4Minute – “Hate” Review

4Minute – Hate (Music Video)

4Minute – Hate (Live Performance)

4Minute – Hate

on February 7, 2015

Personal Message:
Though it is already a week into
February as of this review (and sentence), I have many reviews prepared and
plan to release all of them within the short month. For what is specifically
planned for this month and even March, I do wish to focus on artists that have
yet to be reviewed at all on the blog. Now, this may seem hypocritical
considering I am reviewing 4Minute, of whom have been reviewed generously:
their songs of “Whatcha Doin’ Today” though we do not discuss the “Dark Days” of reviews and “Crazy,” and an album review. Nevertheless, excluding this current review, I
desire to bring in new voices, even if it means skipping over popular comebacks
and instead focusing on the unpopular ones. To be specific, Stellar’s “Sting,”
G-Friend’s “Rough,” and Yezi’s (from Fiestar) “Cider” are a few examples, and
after those three songs, I have four male artists prepared. All seven artists
will be new to the blog and thus, I am excited for the upcoming content on the
blog. Furthermore, assuming I was accurate with scheduling, as long as I
dedicate at least one or half an hour per day to writing reviews, I can
definitely fill February with a total of six reviews (or eight if I am that
ambitious). As such, it seems plausible that the blog will finally be
relatively active, and of course, many important social digressions are still to
come along with the reviews.

On topic with this review, although
no social digression will occur (and again, many are coming; social digressions
allow me to give a more personal voice to the blog, and it provides moments of
critical thinking for readers, regardless if agreeing or disagreeing), it
nonetheless will still be a rather important review: this review will be
providing one additional perspective to “Hate,” a song that is going to dictate
4Minute’s future. This is the reason for why 4Minute is being reviewed even
though they have had more than enough spotlight on the blog.

To further explain the current
stakes the group is in (and readers feel free to correct me), 4Minute’s
contract is soon expiring, and what will determine their decision to renew it
is if the album for “Hate” sells well. Now, whether this is CUBE Entertainment (their
label company) or 4Minute enforcing this deal is unclear, but regardless,
emphasis is towards how well the album is perceived. What is unsettling about
this deal, though, is that the title track is indeed a risky take: 4Minute
collaborated with Skrillex, a dubstep artist, in producing a dubstep title
track. Thus, while this does allow “Hate” to be unique, it may perhaps be too
differing from their prior music styles, and as a result, “Hate” becomes disliked.
And, logically following from there, if “Hate” is in fact disliked by a
majority, then album sales will most likely falter, and that will ultimately
lead to 4Minute disbanding as they will not renew their contracts.

In reply, however: I am extremely
confident that 4Minute will be fine. First, their general popularity is high
enough that, even if “Hate” is a weaker song, many fans will still support them—and
“many fans” is quite enough for sells to flourish. Especially after “Crazy,”
4Minute definitely are recognized by many. Secondly, though Skrillex
contributed, “Hate” in truth does not seem to be dubstep at all; “Hate” lies,
at most, on the border of dubstep, but it moreover resembles EDM or at least
the genre that “Crazy” was, though more electronic based. Therefore, the fear
of “Hate” being too different from 4Minute’s prior music styles is not entirely
true. As pointed to, “Crazy” in some aspects resembles “Hate.” (Though
admittedly, I am not too familiar with dubstep and thus might not be able to
identify it. At most, I am familiar with Skrillex’s “Rock and Roll Will Take
You To The Mountains” and have knowledge in that regard. Dubstep is worth
respecting, though, as is every single music genre.) Thirdly, it is album sales
that CUBE Entertainment and 4Minute are looking at; individual music sells are
not the main concern (if they truly are focused on album sales). Even if “Hate”
does in fact render poorly with a majority of people, the album could contain
songs that otherwise make it worthy of purchasing, and thus, “Hate” faring
poorly is negligible.

But, despite the optimism I am
bringing, it is true that title tracks can definitely influence how a person
perceives an album. For example, as the review for Sistar’s “Shake It” mini-album
discusses (if I recall correctly), “Shake It” rating poorly did deter me from
listening to the album in whole. It took the motivation of a review to finally
hear the entire album, and thus, the same issue may exist for 4Minute’s “Hate.”
Focusing on the song specifically, many have been repulsed by the chorus, and
to leak, I agree: the choruses are horrendous. However, even if a crippling
chorus is possessed, other aspects still exist, of which can absolutely
compensate for a weaker section. With this in mind, even if many hate the
choruses, it would be hard to equally hate everything leading up to the
choruses. After all, I would hate to use “hate” to describe “Hate”—and readers
would also hate me for awful puns.


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

Vocals: 6/10

Sections: 4/10
(4.17/10 raw score)

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

1.     Introduction:

2.     Verse: 6/10

3.     Pre-Chorus: 3/10

4.     Chorus: 2/10

5.     Bridge: 5/10

6.     Conclusion (Chorus): 3/10

Line Distribution: 5/10

Verse 1, Verse 2 (Total: 2)

Introduction, Pre-Chorus 2 (Total: 2)

Verse 1, Chorus 1, Bridge, Pre-Chorus 3, Conclusion (Total: 5)

Chorus 1, Verse 2, Chorus 2, Conclusion (Total: 4)

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

Equal Value: 3 sections per member.  

Instrumental: 5/10

Lyrics: 5/10

Your eyes are telling me
Liar liar liar, don’t lie to me
I don’t wanna know anymore
I don’t wanna know know know
Not anymore, no no no, it’s over

Go, go, this is it for us
Get out get out turn around and go
Our love had only hatred left
I see the end of our seemingly endless love
Don’t drag for absurd excuses
It’s late, it’s over

Go go go, rather than being like this
Done done done, rather than fighting against each other
Go go go, I just can’t take it any more
Leave me alone, leave me alone

I hate you, hey no no
I don’t need you, hey no no
I hate you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate
I don’t need you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate

I write answers to the questions
which haven’t got answers
I now get to have doubt instead of crush
Rather than being like this,
we’d better break up
If I get lonely with you,
I get lonely alone

I don’t wanna know
all the same excuses everyday
I don’t wanna do
all the same arguments everyday
It’s meaningless
I am tired

We do not have an answer
I hate you, hate you
I hate you now

I hate you, hey no no
I don’t need you, hey no no
I hate you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate
I don’t need you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate

Go, go, get out, get out
Go, go, get out, get out

We fell in love like crazy
I was dragged by you like a fool
You did too much,
you crossed the line

I hate you, hey no no
I don’t need you, hey no no
I hate you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate
I don’t need you
Hate, hate, I hate you, hate
Hate, hate, I hate you, hate

Choreography Score: 6/10 (6/10 raw score)

– Syncing: 6/10

– Key Points: 6/10

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


Analysis: To
dive directly into the most prominent criticism towards the song, many resent
the choruses. Unfortunately, I do strongly agree and also consider the choruses
to be of poor quality. The beat-bass mixing come off with power, but that is
all. Factoring the occasional plain vocal lines, the lengthy duration, and the
lack of any other instrumental sound other than the beats, the choruses become
a chaotic, rough and monotonous mess. It is simply too stale and too long. If
there were more moments of deviating away from a linear form of beats, or if
the choruses were significantly shorter, then perhaps the choruses would have a
higher rating. But, neither of those are the case. At most, the choruses
provide “Hate” its signature sound and power. However, at the expense of
alluring tunes, sounds, and structure, it is definitely a mediocre section.

another culprit to “Hate” ‘s average rating, the pre-chorus and conclusion rate
poorly. The pre-choruses follow an extremely standard route of accelerating beats
to build up hype. Now agreeably, that is not inherently a flawed structure;
this method is nothing to instantly worth shaming just because it is indeed a
rather popular form (and arguably an effective form). Nevertheless, with
lacking uniqueness and utilizing sounds and beats that are plain, and on top of
all of that, to use an obnoxious vocal transition, the pre-choruses are worth penalizing.
As for the conclusion, with it being a recycled chorus, the same issues
translate over, though it is a point higher as at least “Hate” ends on its
signature sound. Finally, with the lyrics being overly repetitive and lacking
depth, and the line distribution failing to be more evenly divided when doing
so should be easier as the choruses are not vocally intensive, “Hate” does
indeed seem deserving of an average rating.

other aspects, however, “Hate” is not in utter ruins solely because of the
choruses, pre-choruses, and so forth. Different aspects still thrive, though
admittedly the degree of thriving is partially limited. For example, the vocals
are respectable, especially during the verses. During those sections, 4Minute’s
tuneful, smooth singing is showcased, and furthermore, Gayoon’s introduction is
another great example. Adding on, during the pre-choruses, vocal power is also
unveiled, even if that contributes to the pre-choruses being obnoxious, as discussed
earlier. Nevertheless, as vocals are restricted to more passive moments and
sections, gaining any higher score is indeed difficult. Positively, though,
even if singing is limited to the smoother, slower lines, all of the singing
showcased is admirable.

for another strong point, contrary to its rating the instrumental itself is
nothing atrocious. Ignoring the choruses, the slower and deep bass line that
runs is exceptionally soothing, and complementing that with 4Minute’s vocals,
the instrumental is in fact seducing. What cripples the instrumental score,
sadly, is that the choruses are technically still the instrumental. Thus, it
drops from a seven to a five since, as addressed above, the choruses are
horrendous. Regarding another positive point to “Hate,” the choreography is decent.
Despite how it appears intimidating to find key points that would reflect the
choruses, 4Minute miraculously manages to. While the key points are still nothing
phenomenal, nonetheless, the key points remain appealing and varying.
Discussing the syncing as well, the same is said: the syncing may not be sharp
and precise to the milliseconds, but it definitely still links to the song and
that is certainly admirable considering the spontaneous, erratic beats that
occur during the choruses.

it is true that many issues in “Hate” can be linked back to the rambunctious
choruses. However, even so, it would be shortsighted to entirely dismiss this
song on the basis of those sections. The verses and introduction, for examples,
are decent. Furthermore, the vocals offered by the members are not repulsive,
and similarly, the instrumental as well if ignoring the choruses. And, of
course, for the visual component to the song, the dance remains appealing and
upbeat. But, no matter how much optimism is implemented, “Hate” is by far
4Minute’s weakest song yet. Unless if other songs in 4Minute’s album help mask
over “Hate,” the title track will potentially repel quite a number of
listeners, and that is something to concern over given the circumstances
4Minute are in. In the end, “Hate” is not entirely worth disliking, but it is
certainly far from 4Minute’s standard quality of songs, and it is doubtful that
this song will reap the ladies the popularity that “Crazy” did. “Hate” is,
overall, a song to enjoy solely for its buildup to the choruses—or because one
is a fan of 4Minute. Personally, though this song will not be having anymore
replays (I have analyzed the song enough), I will still in fact support the
ladies. If 4Minute is to have a chance to improve from “Hate,” it is crucial
that fans continue supporting them, regardless if “Hate” is hated.


those who read or skimmed this review, as I always say, thank you so much. I
appreciate any given time towards the blog and reviews. On a random note, this
review only took two hours, and that is actually quite surprising. If I had a
digression, I would anticipate three hours, but even then, it is much shorter
than my usual average of five to six (and even seven in some cases) hours per
review. Also, this style of reviewing is definitely more liberating than the
prior ones that were incredibly systematic and, to confess, boring at times.
Improvement is still necessary of course, but this review does provide some
encouragement to continue this format.

here on, reviews will focus on male and female artists that have yet to be
reviewed at all on the blog (and this will continue until March). This is to
provide variety in content and to hopefully give spotlight to groups that
oftentimes receive minimal attention—be it personally or generally with
popularity. That said, Stellar will most likely begin this trend. If I become
busy, however, I have other reviews in mind that, though digressions will be
included, they will be far more concise than the lengthy one that Stellar will
have (and many should suspect why this is the case; Stellar’s history of being
slut-shamed is something I will address). Look forward to upcoming reviews. This
month, I will not “drag for absurd excuses” regarding the lack of reviews as
there is no reason not to release six to eight of them in this month.