EXO – “Ko Ko Bop” Review

(Music
Video)
/ (Live
Performance)

EXO – Ko Ko Bop

Reviewed
on August 11, 2017

And
so, despite fans’ massive praise towards and the song and even despite how the
song overall is not “bad” per se—indeed, it scores at an average as readers
will soon see—I find that the most disappointing aspect to the song is the loss of potential. In other words, “Ko
Ko Bop” could have been a rather
solid song, but in my argument, the post-chorus in the song is detrimental
enough to entirely limit the song’s potential appeal.

Personal Message:
Before getting further, as always,
thank you to the requester for sending this in. Furthermore—and arguably more
importantly—I also thank both the requester and readers for once again being
incredibly patient for content. August is certainly still the month where I am
planning to review many songs at a time, but there have been some slight delays
for the past few days. To explain the reasoning behind these slight delays, I
have been spending the last few days playing video games with my younger cousin—an
activity I personally wish to cherish while I still have some extra free time
left during summer. The upcoming university semester will by far be the most
rigorous and busy semester I will have ever experienced and thus, I am in a
situation where I have to temporarily put aside a few hobbies. Given that
reviewing K-Pop songs is vital to my well-being akin to breathing, that leaves
video gaming and perhaps even subtitling videos as the hobbies I will have to
give up for a few months. (Though realistically, I will definitely still have
time for those activities. Having a proper balance is what is most important—a tip
that should help readers returning to school. I will still subtitle videos and
find moments to relax with gaming.)

Dramatic speech aside—after all, I
make it sound as if I am about to undergo intense K-Pop trainee training—let us
focus on the review at hand. EXO’s “Ko Ko Bop” is indeed the men’s latest song,
and from the rudimentary research I have done, it appears that the song is
rather well received by fans. Many fans have been praising the song and in
particularly loving the song’s unique style—a style that meshes elements of EDM
and R&B if I am correct. That said, I personally remain a bit hesitant to
equally praise the song. EXO fans might be upset at the upcoming harsher
criticisms I have for “Ko Ko Bop,” but I will leave this as a reminder: music
reviews are never to leave objective answers; that is impossible in the fine
arts field where everything is, unequivocally, subjective. Instead, the purpose
of music reviews is to begin or add onto current discussions about a song.
Regardless of how fans emotionally feel towards this review, what matters is
the review sparks a discussion and allows fans to be able to analyze the song in
a more critical fashion.

And so, despite fans’ massive praise
towards and the song and even despite how the song overall is not “bad” per
se—indeed, it scores at an average as readers will soon see—I find that the
most disappointing aspect to the song is the loss of potential. In other words, “Ko Ko Bop” could have been a rather solid song, but in my argument, the
post-chorus in the song is detrimental enough to entirely limit the song’s
potential appeal. Additionally, although I have yet to see fans commenting on
this, I will also be comparing “Ko Ko Bop” to “Dancing King”—another song by
EXO. Certainly the two songs are stylistically different, but if we focus on
the composition structurally, both songs are quite similar and I find that by
comparing “Dancing King” to “Ko Ko Bop,” readers might have a better
understanding on exactly why the post-choruses are quite problematic.

_______________________________________________________

Song Score: 5/10
(4.75/10 raw score) – “Average”


Vocals: 5/10


Sections: 5/10
(4.86/10 raw score)

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

1.     Introduction:
5/10

2.     Verse: 5/10

3.     Pre-Chorus: 6/10

4.     Chorus: 5/10

5.     Post-Chorus: 2/10

6.     Bridge: 5/10

7.     Conclusion (Chorus): 6/10


Instrumental: 5/10


Lyrics: 4/10

[Introduction instrumental]

Shimmie shimmie, Ko Ko Bop
I think I like it
Don’t be nervous, don’t be shy
I’m entering into your dizzy heart
As if I’m familiar, I’ll softly spread inside

Ah woo, it’s a silent night
Ah woo, it’s a night for you
I can’t hold back, I’m falling
I’m drunk from your body
Forget the typical me that you’ve known
My hidden instincts shimmie up

It goes down down baby
Trust your body
It goes down down baby
To the rhythm and shout
Oh oh oh, we are, oh oh oh
We going Ko Ko Bop

[Post-Chorus instrumental]

Shimmie shimmie, Ko Ko Bop
I think I like it
Little by little, down down, don’t be shy
No matter what anyone says, don’t listen
Just be beautiful as you are right now
I wish time would stop
Baby are you down?

Ah woo, it’s the last night
Ah woo, it’s our night
Don’t be nervous and come
Trust all of you with me
The reins are loosening
Just put it down today
Don’t be cautious, shaking up

It goes down down baby
Trust your body
It goes down down baby
To the rhythm and shout
Oh oh oh, we are, oh oh oh
Break it down now

[Post-Chorus instrumental]

You shine more as the night deepens
Your eyes tell me everything
On this nice night, I want you
I know, it’s okay, let’s start now
It’s about to go go

It goes down down baby
Trust your body
It goes down down baby
To the rhythm and shout
Oh oh oh, we are, oh oh oh
Going Ko Ko Bop

Down down baby
Whisper in my ear
It goes down down baby
Set my heart on fire
Oh oh oh, crazy, oh oh oh
Going Ko Ko Bop

_______________________________________________________

Analysis: Now
before entirely getting into the criticisms I have, I once again wish to
heavily emphasize that “Ko Ko Bop” is not a “bad” song—bad in the sense that
the song is below average (a five) if we are to follow my numerical ratings. Certainly,
even if the post-choruses are extremely faulty, the song still has many strong
points that can partially compensate. For example, the instrumental is
effective in both its sonic and structural appeal. In fact, the instrumental
serves as the foundation to the song as many aspects are based on the slower,
heavier bass and strong rhythm of the instrumental. At the pre-choruses, the
bass line’s increased activity combines naturally with the vocals in order to
build up the song and guide it along. Even at the verses, the vocals are
constantly complemented with the rich, deep bass. All in all, the instrumental
helps create a stable flow to the song that helps keep it organized and aurally
pleasing.

Unfortunately,
the song’s post-choruses ruin those positive traits: the flow becomes entirely
shattered. For one, the post-choruses introduce sounds that entirely conflict
the established R&B stylistic sounds. To go from a slower, calm beats and
bass line to an ear-piercing electronic ring is far too abrupt and unfitting
without any forms of transitions to ease that very change. Additionally, on a structural
level we also lose a sense of organization when we consider that the choruses
already served as a climactic point—and yet, the post-choruses equally serve that
role considering how upbeat and intense the sections are. And this is where
comparing “Ko Ko Bop” to “Dancing King” is helpful: in “Dancing King,” it too
follows a similar structure with having an instrumental break—though there are
slight differences as that instrumental break took the role of a chorus rather
than a post-chorus.

Nevertheless,
the instrumental break in “Dancing King” was used effectively as it was not to pause
and divide the song; rather, the instrumental break was used as an extension of
the pre-choruses—a section that essentially held a climactic peak for the song.
Thus, on a structural level listeners are able to hear how the instrumental
break was still a core, connected section and factoring in how the utilized
sounds suited what the prior sections have used, “Dancing King” had a very
successful and appealing usage of an instrumental break. On the other hand, “Ko
Ko Bop” fails to replicate the same situation: as mentioned, it already becomes
confusing by introducing sounds that do not suit the established, deeper and
rhythm-based sounds used in every prior section. Furthermore, on a structural
level, “Ko Ko Bop” ‘s instrumental break (the post-choruses) does not serve as
an extension of the choruses; instead, it renders as a forceful dragging of the
choruses and the result is the song having the choruses and post-choruses
battling over which section is the climactic point.

What
would have been desirable to hear in “Ko Ko Bop” is if the composers abandoned
the post-choruses and instead opted for longer chorus or for the song to reset
its cycle after the chorus. Interestingly, the song does include an example of
what the former idea would sound like: at the ending of the song, two choruses
are played back-to-back to create, effectively, a longer chorus. What happens
is perfect: rather than having a post-chorus play, we instead get a chorus that
fulfills the usual climactic role of a pop song and the section also concludes
itself and would not need to be forcefully dragged out by a post-chorus and the
like. And, of course, the longer chorus would stay loyal to the song’s core
sounds and style and thus, “Ko Ko Bop” would retain its original organization
and cohesion.

Overall,
“Ko Ko Bop” may not be a “negative” song and essentially only possess merely
one troublesome feature, but that one troublesome feature is incredibly
problematic. Even if the post-choruses in of themselves do not entirely lower “Ko
Ko Bop” ‘s rating, I personally find myself quite disappointed in the song’s
composition knowing the potential it had if the post-choruses was scrapped away
or revised. But, once again, the song in its entirety is still functional and
enjoyable even if one section heavily impairs it.

_______________________________________________________

This
review is surprisingly and disturbingly short, but as I have learned over the
few years of improving my writing, length hardly matters. In fact, the shorter
length the better; what matters most is that ideas and arguments are
conveyed clear and concisely and thus, even if this review is quite short I
feel that I have focused on the main criticism I had and did not waste readers’
time with random details. (And admittedly shorter reviews that get to the point
are enjoyable on all sides—readers and I.)

Thank
you once more to the requester for being patient and sending this in, and thank
you to readers for taking any time to skim or read this review. I do sincerely
appreciate it. I will be promptly reviewing the last request I have received as
of this sentence: G-Reyish’s “Johnny Go Go.” That song will perhaps reveal that
my claims of “harsher criticism” here are, in comparison, quite lenient. With “Johnny
Go Go,” I find that it is a rather weak song not only with its composition, but
potentially with its production—assuming, though, that it merely is not the
music video itself having audio problems. More will be discussed in that review
itself.

Until
then, “We going Ko Ko Bop”—which I am assuming is referencing dancing. But,
since my dancing is actually some dark magic that inflicts blindness upon those
who witness it and years of horror, let us avoid that and instead just go with
the usual farewell: look forward to the next requested review, of which I will
work hard to finish soon.