VARSITY – “U R My Only One” Review

(Music
Video)
/ (Dance
Practice)

VARSITY – U R My Only One

Reviewed
on May 11, 2017

Admittedly,
while for a debut song “URMOO” is definitely impressive especially as—unsurprisingly—debut
songs tend to be artists’ weaker songs given that artists are still
significantly learning and improving (and are not prepared to perhaps handle
more complex song compositions), “URMOO” in a general sense is rather average. Certainly
the song has its strength in terms of the men’s vocals and also in how the
composition cleverly handles the song’s flow and intensity, but ultimately the
sonic aspect to the song is far too basic. That shortcoming is what greatly
limits the potential to “URMOO.”

Personal Message:
As stated in the prior
post
—one that focused on musical technicalities via challenging assumptions
about “MR Removed” videos—I am now on summer break. This means I will have
plenty of free time to catch up on reviews and particularly for this summer, I
truly wish to hone my writing skills in the sense of writing more efficiently.
(And for a fun side note, I am also honing my driving skills and hope to
acquire my license soon.) After all, some readers might have noticed that overtime,
reviews on this blog are slowly becoming shorter in length while, I hope, still
maintaining worthwhile content. One my writing weaknesses is that I simply
write unnecessary, excess details and thus, I will spend this summer break
attempting to ultimately bring reviews down to perhaps three or so paragraphs
on average. Of course as said, the content within the reviews will not change;
rather, I will now be directly
getting my points across without relying on massive paragraphs to do such. And,
if this works out, this will also mean readers can expect consistent reviews.

On topic with this review, however, first
I would like to thank the requester for sending this song in. The requester did
give an option of choosing VARISTY’s “U R My Only One” or “Hole in One,” and
indeed I have opted to review their debut song (“U R My Only One”) as I find it
would bring a more interesting discussion than their recent comeback. Nonetheless,
thank you to the requester for sending this in. As always, requests are very
helpful as it allows me to review songs that readers want, and it allows me to
stay updated on which releases are currently trending and that people are
curious about in a critical sense.

Now, before getting right into VARSITY’s
debut song, there are two clarifications I need to make. One is, from here on
and forward, I will refer to the song as “URMOO”; typing out the usual title is
proving to be more laborious than necessary and hence this abbreviated form.
Thus, I hope readers do not become confused and assume I am somehow talking
about cows. Horrible joke aside, for the more serious clarification, there
appears to be—from my perception—an audio fault with this song. By “audio fault”
I refer not to the composition of the song—in other words, how the song was
created via intentional sounds,
sections, layout, and so on. Instead, I am referring to how the audio that
appears in the music video (and in other sources on YouTube) seem to be of a
poorer quality than usual. This was the case with Girls’ Generation’s Seohyun’s
“Don’t Say No,” and I do wonder if the same case applies to “URMOO.” Specifically
for what is wrong, the song sounds “pushed down”; a simple example is that the
song sounds akin to what one hears if they were under water. In other words,
the audio seems muddled versus of the usual crispness that one would expect in
a song. (In technical terms, if I am correct, I think there is too much reverb.)
For why this matters and why I even bring this up, I will assume this sound
effect is unintentional. Should it actually be intended then readers should
know that I personally view it as detrimental. Of course, however, since I am
making a bold accusation, I will assume the song is “innocent” and thus will
not be using this aspect as a point of critique.

All that covered, let us finally
discuss “URMOO.” Admittedly, while for a debut song “URMOO” is definitely
impressive especially as—unsurprisingly—debut songs tend to be artists’ weaker
songs given that artists are still significantly learning and improving (and
are not prepared to perhaps handle more complex song compositions), “URMOO” in
a general sense is rather average. Certainly the song has its strength in terms
of the men’s vocals and also in how the composition cleverly handles the song’s
flow and intensity, but ultimately the sonic aspect to the song is far too
basic. That shortcoming is what greatly limits the potential to “URMOO.”

_______________________________________________________

Song Score: 5/10
(5.25/10 raw score) – “Average”


Vocals: 6/10


Sections: 5/10
(4.75/10 raw score)

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

1.     Introduction:
5/10

2.     Verse: 5/10

3.     Pre-Chorus: 4/10

4.     Chorus: 4/10

5.     Post-Chorus: 5/10

6.     Rap: 5/10

7.     Bridge: 5/10

8.     Conclusion: 5/10


Instrumental: 5/10


Lyrics: 5/10

[Introduction instrumental]

Never again
I said that it’s really over
Try again
You got me, you got me
(Please)
Cut by a blade
My heart will not heal
I’m not fine
I’m trying, the more I do,
I cry

If only I can turn back time
I wouldn’t lose you,
who was too good for me
I don’t think I can go on without you
Come back to me

You’re my only one
You’re my only one
You’re my lover
But time is over
You’re my only one
You’re my only one
I need you, baby
I want you, lady
(Woo) I didn’t know the answer
(Woo) Just, you’re my only one
(Woo) I realized my answer
(Woo) Just, you’re my only one

[Post-Chorus instrumental]

Yesterday, I told you to go
Today, come back to me
My broken heart needs you
Tell me the way to find you
When you’re not next to me
(Hold up)
Everything stops
I don’t need anything but you
Besides you, nothing’s better

If I can turn back your heart
I could give you all my love that I couldn’t before
I don’t think I can go on without you
Come back to me

You’re my only one
You’re my only one
You’re my lover
But time is over
You’re my only one
You’re my only one
I need you, baby
I want you, lady
(Woo) I didn’t know the answer
(Woo) Just, you’re my only one
(Woo) I realized my answer
(Woo) Just, you’re my only one

You always learn love after saying goodbye
I can’t erase you
You remain in my head
I’m looking for you, I can’t take it anymore
(Driving me crazy)

You’re my only one
You’re my only one
You’re my lover
But time is over
You’re my only one
You’re my only one
I need you, baby
I want you, lady
(Woo) I didn’t know the answer
(Woo) Just, you’re my only one
(Woo) I realized my answer
(Woo) Just, you’re my only one

[Conclusion instrumental]

_______________________________________________________

Analysis: One
of the main weaknesses to “URMOO” is simply how the aural aspect to it is far
from enticing. Now that said, it should be clarified that the song’s overall
sound suffices; it is not an unappealing
sound. The issue, though, is the opposite holds true as well: neither does the
song have an appealing sound. It
hovers in the middle—and hence the common five ratings littered throughout the
review.

For
an actual example to focus on, the instrumental provides insight on the song’s
overly basic sounds. With “URMOO” adopting a predominantly electronic-based instrumental,
one of the issues at hand already is how the song will prevent itself from
sounding mundane especially as electronic sounds ultimately all still sound
similar to each other. There are various solutions to this, and “URMOO”
definitely does have some—namely its usage of traditional instrumental sounds
(such as a piano) and “distorting” the electronic instrumental. Unfortunately,
I argue these strategies are still insufficient. For example, the composers’
usage of the two, differing sound styles—electronic versus “traditional”—are not
emphasized enough to truly leave listeners with a sense of variety. We find
this by how these two types of instrumental sounds are used less for their
actual sonic values and more for their structural values: the traditional
sounds reside during calmer sections while the electronic instrumental occurs
during the more intensive parts. Thus, the effect we get out of these two
instrumental types being contrasted is less on creating an aural effect and
simply more for listeners to be able to identify the song’s flow and intensity.

Nonetheless,
I argue this is quite problematic as the song does end up running through its
stagnant points: the electronic sounds do become dull no matter how distorted
and exciting it can get, and equally the traditional sounds follow suit.
Furthermore, if we also account VARSITY’s vocals, we also find that the
composers seem to separate this aspect as well. VARSITY’s singing is heavy on
precise tunes with the bonuses of slower moments or rapping, and though the
vocals are definitely the song’s best aural point, in the entirety of the song
we find that all these three sounds—vocals, electronic, and traditional
instrumental—do not work together. Instead, each aspect is used in their own
situation—and this we can literally hear by how the electronic-based choruses
only have “fillers” (lines of humming “woo”). Overall, if the composers at
least made it so that each distinctive sound group—vocals, electronic, and
traditional instrumental—was able to hold on its own, this composition idea
would have worked out. However, given that each one seems to rely on the other despite
clear divisions in place—such as the post-chorus having its solo electronic instrumental—it
leads “URMOO” sounding somewhat disorganized in an aural sense. That said, the
sounds in the song are not bad per se; if anything, it is the messier setup
that is the true problem as, if all three sounds were able to directly complement
each other, the song would sound
great. But, as is, “URMOO” sounds far too plain especially when all of the “sound
types” end up working on their own instead of one cohesive unit.

Regarding
where “URMOO” shines, even if the song in an aural sense is a bit stale, one
unique aspect is how the composers handle the song’s flow. Ironically, though,
the way the composers handled the song’s flow is by not handling it at all—in a somewhat figurative sense, of course,
as the composers seem to have very much intended this. Specifically for what I
am referring to, I wish for readers to notice how the song’s intensity plays
out. “URMOO” follows the usual pop music binary format in the sense of how
there is a buildup that is met with a climax, but what is quite interesting is
how the intensity naturally fades out rather than direct action taking place to
control that very fading. For example, the post-chorus best highlights this.
This section is placed right after the chorus—the typical climaxing point of
pop songs, and indeed this is the case for “URMOO.” The effects from the
post-chorus, though, is that it allows “URMOO” to relax its heightened, upbeat
state in a manner that perfectly suits with the song’s sonic component—in other
words, a chance for an electronic solo. Likewise, even on the side of hyping up
the song, we find some subtle strategies implemented. The rap is another solid
example: this moment follows right after the post-chorus, and given that the
rapping followed a quicker and strong pacing, it easily allowed “URMOO” to flow
right back into the pre-chorus—a section that begins hastening the song. And
so, even if the song’s sounds lack chemistry, we have to acknowledge that on a
structural level the song is definitely linked. Each section manages to flow to
the next fluently, and with the rapping and post-chorus, I argue their roles
were well developed and are rather effective in action.

All
in all, “URMOO” is a song that has potential. Structurally, the composers created
a very cohesive song. Unfortunately, though, when it comes to the actual sounds
used, besides already using a rather typical concept of being heavily electronic-based,
the composers come short with making all of the sounds work with one another.
As it stands, the song lacks variety in terms of its physical sounds
particularly because each distinctive sound—be it the electronic-based
instrumental or traditional instrumental or even vocals—is used merely to
indicate where the song is in a
structural sense. If the composers were able to make the electronic sounds work
directly with the vocals or at the very least so that the electronic sounds in
of themselves had more of a value besides indicating that a listener is at the
choruses, perhaps “URMOO” would be much stronger.

Overall,
VARSITY’s debut song holds as average. While fans might be disappointed as they
expected this song to be much stronger, we have to bear in mind this is their debut song. In my personal experience
and opinion, many—many—debut songs
are weaker than usual and are never a fair gauge to a group’s music qualities. This
is expected as idols are still developing their vocal skills; companies are
still experimenting with appropriate song concepts; and ultimately that more
complex song compositions—the “better” songs—are saved until artists are ready
for them. For some examples off the top of my head, here are a few debut songs
that I would review as “weaker”: MAMAMOO’s “Mr. Ambiguous”; GFriend’s “Glass
Bead”; TWICE’s “Like Ooh-Ahh”; Infinite’s “Come Back Again”; Red Velvet’s “Happiness”;
and so on. For why I am specifically mentioning these artists, despite me
supposedly calling their debut songs weaker, a majority of readers will easily
recognize that these groups are definitely now at the top and do have many solid songs. The point is
this: debut songs tend to be already weaker songs and thus, I hope fans realize
that VARSITY’s debut song being held as average is already very impressive, and
furthermore that improvement will
come. VARSITY can only improve from here and onwards, and while I am not
reviewing their latest comeback of “Hole in One” to see if any significant
improvements have occurred yet, I hope fans do not feel “discouraged” by this
review’s rating should that be the case.

_______________________________________________________

I
personally find this to be one of my weaker reviews yet. That said, it perhaps
is more concise than usual reviews as I focused not on analyzing each section
in fine details, but instead focused more on the main points I wanted to make
about the song. To the requester, I hope this review provides new insights to
the song and that the review encourages all readers to be critical of it. Once again,
thank you for sending in this request.

As
for future reviews, I definitely plan to review LABOUM’s “Hwi Hwi” and perhaps
even IU as a friend did suggest I give her latest song a review. There are
definitely a lot more artists to cover besides these, of course, but the list
will begin here and more so as I have yet to review these artists. Look forward
to most likely “Hwi Hwi” as the next review. Until next time, “You’re my only
one”—which makes absolutely no sense except depicting me as an overly clingy
and desperate reviewer. Then again, that is partially true. Jokes aside, look
forward to “Hwi Hwi” and many more reviews to follow especially as I am on
summer break.