but also in that better
quality does, usually, mean shifting away from using basic pop sounds in
instrumental, vocals, and so forth.

to the sections of the song, as the prior paragraph explains, a four is in
place as TWICE’s song strictly follows stereotypical pop music. Although
personal guilt is felt for the following excess harshness (again, refer to the
Personal Message for how this review is not to humiliate the hardworking
ladies): only the bridge will be specifically inspected as the rest can be
generally critiqued. With the remaining sections in mind, regardless of whether
a four or five is specifically granted, the general idea holds: average. The
introduction is unique in style, but with the given instrumental, it renders
plain; the verses, pre-choruses, and choruses all follow a traditional format,
and thus, lack appeal in structure—let alone how sonically they all also lack;
the rapping is poor in categories of flow, melody, and pacing; and lastly, the
conclusion, though fulfilling to its role as it is a recycle of the
introduction and therefore pacifying, fails to be mesmerizing as explained for
the introduction itself. Finally addressing the bridge, a three is given for
below average. The bridge follows, as the other sections, a standardized
structure and therefore, is already unappealing in that regard. Most impairing,
however, is the second half of the bridge where minimal sonic appeal worsens to
nearly nonexistent: obnoxious vocals take over. Now “obnoxious” is admittedly
exaggerated; the vocals are not to the point of utter chaos, but nonetheless,
are very low in quality. Chanting is moreover the accurate term, but even so,
it does not erase the fact of how it is structurally unsuitable and sonically
unattractive. A three is given as an outcome, though a two would have been the
case if it were not for the first half.

the choreography and in
promise that I am not being overly strict because of university stress
, thankfully,
a higher rating appears: a seven. “Like Ooh-Ahh” may languish in its musical
value, but the dance holds. Syncing, though not excessively precise, is still
quite accurate and noteworthy. Beats, for example, are connected with, and more
generally, the song’s overall pacing is flawlessly reflected. More intense moments
consist of quicker movements, and conversely, more passive moments showcase
equally calm syncing. In terms of key points, this is the dance’s strongest
point. Especially with the benefit of having nine members, many formations are
possible. Delightfully, TWICE does manipulate that attribute as every section,
minus the choruses, uses a new key point. No verses are identical, each
pre-chorus varies, and so on. Accounting that both syncing and key points are in
higher standards, a seven is rightfully earned.


gauging the song from its Overall Score, a rounded-up six is the rating, but if
peering at the musical component, it does suffer with a four. Optimistically,
for a debut it is a respectable start. Given the time and practice, TWICE will definitely
blossom, and thus, I will return to the group in a few months. Nevertheless, in
juxtaposition to many other songs, “Like Ooh-Ahh” is partially lacking.  

the requester, apologies for this review being delayed. University work has
become hefty, but I have finally finished. Thank you for requesting the song,
and to other readers, thank you for reading this review. I greatly appreciate
any time invested in the blog and messages from readers. Since the blog is two
weeks behind schedule, I do have plans to redress such. Already exposing my
plans: EXO, VIXX, GOT7, and CNBlue will all be reviewed, and both groups of EXO
and VIXX have had very recent comebacks. Sadly, however, an expiring review of
F.T. Island’s “Severely” may be put to rest as I currently feel like speaking emotionally and
as it is simply too late to return to. But, with the
digression that occurred, I will transfer it over to the next review as the
digression topic is extremely important for readers to ponder over. And, on the
topic of digression, with the next reviews being of solely male groups, I do
hope more artist variety is gleaned and that readers are satisfied. (Refer to
horrible writings of Dal
Shabet’s “B.B.B”
and a Q/A
that discusses why there is a disparity of female and male groups reviewed; in
short, challenging male privilege and personal implicit biases are the reasons—though
the latter I am very much disarming. If I recall, I wrote defensively in the
Q/A when I should have been humble and confessing my bias, and thus, I do
apologize for that.)

As this is the end, I hope readers can “wait, no
matter how long it takes” for the next review because “I’m waiting for someone
who can make me feel something like never before”—and it perfectly happens that
readers are that “someone.” Cringing end aside, stay tuned for, most likely,
VIXX’s “Chained Up” or finishing GOT7’s “Just Right.” One of the reviews will
be finished, but most definitely, November will end with at least all the
reviews mentioned above.