Jonghyun – “Lonely” Review

(Music Video)

Jonghyun (SHINee) – Lonely (ft. Taeyeon)

Reviewed on December 19, 2017

image

For this review, while I will be giving numerical values as per usual, I will not
write the analytical section that elaborates and explains the assigned ratings.
This is, in my view, to respect one of Jonghyun’s musical works in of itself: I
wish to focus less on a critical breakdown of “Lonely” and instead, I desire
readers to simply listen to the song and admire his vocals (and Taeyeon’s) and
his role in also working on the song’s composition. There are, after all, times
where music works—ironically—not in a musical sense, but in an emotional sense. The latter is what I want everyone to focus on for this review.

Continue reading “Jonghyun – “Lonely” Review”

SHINee – “1 of 1″ Review

(Music
Video)
/ (Live
Performance)

SHINee – 1 of 1

Reviewed
on January 13, 2017

For
where I wish to take this review, I plan to extend “1 of 1” ‘s prior
conversations: I agree with many that “1 of 1” is an excellent song, but I
disagree with those who claim such because the song is merely reminiscent of
“old K-Pop.” Instead, I hold that “1 of 1” is a solidly composed and executed
song that gains a lot of appeal due to how well the vocals and instrumental
synergize.

Personal Message:
Given that this review has been
continually delayed, I have decided it is time to officially finish it. As I
have yet to review SHINee, though, this review will still work out as I am
trying my best to introduce artists that have yet to appear on the blog. Also,
I do have some technical updates regarding the blog that I will address here
and will do so now.

The first update is that this blog
is now “encrypted.” What does this mean for readers? Nothing necessarily, but
in short it simply means the blog is “safer” with readers’ information (not that
I actually collect readers’ information minus view counts) as it is now a
“https” versus just “http.” In truth I am not too knowledgeable with this realm
of technology and cannot explain beyond just this, but readers should
definitely feel at ease browsing this blog in regards to information safety.

Secondly, while there might have
been a few advertisements on the blog, I wish to clarify that they are not from
me; the ads placed—which are now removed—are due to Tumblr and I was curious as
to how their ads worked and thus enabled them for a bit. In the far future and
if readers are not bothered, if Tumblr allows this blog to receive
monetization, I do plan on having non-intrusive ads stay. That said, monetization
is not to serve as motivation nor to turn this blog into a source of money;
monetization—if, again, it occurs at all—is merely a bonus and would
essentially only be enough for me to get, say, a cup of coffee every month. Because
I value readers’ genuine interest in my reviews and that I sincerely write
reviews due to my passion for pop music (and chances to discuss ethics and
social topics), if monetization ads in the far future do end up ruining
readers’ reading experience, I will absolutely remove them from the blog. But,
nothing will likely come anytime soon so readers should not be too concerned,
and personally, I am very much reluctant to add monetization due to potential conflicts
with readers’ reading experiences and perhaps even myself as my biggest fear is
that I would end up writing for money and not for love of music.

Onto the review itself now, although
“1 of 1” is a song that was released many months ago—specifically, nearly four
months ago—I return to the song as it has many intriguing points to discuss. Many
fans praised the song for being able to capture an “old K-Pop” vibe, and while
I cannot confirm that, I understand where those fans are coming from and I
would equally agree. Of course, however, style does not dictate a song’s
individual quality and thus for our purposes, whether “1 of 1” accurately
captures that “old K-Pop” style is irrelevant. I will discuss this further in
the review. For where I wish to take this review, I plan to extend “1 of 1” ‘s
prior conversations: I agree with many that “1 of 1” is an excellent song, but
I disagree with those who claim such because the song is merely reminiscent of
“old K-Pop.” Instead, I hold that “1 of 1” is a solidly composed and executed
song that gains a lot of appeal due to how well the vocals and instrumental
synergize.

_______________________________________________________

Song Score: 6/10
(6.00/10 raw score) – “Slightly above average”


Vocals: 7/10


Sections: 6/10
(6.29/10 raw score)

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

1.     Introduction:
6/10

2.     Verse: 7/10

3.     Pre-Chorus: 7/10

4.     Chorus: 7/10

5.     Rap: 6/10

6.     Bridge: 4/10

7.     Conclusion (Chorus): 7/10


Instrumental: 7/10


Lyrics: 4/10

Woo

Just like how each minute and
each second are different
Day by day, you become new
You’re the first of the first
That means you’re the only one

Your voice that calls out to me
lightly comes and slips into my ear
Your touch that I can feel in my hands
brings me to the dazzling world that
I’ve never been in before

You’re 1 of 1, girl
Only one
You are my answer without a doubt
You’re 1 of 1, girl
It’s perfect
You’re already incomparable
You’re the only meaning of my world

A person like you has a name of “Only One”
As if you’ve put on the perfect color, yeah
Like a sweet song that passes my ear
You perfectly match, I keep singing about you

Like the feeling I felt for the first time,
always replay
(Replay)
Your love newly shines
Once again, I’m falling, falling for you
(Come here)
I could never get sick of saying, “I love you”
A sweet kiss
Footsteps that only match each other
Without any warning, our eyes met
Why are you so beautiful?
(Let’s go)
You’re my baby

You’re 1 of 1, girl
Only one
You are my answer without a doubt
You’re 1 of 1, girl
It’s perfect
You’re already incomparable
You’re the only meaning of my world

1 of 1, girl
Only one
You fill me up without any empty spots
You’re 1 of 1, girl
It’s perfect
You’re irreplaceable
You’re the only meaning of my world

I’m so deeply into you,
I’m changing
When my heart that is lit up
with your light rises up
I will shine on you

You’re 1 of 1, girl
Only one
You are my answer without a doubt
You’re 1 of 1, girl
It’s perfect
You’re already incomparable
You’re the only meaning of my world

1 of 1, girl
Only one
You fill me up without any empty spots
You’re 1 of 1, girl
It’s perfect
You’re irreplaceable
You’re the only meaning of my world

You’re 1 of 1, girl
You’re 1 of 1, girl
You are my answer without a doubt
You’re 1 of 1, girl
(1 of 1, girl, 1 of 1)
You can’t be compared with anyone else
One and only
I only want you

_______________________________________________________

Analysis: Before
analyzing and moreover challenging the current perception of the song, first I
wish to take some time to thoroughly explain what the current perception to “1
of 1” is at all. In short, the perception
I refer to is that “1 of 1” is a good song mainly on the basis that it resembles older K-Pop songs. Even more
precisely if we critically deconstruct even that summary, we would come to a
“debate” I addressed before on the blog: whether a song’s style can serve as a factor to a song’s quality (whether the song is “good” or “bad,” etc.). Although I
already offered my answer in this review—that style cannot be a factor to
critique—and have even explained such in reviews of Red
Velvet’s “Russian Roulette”
and even Crayon
Pop’s “Doo Doom Chit,”
I still find this provoking
question relevant. Here, though, rather than explaining the “debate” once again
(I only quote it as I find it more of a thoughtful discussion as it is less about
convincing people than and more about having that complex, deeper engagement),
let us instead understand why many rightfully and reasonably find that style is
a factor worth critiquing.  

In
“1 of 1,” the song does very much emulate older pop music—and indeed, there are
strengths from doing so. With the vocals and instrumental, the pacing of both
are rather intriguing: both are nearly identical, and moreover, both focus more
on flow than necessarily hitting high notes and intense moments—all these
traits being that of older pop music. The benefit out of this, though, is that
it creates what I later wish to focus on: solid cohesion and synergy throughout
the song. Everything fits together, and that is definitely a desirable trait in
any song. Moreover, with how the sections function with choruses being numerous
due to following an older pop style—as noticed by six choruses in the song—and, more importantly, that the choruses
are based not on necessarily being climactic but instead creating a smooth,
consistent progression in the song and indeed, we come to understand why many
desire to praise the style of a song. In “1 of 1,” it truly would be erroneous
to claim that the song’s style does not influence the song’s quality.

However,
I wish to challenge that idea not by disproving it; rather, I wish to challenge
this stance by extending it. Why is it that a song’s style influences
its overall quality? Perhaps it is not due to “style”—something that can be
overly generalizing to songs and vulnerable to pure musical biases—but instead
if we inspect this concept more closely, we find that it might be the
composition in specific that is worth praising. In other words, while style can
sway whether one prefers a song, we
have to understand that each song—even within the same style or genre—utilizes
their own specific composition techniques. In “1 of 1,” while its style
contributes to specific compositions, it ultimately is still how those specific
decisions are made. After all, if style was truly important, I would not have
graded UP10TION’s
“White Night”
as highly as I did. Let us, then, take
a look at some interesting and impressive points in “1 of 1” and see how the
song is good not just due to it “sounding like older K-Pop.”  

As
already mentioned, the cohesion and synergy from the vocals and instrumental
are the key strengths to the song. Besides sonically sounding well and aiding
in the song’s progression, it is this formula—if we can call it such—that each
section builds upon. For example, the choruses use the vocal and instrumental
pairing to create its iconic sound: a consistent instrumental with vocals that
become dynamic by switching between singular and unison singing—all while
retaining the pacing set forth earlier by the two aspects. The result from such
are choruses that are diverse in sound yet suitable in an overall hearing. Even
the rapping that occurs towards the middle of the song follows suit: the rap,
while sonically mundane at times, still holds decently due to the vocals
matching with the instrumental and thus granting an organized flow to the rap.

For
another point worth noting, because the vocals and instrumental are incredibly
synergized, “1 of 1” is the exclusion to many other songs: sounding sonically fantastic
without being strenuous. Oftentimes “solid” vocals are associated with powerful
note holds and frequent, difficult vocal beltings, and likewise a “solid”
instrumental is assumed to be complex. “1 of 1,” though, disproves both: due to
the synergy involved, the sound created from such is already appealing—even if,
overall, neither vocals nor instrumental are individually strong. It is
cohesion that provides the appeal. Tightness and being able to hear the clear
connections between each section, and furthermore, to be able to hear how both
instrumental and vocals play off one another’s sound is what comes as the sonic
appeal.

Finally
for the last praise and on a similar note of the last paragraph, it is that
very cohesion in sound that strengthens the sections. With being connected
seamlessly and having each part build off one another—such as the verse
becoming more intense for the pre-choruses of which then climaxes at the
choruses not through major vocal beltings but through alternating of singing
styles—and “1 of 1” truly stands out as an incredibly organized song. And
indeed, organization plays a large role in songs, and to reference the review
of UP10TION’s “White Night,” it is why I feared “White Night” would be a weaker
song as it appeared to be overly powerful to channel appropriately. But on
topic, this is why the bridge scores at a four: it is the only section to break
away from the smooth, cohesive flow established as it adopts a passive form
that is far too slow. And of course, there is one additional issue: the lyrics
tend to be repetitive—though this might be due to the choruses occurring six
times. But to be fair and consistent across reviews, the lyrics are penalized
for such.

Overall,
“1 of 1” is definitely a strong song if ignoring the somewhat tedious lyrics. Its
strength is in the synergized vocals and instrumental, of which then grant the
song much cohesion. And as I have argued, it is more than just “1 of 1”
sounding like older pop that makes it a stronger song; it is that the
composition involved—in this case, being able to compose the vocals and
instrumental in their specific manners—that brings the song’s delightfulness. Most
impressive to me about “1 of 1” is once again how sonically and structurally
solid it is despite never resorting to strenuous techniques—powerful note
holds, complex instrumental, and so forth. Instead, organization is what is
most valuable.

_______________________________________________________

One
more review should be coming out with this review: AOA’s “Excuse Me.” After I
finish that review, I will then focus on the many requests I received. For this
review, I do feel that I did a poor job of actually analyzing more closely
certain details—for example I never did actually discuss a section in of itself
and how all its intricacies worked to its benefits. But, given that the main
argument I had for “1 of 1” is not tied to its fine details, I hope it is
understandable on why I did not do so. As said, I wish to make reviews focus
more on the main point I wish to argue and not on merely putting songs through
an input-output machine. In cases where I need to focus on fine details—such as
in one upcoming request—I will definitely do so, but unless if it is essential
I find it more convenient to spare readers that. After all, a review could
easily become too lengthy if I did that level of analysis.

Thank
you to readers for being patient and understanding, and “You are my answer
without a doubt”—though this makes no sense at all. Just look forward to AOA’s
“Excuse Me,” though I may actually go ahead and temporarily skip it and instead
begin working on the three requests I have received. 

CNBlue – “Cinderella” Review

CNBlue – Cinderella (Music Video)

CNBlue – Cinderella

Reviewed
on November 20, 2015

image

Personal Message:
iKON’s music video of “Airplane” is
currently underway and will soon be out. To the requester, I do apologize for a
slight delay, but it will be finished very soon. This current review is being
written for quick updates and to, admittedly, return the blog to its schedule.
There are many comebacks I desire to review, and with an ambitious mindset, I
plan to cover a majority: EXO’s “Lightsaber,” VIXX’s “Chained Up,” and EXID’s
“Hot Pink” are the songs specifically. Afterwards, I plan on finally finishing
GOT7’s “Just Right,” though at this point, I may instead review their latest
song of “If You Do” and merely transfer the digression that took place (“If You
Do” is a significantly superior song; in fact, it is an impressive song in
general and I will review it instead). On topic, for the updates I wish to
give, I do apologize for a slower rate of reviews despite how, supposedly, the
new outline should encourage multiple reviews. University has been incredibly
busy, and thus, I have had minimal time to write reviews, let alone anything
else.

Five to six hours have been my time
for sleeping (I need seven to be “functional”) due to staying up for homework.
Furthermore, classes are becoming rather rigorous and therefore, I am forced to
adapt via investing more work and time. In short, for the pitiful point, this
is all to say that I have not been neglecting reviews but rather that I have
had no time for reviews. More pitifully, for the little free time possessed—and
for what has helped me survive—watching MAMAMOO videos with my stuffed penguin
has proven to be decent “healing” time. Realistically, of course, friends have
provided stress-relieving with laughs and I am very thankful for them but then again, obviously
MAMAMOO and my penguin are more valuable.
 On a serious note, it is
always crucial to relax. Whether as a student in college or high school, or as
a working adult, emotional and mental health should always be a priority. Be
wary of personal changes in behavior and mood, and equally, in friends and
family. Overly stressing and falling into negative cycles should be avoided and
preemptively noticed.

Before beginning this bonus review,
I will leave a confession: I am partially frustrated at my current writing
quality and skills. Specifically, however, I am moreover upset with my prior
review of TWICE’s “Like Ooh-Ahh.” After quickly skimming over it (as
I shared before, I do not read reviews once I post them), I realized that there
were multiple typos and simply inadequate writing. Though the ratings are
accurate, the explanations behind such could have been improved, and most
pressing, transitions could use significant improvements. But, this all serves
as motivation to work harder so that readers have a better reading experience.
Feedback is also always welcomed, and if I am being overly harsh on myself (it
is good to be critical of one’s self, but not excessively or else it becomes
detrimental versus productive), university stress may be to blame (though rest
assured, I am taking care of my well-being). On an optimistic and fun tone, I
do have a very fun bonus in mind for later: explaining the Korean game of
“(Silent) 007 Bang.”

Abruptly switching over to the song,
for the purpose of time, this review will carry no digression (though for all
the upcoming reviews, each already has their own digression). At most for a tangent,
I will leave quick remarks regarding an unfortunate incident that has occurred
days ago: France’s attack. Admittedly, I lack information on the tragedy, and
thus, cannot deliver any point—though even if I was informed, there is little
to be personally said. I offer condolences for those directly and indirectly
affected. It is all very saddening news to hear. Nevertheless, there are two
ideas to still ponder over: France’s attack received significantly large news
coverage, and that this attack can be seen as a symptom of, arguably, an even
larger threat.

First, though the following words
are in no way to minimalize what France and its citizens experienced, it is
worth noting that other incidents in the past (or even also recently) have
received minor attention. For example, for a common one many have been
pointing, a Kenyan university attack months ago did not receive large coverage
despite how atrocious it was. Race, most likely, has played a role: Whites
receive the spotlight while non-Whites do not. As prior reviews may have
covered, it is always worth being critical and asking who are included and not
included in whatever medium, be it a song, show, story, and so forth. For the
second point and the one I wish to emphasize, for a rather controversial
statement, when it comes to these types of attacks, there is arguably a common,
underlying motive: not accepting others. More provokingly, this is everyone’s
fault; there is no “good” or “bad” side when it comes to these incidents. After
all, using this current event as an example, ironically after the attacks, many
who consider themselves on the “good” side are the ones who leave, for example,
threats to Muslims at schools and in stores. Blatantly, that is not what a
“good” side does. Thus, what matters is not of good and bad, but rather, the
in-between. The up and down.

Again, this is not to claim that
France’s attack or any other similar incident was justified—it is very much
wrong to hurt and kill. But, it is important to not fall into the mindset of
binaries. These horrendous incidents link back to the mentioned notion of not
accepting others. That is what, ultimately, leads to saddening, violent acts.
Whether as large-scale as what France experienced, or as micro-scale as
heterosexual boys harassing homosexual males in schools, the inability to
understand differences is what drives violence. Thus, for a personal message in
regard to France’s attack (despite how I said I had none), I do hope this
further encourages and reminds others to be accepting of one another. Disliking
someone for their race, gender, class, sexual orientation, religion, and so on,
can, and will, lead to violence of some form. Embracing, understanding,
tolerating, and even loving differences are what is necessary if violence is to
be minimalized.

This all also reiterates why my
reviews tend to digress: to discuss these social topics that are seldom
discussed, of which is understandable as it is uncomforting. However, if
understanding is to be obtained, it requires investigating and diving into
disturbing topics, and of course, various perspectives. As disclaimed in the
prior review TWICE’s “Like Ooh-Ahh,” though my reviews may bring up social topics,
that is solely it; I do not offer “correct” solutions, let alone solutions at
all. My reviews merely bring up a topic to ponder over and a personal view—a
view that is one out of infinite views (and likewise musically with my ratings
on songs). Having a critical and open mind is what will help bring positive
changes—changes that happen on the micro level but are nevertheless very
important, such as, for example, not sexually objectifying females because
doing so is contributing to sexism.

Returning to CNBlue’s “Cinderella,”
this will be moreover a bonus review, and therefore, minimal analysis will take
place. As I believe in always being truthful, I do wish to hastily finish this
review so that I may review (mostly explain and share) a fun Korean game of
“(Silent) 007 Bang,” and more importantly, so that I can finish a review
request soon. That said, this review will not be without care; even if more
concise, CNBlue will receive proper respect and “Cinderella” will be
appropriately reviewed. Especially with this song differing in style in
juxtaposition to other songs reviewed (CNBlue is a band versus a traditional
idol dance group), attention and care should not dwindle. The review, however,
will determine if “Cinderella” is truly of royal status or not.

_______________________________________________________

Song Score: 6/10
(5.5/10 raw score) – “Slightly above average”


Vocals: 7/10


Sections: 5/10
(5.43/10 raw score)

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

1.     Introduction:
7/10

2.     Verse: 6/10

3.     Pre-Chorus: 7/10

4.     Chorus: 5/10

5.     Post-Chorus: 5/10

6.     Bridge: 3/10

7.     Conclusion (Post-Chorus): 5/10


Line Distribution: X/10

[member
name]: X

Equal Value: X sections per member.  


Instrumental: 6/10


Lyrics: 4/10

Hello my baby, I wanna be with you
Day and night, together I wanna see this night end
The scent of your baby lotion lingers in my nose
All of my nerves and senses are alert, my God

When the clock strikes 12,
you disappear like magic
But I can’t let you go today girl
When the clock strikes 12,
turn off your phone
I just wanna be with you

Cinderella, ooh ooh ooh
Don’t leave me alone, baby drive me crazy (crazy)
Cinderella, ooh ooh ooh
Without you tonight, I’m a loner baby

Somebody help me, ooh ooh
Somebody help me-yea yea
Somebody help me, ooh ooh
Somebody help me
Somebody help me, ooh ooh
Somebody help me-yea yea
Somebody help me, ooh ooh
Somebody help me

I spread a red carpet for you in front of my house
Walk over here, I’ll treat you like a princess
Don’t worry, I’m different from all the other wolves
I don’t mean anything else, don’t worry, worry

When the clock strikes 12,
you disappear like magic
But I can’t let you go today girl
When the clock strikes 12,
turn off your phone
I just wanna be with you

Cinderella, ooh ooh ooh
Don’t leave me alone, baby drive me crazy (crazy)
Cinderella, ooh ooh ooh
Without you tonight, I’m a loner baby

Somebody help me, ooh ooh
Somebody help me-yea yea
Somebody help me, ooh ooh
Somebody help me
Somebody help me, ooh ooh
Somebody help me-yea yea
Somebody help me, ooh ooh
Somebody help me

I’m so curious about the beautiful you
I wanna know you a little more
I’m so dangerous
You that I love,
I wanna feel you all night long
Somebody help me
Somebody help me-yea yea
Somebody help me
Somebody help me
(Somebody help me)

Cinderella, ooh ooh ooh
Turn on the green light, turn on baby ooh ooh
Cinderella, ooh ooh ooh
Without you tonight, I’m a loner baby

Somebody help me, ooh ooh
Somebody help me-yea yea
Somebody help me, ooh ooh
Somebody help me
Somebody help me, ooh ooh
Somebody help me-yea yea
Somebody help me, ooh ooh
Somebody help me

Choreography Score: X/10

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

_______________________________________________________

Analysis: Clarifying
why the Line Distribution is excluded, though both Yonghwa and Jonghyun sing,
with accounting for the group being a band, it would be unfair to grade this
category. Yonghwa is the main vocalist (or at least, based on “Cinderella”) in
the band, and thus, Jonghyun solely provides additional, support vocals. As a result,
if this section were to be graded, it would score exceptionally poorly as
Yonghwa, given by his role, does predominantly sing, but clearly, that would be
unfair as this is a band and not a dance group were, in that scenario, every
member should have an equal amount of sections. Furthermore, the Choreography
Score is excluded since, as explained with the Line Distribution, they are a
band. CNBlue is, expectedly, playing instruments and not dancing, and logically
following that, the Choreography Score has to be exempted.

Now
for the vocals that certainly do exist unlike the prior two categories, the
rating is at a seven. The vocals retain a melodic, smooth sound. During the
verses and pre-choruses especially, the vocals are at their finest: incredibly
tuneful and, for the most alluring factor, the execution of middle and lower
notes are fantastic. With those sections possessing a calm and slower style and
rate, the vocals become greatly complemented and accentuated as the noted
deeper notes no pun
intended
 are further stretched and exposed. Adding on, the singing is
diverse and not stagnant. From passive, deeper singing to segmented bursts of
stronger vocals, “Cinderella” covers a decent range of styles, pitches, and
even pacing. What does prevent a potentially higher score is that the vocals do
languish at the post-choruses. Repetitive, dull vocals do take over during
those sections. Nonetheless, the vocals are very much notable with being varied
and melodic, and the current downside is a minor one. “Cinderella” ’s vocals,
overall, provide a good example of how vocals do not have to possess intense,
powerful vocals to thrive.

In
terms of sections, many have scored highly minus one. Attention should be
directed toward the song’s unique approach in structure. For example, the
introduction is, so far, the most efficient introduction I have yet to hear. It
is short, musically pleasing, and it perfectly sets up the song’s tone and
transitions the song. Structurally, the introduction is already phenomenal, so
also having an appealing and distinct sound further aids the score. When it comes
to the verses and pre-choruses, though praised earlier, the verse does numerically
score lower than “above average.” Sonically, the two sections contain, debatably,
the song’s best vocals, but structurally with the verse, it does remain plain.
Unlike the pre-choruses that utilize alternating singers to enhance the sound
and to create appeal in their format, the verses are moreover linear. It is of
solely one voice, and though harmonious and pleasing to hear, there is little
deviance in said harmonious voice.

Choruses
are rated as average, and both components are to be blamed: structure and
sound. The vocals may adopt a more energetic presence, and although that
supports the song in an overarching view via adding variety, for the chorus
sections, the vocals are not the most seducing. Power may be added, but tune is
lost as the singing becomes less dynamic as a result. Homogenously, the
post-choruses experience that as well: repetitive, impacting lines are sung at
the cost of melody. Relating the conclusion, it scores identically with a five
as, lazily and humorously said, it is indeed the post-chorus itself.
Definitely, the conclusion role is fulfilled adequately, but that is it and merely
means a five. If the conclusion was more enticing—the post-choruses, in essence—in
categories of sonic or structure, a higher score would follow suit. Unfortunately,
the rating of the post-chorus naturally follows and affects the conclusion.
Lastly, for the bridge, a dreaded three is in place for “below average.”
Everything of the bridge is to be blamed: the unsuitable structure, or its
relatively obnoxious instrumental that occurs in the later half. If the first
half of the bridge was to be purely kept, then all its current issues may
disappear. After all, the vocals and format are pleasing at the start. It is
the second portion of the bridge that downgrades its quality.

Given
that CNBlue is a band, the instrumental is enjoyable. Bass and guitar sounds are
subtle yet provide a foundation to the song, and furthermore, sound enticing.
Similarly, the beats follow suit—subtle but important. Because of how the
instrumental is conducted, this does greatly work in favor of highlighting
Yonghwa’s and Jonghyun’s vocals. Considering how the men deliver respectable
vocals as well, the instrumental appears perfect. Sadly, it is a six and not,
for example, a seven, for a reason: an instrumental that is entirely a passive,
background one does mean it lacks individually. In combination the instrumental
may flourish, but once judged by itself, it renders are slightly stale. Thus, a
six is its score due to the instrumental lacking its own individual appeal.

Finally
discussing the Lyrics category, another low score unluckily appears. Like many
recent reviews, a four appears. Plot-wise, “Cinderella” is based in romance—or lack
thereof. Intriguing details do appear during the first verse and even second
verse, but accounting for every other section, the given details are
lackluster. There are no deeper meanings to the other sections, and the issue
is further enlarged by those said sections being recycled generously. Nothing of
the lyrics strike as special. The main character wishes for their
love-interest, their “Cinderella,” but the lyrics are bereft of any provocative
ideas and details (musically, that is; applying a critical lens may bring up
important social topics). A deeper development of the story has to exist if the
Lyrics score is to be higher. More varying details are needed, overall.

_______________________________________________________

Concluding
CNBlue’s “Cinderella,” an overall six, or more accurately, with being purely an
audio, the song itself scores a six. Slightly above average can be considered
its rating, and that is still noteworthy. Although technically “Cinderella” may
reside towards the rock genre (though F.T. Island, a labelmate band group, are “more
rock” if this is true), CNBlue is still often encapsulated with K-Pop in
general, and thus, this song can be appreciated for significantly differing,
and more so within the song itself (such as with the introduction). Also,
CNBlue is a band versus dance group, and therefore, more appreciation can be
given for them being unique.

As
I always say and should practically copy and paste, thank you very much for
reading. No matter if read for a minute or way longer, I appreciate any given
attention toward the review. Upcoming reviews will be all over. iKON’s music video
of “Airplane” will be prioritized, so that can be expected as the next review.
Before it, however, I do have a short “review” (lesson) for a fun Korean game
that readers may enjoy reading about (and perhaps, hopefully, even trying with
friends). It should be a short 30 minute write, hence why I feel motivated to work
on it. After that and the request, GOT7’s “If You Do” will be reviewed, and I
do expect it being a rather praiseful one. And continuing on, after that, VIXX
and EXO will also be reviewed. Many male artists are finally receiving their
deserved spotlight for reviews, and I do hope readers are equally pleased with
that (and that I am thankful for readers pointing out that reviews have lacked
male artists; there is a reason as explained in a Q/A, but I have indeed been
neglecting males—also refer to Dal
Shabet’s “B.B.B”
for how this is not “reverse sexism”). EXID’s “Hot Pink” was also be reviewed, hopefully.

Stay
tuned for upcoming reviews. I am still very much busy, but I will continually
work hard for readers. After all, “day and night, together I wanna see this
night end.” Keep checking back for a music video review on iKON’s “Airplane,”
and for a fun lesson on a Korean game.