24K – “Only You” Review

/ (Dance Practice)

24K – Only You

on June 26, 2017

the song is far from being the best and admittedly does render—in my
argument—as somewhat generic, it still possesses solid points. Specifically for
what we will focus on in this review, I want to home in on how well the song
remains cohesive throughout its run. Afterwards, though, I wish to discuss the
problematic aspect of the song following a rather generic structure.

Personal Message:
Huge apologies to readers for delays
in reviews as mentioned in the prior, bonus one. While I am certainly not busy
at all due to summer break, I have been struggling to “get into the writing
zone” as I personally say. In simple terms: I am being lazy. But, for what is
the problem, I find that I write most comfortably and genuinely when I can
immerse myself in writing versus forcing
myself to write. Thus, this month has been relatively inactive as I,
unfortunately, have been leaning towards the latter. However, I am now finally
feeling motivation to write and more so as there are many comebacks and review
requests to cover. (In particular, I will skip MAMAMOO’s comeback as I have
excessively covered the ladies on the blog. However, Blackpink’s comeback is
one I plan on reviewing along with Girls Next Door’s “Deep Blue Eyes”—even if
they are merely a “project group” for Idol
Drama Operation Team
. Additionally, there are two requests to cover as

On topic with this review, this
request is perhaps the most special one I have received: it is from Choeun
Entertainment directly. Thank you to Choeun Entertainment for that and I feel
very grateful for this request. And, to clarify, this review will remain
genuine: I am not being compensated in any form to write a favorable review or
to suddenly begin advertising for 24K’s songs or the idols themselves. After
all, the purpose of song reviews are about the intellectual side; I write
reviews for the discussions that come and as a way of allowing readers to have
even  more respect for music as an art.

Regarding 24K in a general sense, as
readers might be aware of, the group is rather unpopular. Even personally,
prior to this review I was completely unaware of them. The most saddening part,
however, is that their lack of popularity is far from how the men are lacking:
it simply is just that they are overshadowed by other, prominent artists. They
are not the only ones in such a situation: Nine Muses and Stellar are other
groups who relate—though, even then, they are more popular than 24K. Overall, I
have expressed on numerous occasions my take to this and it is that achieving
popularity in the K-Pop scene is incredibly difficult. There are, without any
doubts, artists who are musically incredible or fantastic dancers, but many
will probably never be known as a mainstream artist. If time permits, I might end
June with a Critical Discussion post on this very interesting topic of
popularity in K-Pop as it is far more complex than many would intuitively
assume. Ending on an optimistic note, however, for fans of 24K who might
stumble upon this review or for readers who are fans of unpopular groups,
popularity in of itself is not important. Financially it certainly does
matter—and arguably this is the most
important factor as it determines if an artist can actually continue—but
assuming finances are not an issue, then popularity is not a concern at all. In
fact, smaller fan sizes can lead to many benefits: a closer, more loyal
community, and a chance for there to be more interactions between fans and
idols. For 24K, as long as the group is financially stable and is treated well,
fans should not worry about popularity—and this mentality, of course, applies
to other groups who might be lacking popularity.

Onto the review itself, “Only You,”
from what I am aware of, is their latest song. While the song is far from being
the best and admittedly does render—in my argument—as somewhat generic, it
still possesses solid points. Specifically for what we will focus on in this
review, I want to home in on how well the song remains cohesive throughout its
run. Afterwards, though, I wish to discuss the problematic aspect of the song
following a rather generic structure.


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

Vocals: 6/10

Sections: 5/10
(5.00/10 raw score)

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

1.     Introduction:

2.     Verse: 5/10

3.     Pre-Chorus: 6/10

4.     Chorus: 3/10

5.     Bridge: 6/10

6.     Conclusion (Chorus): 4/10

Instrumental: 5/10

Lyrics: 5/10


I’m falling, I’m falling
When I’m holding you, girl
I don’t need anything else
Your warmth that fills me up is my everything
The heart fluttering feeling I got when I first saw you
It won’t change, stay with me, always remember
Forever ever, forever ever
I see you every day but you’re always pretty,
even when you’re mad

Take me away with your beautiful eyes
Trap me with your soft touch
Only look at me, no one else
I can’t live without you, it has to be you

It’s only you
It’s only you
I see you every day but my heart flutters
It’s only you, so beautiful
It’s only you
It’s only you

Hold me, it’s only you, only you
You’re my scent of the day, only you
I’m falling more with time
Allow me to get in deeper
Awaken me from inside
Always stay like that
I’m falling, I’m falling
When I’m holding you, girl
I don’t need anything else
When I’m with you, it’s like Heaven

Take me away with your beautiful eyes
Trap me with your soft touch
Only look at me, no one else
I can’t live without you, it has to be you

It’s only you
It’s only you
I see you every day but my heart flutters
It’s only you, so beautiful
It’s only you
It’s only you

I’m drunk with your sweetness
So dangerous, so dangerous
I can’t escape, you and me
Addicted, addicted, falling for you

It’s only you
It’s only you
I see you every day but my heart flutters
It’s only you, so beautiful
It’s only you, stay by my side just like now
It’s only you


To begin, the first aspect I wish to address with “Only You” is how cohesive
the song is. While the numerical ratings do not capture this as the ratings
focus more on the individual aspects, the song deserves credit for how well
each component links to the other. Already, one prime example is the vocals: if
we pay attention to the vocals in each section, we find that everything
ultimately relates. For example, the vocals at the verses begin typically with
a slower, calmer demeanor. However, with the pre-choruses, the vocals become
more gradually intense but even later during the vocal chants at the choruses,
the vocals remain at this heightened state as a simple way to show how each
section builds upon the prior. Even at the bridge this linking occurs: with the
bridge being placed between two choruses, the bridge does not adopt the
traditional form of being a dramatic pause in the song, but instead it
continues to be at a higher intensity in order to fit both its surrounding
choruses. Furthermore, the benefit here besides allowing listeners to easily
track the song’s progress is also that this allows the song to aurally vary:
each section gives its own style of vocals and instrumental.

said, we have to acknowledge the ratings: roughly, the song in its entirety
scores as merely average. I argue one of the most problematic features of the
song is simply how generic it is, but before continuing with this argument, we
first have to understand what I mean by “generic.” First of all, generic in of
itself is not bad; a song that sounds or is structured “generically” does not
mean it will automatically be bad at all. In fact, many pop songs are “generic”: this is why the pop genre
exists as its main foundation is that songs follow a predictable pattern—and
indeed, predictability is addictive and comforting to listen to. The issue,
then, is when said predictability is excessive and thus appeal is lost because
of such. With “Only You,” while the song follows a typical pop format—verse to
pre-chorus to chorus then a reset—the problem is that the composers appeared to
have overly relied on that very
format without adding even minute details that would create some distinctive
points. This is why the choruses have been graded the most harshly: they fail
to bring anything new structurally or sonically and as a result are completely
repetitive and come across almost as pure fillers—sections that are there for
the sake of that very section existing.

a better understanding, let us compare “Only You” to other pop songs to see
how, despite other pop songs following the typical pop formula, are still able
to have their own signature sounds or structures. One example is,
coincidentally, the recent comeback of Blackpink’s “As If It’s Your Last.” That
song’s composition aligns exactly with the generic format of pop songs, but it
does differ significantly with the choruses (which will be further discussed in
the respective review). Thus, Blackpink’s song may be sonically typical and
even structurally, but at the choruses the composers delivered an entirely new
take and even if a risk, it indeed was rewarding. Another example is TWICE’s “Knock
Knock” where, despite how incredibly “pop” that song is both aurally and
structurally, it manages to stand out via its unique composition strategy of
using contrast throughout the song. The choruses, for example, utilized catchy,
filler lines that contrasted to actual, vocally intensive lines. Returning to “Only
You,” this song does not have those distinctive marks that vary from the
typical pop song in either its sound—as “Knock Knock” does—nor does it deviate
with its structure—as “As If It’s Your Last” does. In fact, I find that EXO’s “Dancing
King” is another perfect example to compare “Only You” with as, on the surface,
“Dancing King” seems exactly like “Only You”: both are incredibly generic in
sound and format, and in fact both have a similar chorus with an instrumental
taking the forefront. And yet, I have greatly praised “Dancing King” in the past.
The difference, I argue, is that “Dancing King”—besides how the pre-choruses
are excellently composed and executed—still does have something to differentiate
itself: structurally, the choruses were not merely for a climactic peak. In “Dancing
King,” the choruses served as both a
climactic point but also as a form of resetting the song through slowing down
in pacing—and hence why the verses in that song were able to start off
energetically. In short, though, “Dancing King” even if sonically it sounded as
another pop song, was able to distinguish itself due to how the composers
handled the structural aspect of the choruses. Again, with “Only You,” it lacks
some deviation from the standard
formula. Should the song have either sounded more unique or if structurally it
functioned in a manner that was true to the pop genre but was not a “textbook
example,” the song could have rendered more favorably to me.

it still needs to be clarified that 24K’s “Only You” is not a bad song at all
and I do not wish readers to interpret it as such. The song is average which is
not bad at all; the song is not “faulty” to the point of actually being a song
I would argue is deterring. Instead, the issue is that—and more so with 24K’s
situation of not being too popular—an average pop song easily blends in with
all of hundreds of thousands of pop songs out there. (Though that said, music
quality is only one factor out of many that help an artist gain popularity in
K-Pop; as said earlier, a future Critical Discussion will at least attempt to
make readers realize how many factors are at play.)

in all, while 24K’s latest song may not be stunning—in my argument, that is—they
still definitely deserve more attention and respect for their hard work. In the
future, I do hope 24K’s composers take a risk and create a song that remains in
the pop genre but is different so that there is a clear uniqueness to the song.
But, that is a high-risk and high-reward deal and certainly there should never
be a pressure to actually do such if other songs by 24K already fit the group’s
style. In the end, regardless of my own personal take to the song, I hope
readers and fans recall that the purpose of this review is not to bash the men
at all but is to merely begin a discussion. I hope fans and readers openly
disagree with me and each other in a respectful, thoughtful manner. For now, I
do look forward to 24K and the men certainly have my support for future


again, a huge thank you to Choeun Entertainment for requesting this review in
the first place. It is an honor. Likewise, thank you to fans and readers for
taking the time reading or skimming this review.

the next review, IU’s “Palette”—despite more than a month’s delay—will finally
be reviewed. This is mostly due to the requester, a personal dear friend,
making me realize the blatant lies I have been saying with how the review will “soon
be reviewed.” Afterwards, we will then finish with Monsta X’s “Beautiful” as it
is another request and from there end June with either one last review or a
Critical Discussion post regarding popularity. Until then, “stay with me,
always remember / Forever ever, forever ever.” Interestingly this entirely
corny quote-lyrics-ending is something I have done ever since I started the
blog but is something I should perhaps change as it is becoming quite
embarrassing. But my entire being is an embarrassment. Jokes aside, look
forward to IU’s “Palette.”

TWICE – “Only You” Review

(Audio—unofficial upload)

TWICE – Only You

on May 17, 2017

this review, while we will always look at both the strengths and weaknesses
involved, I find that a more productive discussion will come from heavily
focusing on why the song is, indeed
from my argument, good. In particular, I wish to tune into certain strategies
employed; specifically, we will discuss the role of the instrumental’s heavier
bass, the diversity of the vocals and how said vocals are accommodated for the
ladies’ vocal abilities, and how the song itself is structured and controls its
flow for certain effects.

Personal Message:
First of all, I do wish to make this
explicit: I will not be reviewing
“Signal,” TWICE’s actual comeback song. Now, should readers or TWICE fans be
incredibly curious, I am open to reviewing it only if a request is sent. That said, to share my thoughts on
“Signal,” it sadly is a disappointing song akin to—harshly stated—the rest of
TWICE’s title songs excluding “Knock Knock.” “Knock Knock” is still one of my
favorite songs in general, and even in a more critical lens, I argue “Knock
Knock” (as I did in my review of it) is incredibly well composed
especially for how the song adopts a very “stereotypical” pop style. But
regarding the original topic, indeed I find “Like Ooh-Ahh,” “Cheer Up,” and
even “TT” to all be weaker songs in general. In fact, I have already reviewed
all of them minus “Cheer Up,” and thus if readers are curious on my take, I
suggest readers reading the respective reviews. Unfortunately, while “Knock
Knock”—again, in my argument—broke
the chain of weaker songs, “Signal” is a return back into said weaker songs. JYP’s
composition of the song is, with all due respect, highly questionable. Even
more critically and to perhaps overstep my boundaries, I will even go as far as
to say JYP’s composition skills in
has tended to be weaker. I personally have yet to find a song
composed by JYP that has stunned me, and I am afraid “Signal” might be one of
his weakest works as of yet. (Again, this is not to say JYP is necessarily a
bad composer; he definitely is very knowledgeable and experienced, and quite
obviously, is far superior to I in this field. Thus, I hope readers interpret
my words as a form of a critical, bold critique rather than insults.)

On topic for this review, I admit I am
doing acts that are quite peculiar: for one, I am reviewing a song despite not
letting at least three days pass in order to remove instances of extreme bias
taking place; secondly, I am reviewing a side-track—a song that is a part of
the album but is not the main title. Humorously, though, I argue “Only You” should be the title track; if this was
TWICE’s comeback for the upcoming summer, this would have potentially shocked
many people in terms of music quality. (To clarify, “Signal” is “marketing”
well; their comeback, despite me rendering it as a very poor song, is
surprisingly holding number one on music charts and is garnering many sales.
The issues, though, are that other music reviewers have rated it poorly and
that many listeners find it a weaker song—this being indicated by an absurdly high
dislike ratio on the music video.) The ladies, after all, are oftentimes
critiqued for poorer vocal execution and even having overly generic pop songs.
In fact, to some extent, even I also agree with these criticisms. That said,
“Only You” is—once again, in my argument—the best song TWICE has ever released
both in terms of composition but also vocal execution. It truly is an amazing
song that showcases TWICE’s vocal skills at their peak, and the composition is
one that drastically deviates away from the more generic pop style that group
has claimed as their signature sound and style.

Finally, before getting right into the review,
I will leave a disclaimer. If readers have noticed from the blog’s side
information, “Only You” is currently my favorite song of all-time. Without
getting into the critical aspect yet, I will share that “Only You” matches my
music preferences perfectly: it
follows an upbeat pacing all while remaining “linear” akin to ballads; the
vocals consist of both simple yet complex lines and have both rapping and
singing; the instrumental focuses on a heavier bass line; and so on. The point
being, even without focusing on the actual composition at hand, I admit I very
much biasedly enjoy this song as its sounds and flow are what I prefer in songs
and I do hope readers realize I could easily be biased within this review—more
so as I am not waiting for the excitement to die down via waiting at least
three days before reviewing. However, of course, with now feeling relatively
confident in analyzing songs in a critical manner—or more realistically
speaking, me being a foolish and arrogant boy—I believe that I can review the
song without entirely projecting my biases. Regarding the composers of this
song, while I seldom do explicitly give credit, I wish to do so here: David
Anthony Eames, Debbie—Jane Blackwell, and 72 are the composers of “Only You.” These
are the men and women who authored this very song. Their work has brought what
I argue is TWICE’s best song of all-time.

For this review, while we will
always look at both the strengths and weaknesses involved, I find that a more
productive discussion will come from heavily focusing on why the song is, indeed from my argument, good. In particular, I
wish to tune into certain strategies employed; specifically, we will discuss the
role of the instrumental’s heavier bass, the diversity of the vocals and how
said vocals are accommodated for the ladies’ vocal abilities, and how the song
itself is structured and controls its flow for certain effects.


Song Score: 7/10
(7.00/10 raw score) – “Above average”

Vocals: 7/10

Sections: 7/10
(7.13/10 raw score)

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

1.     Introduction:

2.     Verse: 7/10

3.     Pre-Chorus: 8/10

4.     Chorus: 7/10

5.     Post-Chorus: 7/10

6.     Rap: 7/10

7.     Bridge (Chorus): 7/10

8.     Conclusion (Post-Chorus): 7/10

Instrumental: 7/10

Lyrics: 7/10

Only, o-o-only, only you
Only, o-o-only, only you
Only, o-o-only, only you
Only you

It’s weird, I didn’t imagine it at first
Just like a sugar rush
You slowly approached me
and knocked on the doors of my tired heart
Is that when it started?
I thought you were a good friend
Before I knew it, I kept thinking of you
My cheeks get red and I only smile
The love’s already begun

You’re sweet you’re just like chocolate candy
I can’t hide anymore,
I want to show you how big my heart has grown
Let’s go

Always stay with me, don’t leave me boy
Now I know with my heart I’ve got only you
Look into my eyes, boy, it’s full of hearts
No matter what anyone says I’ve got only, only you

Only, o-o-only, only you
Only, o-o-only, only you
Only, o-o-only, only you
Only you

I’ve got O-N-L-Y you
Don’t ask why
Real love has no reasons
Call me “jelly”
Call me every day
Our secret code fluttering love mode
Baby, baby, tell me, what do you think?
Why is it so complicated, you want me too
You pretend you don’t but I can tell,
I can tell that’s right
Now come here, kiss me, butterfly

I tremble when we brush a little
When we touch a little my heart goes
Kung*, kung, kung, it’s for sure L-O-V-E
Let’s go

Always stay with me, don’t leave me boy
Now I know with my heart I’ve got only you
Look into my eyes, boy, it’s full of hearts
No matter what anyone says I’ve got only, only you

Only, o-o-only, only you
Only, o-o-only, only you
Only, o-o-only, only you
Only you
Only, o-o-only, only you
Only, o-o-only, only you
Only, o-o-only, only you
Only you

Okay, let’s go
Don’t make me wait any longer, I’ve only got one answer
(Only you, always you)
Ticklish first love makes me feel like I’m gonna fly
(Only you, always you)
Hold my hand tightly, never ever let go
(Only you, always you)
You and me against the world, I’m not afraid
(Only you, always you)

Always stay with me, don’t leave me boy
Now I know with my heart I’ve got only you
Look into my eyes, boy, it’s full of hearts
No matter what anyone says I’ve got only, only you

Always stay with me, don’t leave me boy
Now I know with my heart I’ve got only you
Look into my eyes, boy, it’s full of hearts
No matter what anyone says I’ve got only, only you

Only, o-o-only, only you
Only, o-o-only, only you
Only, o-o-only, only you
Only you
Only, o-o-only, only you
Only, o-o-only, only you
Only, o-o-only, only you
Only you

*Akin to how this same word was used in TWICE’s “Knock Knock,”
“kung” is the Korean linguistic representation of a “bam”-like noise.
English equivalents in this case would be, for examples, “pit-pat” or
that one’s heart goes “thump thump.”


Analysis: Now
that all of the analytical work is actually done, I confess: I am surprised the
song in whole rates only at a seven. Not that that rating is bad at all;
indeed, if anything, getting an “above average” rating nowadays is almost a
feat when considering how I am now incredibly critical of pop songs. That said,
I personally anticipated “Only You” scoring an eight. Critically, of course,
this song does not come close to making it that far though this is not to
discredit how dazzling of a song it still is.

the review, as there are too many aspects to this song to discuss and in fact,
many of which we will not even have time for in this review (as, again, I am
focusing on being concise for reviews rather than sharing an entire dissection
of a song as I used to in the past), we will stick to what I established
earlier in the review. Already, one key element to “Only You” is its instrumental
and more specifically, how it cleverly and effectively manipulates its heavier
bass line. For example, with the bass line serving as the distinctive
foundation and even sound to the instrumental, it allows the song to easily
make core transitions. Let us take a look at the rap sections as these provide
an excellent background to why the instrumental’s heavier bass is vital. With the
rapping, they notably are somewhat odd sections in terms of not just the
initial transition, but also how the instrumental during these moments entirely
deviate from what has already been established. After all, the first rap in
particular seems to adopt a deeper and more distorted instrumental than the
rest of the song—of which features a lighter instrumental sound. While
listeners might view this as a possible point of critique, tying back to my
argument however, and we will actually find that how the composers manipulate
the heavier bass allows this moment to be saved. The first rap’s bass line—despite
its deeper sound and distortion—is still recognizable as being the same bass
line that is already at play throughout the song. Thus, this bass line serves
as reference point: it is the same bass line that listeners can easily seek
out, but merely changed in its sound. And especially if we scope out further,
we realize this bass transformation parallels the song in its entirety as the
first rap section is still following
the same flow, though with a changed sound. In other words, this example is
merely one that showcases how the instrumental—particularly the reliance on a
heavier bass line—is used by the composers in a structural sense of keeping the
song organized. Of course, though, sonic benefits exist as well such as how the
instrumental covers the lower range of sounds especially as TWICE’s vocals
focus more towards the higher end barring perhaps the pre-choruses. We will not
dive in much further details here, however.

Regarding the next focus, the vocals
and the diversity within this field are rather impressive. On a simplistic
level, there is praise for how “Only You” is able to incorporate both rapping
and singing, but more importantly, that within these very branches that there
are still variances within. For example, the first rapping focused more on
power and flow while the second rapping focuses on building up the song.
Similarly, the singing ranged from stronger vocal beltings such as at the
choruses to smooth, slower and rhythmic singing such as at the verses and
pre-choruses. Overall, then, especially as vocal variety tends to be a key
appeal in pop songs, we can already understand why “Only You” sounds great
vocally as it covers a wonderful range of styles that will very likely hold
listeners’ attentions.

All that said, this is the minimal
aspect that I wish for us to home in on. What I find more relevant for
discussion is when we actually analyze the vocals in the context of TWICE’s vocal roles and abilities. Particularly, I find
that “Only You” truly accommodates TWICE’s vocal strength and weaknesses in
perhaps the most effective way I have heard as of yet. First, though, we have
to understand what I connote when I say “vocal roles.” As some readers are
aware of, groups tend to be split with “main vocal,” “lead vocal,” and “sub
vocal.” The former, in short, are members who can handle more complex and
difficult singer while the latter are members who tend to be weaker singers.
The middle role is, quite literally, the actual middle ground between the
mentioned two. While I do not wish to necessarily begin a debate regarding which
member in TWICE has which roles (these are “official” but I personally have my
own mental list as I find this to be far more accurate than what official websites
claim), I do wish to focus on how in “Only You,” the sub vocalists are finally
singing in an appropriate context.

I think it first makes more sense to
discuss the opposite, however: discussing examples of when the sub vocalists
did not get to sing in their right
contexts. “Cheer Up” is one example in that Sana’s “shy shy shy” line, while it
is now a pop cultural phenomenon, is a very weak musical line that does not
showcase her vocal skills at all. Another example is how in “TT,” both Momo’s
and Sana’s pairing at the pre-choruses are also a moment of weaker vocals. What
is troubling—and to get to my main point—is that the sub vocalists in many past
songs have been delegated to lines that are not
musically-orientated at all per se. Finally, though, in “Only You,” the sub
vocalists have lines that are much more intensive and complex in comparison to
their other songs but most importantly, “Only You” ‘s lines that involve the
sub vocalists actually involve them singing as harsh as that may sound. And
indeed, they definitely can sing and the sub vocalists of TWICE delivered many
impressive, fluid and lower-pitched lines for “Only You” and that deserves
credit as their parts are as vital as, for example, Nayeon’s and Jihyo’s lines
at the choruses (and equally Jeongyeong’s beltings throughout the song). In
summary, “Only You” showcases not just vocal variety, but it also showcases
excellent vocal execution in the first place and that is highly emphasized due—especially
when contrasting prior songs—to how the sub vocalists finally have
musically-based lines rather than being restricted to catchy, filler lines as
they historically have been.

Lastly, for the last point I will
discuss, the song itself was brilliantly structured. Specifically for what I
wish to discuss, the composers’ ideas on how to control the song’s flow are
very impressive. Although I do wish to discuss each and every section,
realistically it would be best to discuss merely one: the pre-choruses. I will
even go to the extremes of claiming that the pre-choruses in “Only You” are the
best ones I have ever heard in any pop song. In terms of what actually occurs
during these parts, nothing mind-blowing happens at all despite how much praise
I am giving. Summarizing the pre-choruses, they follow this overall strategy: The
pre-chorus in this song, first of all, is the moment when the vocals and instrumental
begin to mix together—as indicated by the slower pacing and how the vocals are
now lower-pitched to suit with the bass line and that the rhythm becomes a
prominent feature. Structurally, though, the pre-chorus relaxes the song via
slowing down and, once again, switching focus to the beats and rhythm that soon
begin to accelerate and climax in the form of the choruses. Again, nothing is
unique at all for the pre-choruses, and yet I am very surprised. What I actually
find delightful is how the pre-choruses utilize two different types of build up: the pre-choruses both relax the
song, but equally within the same space and time, the sections soon build up
the song back into a heightened state in a very natural, seamless manner due to
how the aural component meshed both vocals and instrumental. Typically only one
type is used. Using “TT” once again as an example, in that song we find that
the pre-choruses focus on hyping up the song—but, quite clearly, the
pre-choruses in that song do not do both. Another example in mind is the recent
review of VARSITY’s “U R My Only One.” In that song, the pre-choruses “downgrade”
as its form of building up the song, and though it admittedly does heighten the
song back akin to “Only You,” it does so in a very rigid, explicit manner while
“Only You” is able to do this without even attracting attention to this very

And, while I seldom critique lyrics
as of the late—perhaps, in once again a harsh manner, due to the fact that many
lyrics of recently reviewed songs are all average—“Only You” has solid lyrics. The
fact that the verse and raps are not repeats and that even the pre-choruses use
different details rather than typically just recycling the same section helps
bring the lyrics up in rating. Furthermore, though the following does not
account at all for the score as it is the variety of details I care for, I hope
readers also enjoyed the song’s lyrics in a romantic sense. The plot is quite
endearing and sweet and in the overarching view of “Only You,” the lyrics
holding up well serves as the final, pretty wrapping to the song.

Praises aside, however, I still find
it crucial that we discuss the faults of the song. The main fault I have is how
the last rap and final portion of the song begin to create a tedious sound. With
the last rap, we find it alternating between rapping and chanting, and though
this makes sense on a structural level, chanting in songs are always at risk
due to how they can easily create a mundane sound if not balanced appropriately
with some other factor. Now, the composers did attempt that very act of
balancing via using the chorus as the bridge—thus, it counters the chanting’s
stale phrases through a very delicate, tuneful section. However, the somewhat
comical aspect is that this solution now creates another problem: that a
follow-up chorus—the regular one—is used to get the song moving again. The
issue here, of course, is that given the nature of the choruses in that they
are lengthier and rely on a linear flow, having two back-to-back choruses
becomes overly dragging of the song. While ultimately these faults are not
significant in the main view of the song, it still is noteworthy as “Only You”
starts off impressive but begins to languish as the song runs. It is always desirable
for songs to get better the further it gets, such after all is the
iconic structure of ballads, and thus the fact that “Only You” does the
opposite can definitely be concerning.

All in all, “Only You” is an amazing
song. It personally is my favorite song of all-time, and I expect it will stay
that way for many months if not even at least a year. Additionally, regardless
of what my favorites are, I personally argue it is TWICE’s best song. Should
fans ever desire to mute the mouths of those who are critiquing the group’s
music without being critical (emphasis: without
being critical
; it is fine to critique TWICE’s music as I do because I am
being critical and respectful), the song should be self-explanatory and can easily
be used to defend the ladies. What upsets me the most is how this song is not
the title and comeback track; it possesses a “summer sound” that would fit the
upcoming months, and with its style of infusing ballad-like elements while
containing the usual pop sound of TWICE, it truly astounds me that “Signal” was
chosen over this song. (But given that “Signal” is composed and produced by
JYP, their CEO, it perhaps makes sense on why that song is privileged as the
title song.)

As for final remarks, TWICE is a
group that does have music potential. Understandably, TWICE has been
historically a weaker group musically speaking as, I argue, all of their title
tracks are poor excluding “Knock Knock.” But, especially with extreme hate
spewed at the ladies on a personal level, I wish to remind readers—whether fans
or non-fans of TWICE—that criticism can only be kept in an art-based context. In other words, their dances, music
videos, and songs can be and should
be critiqued. What is not ethical is when listeners decide to attack the ladies
personally (especially as some might
feel that, understandably, it is “unfair” that TWICE is quite popular despite being
relatively musically weak). Never should the ladies themselves be attacked
unless if that genuinely is a case, though the likelihood is already near
impossible. (For example, if Jihyo is found to be an abusive leader and
constantly physically beats the members, then of course she can be personally
critiqued. But of course, this is a silly fake example and Jihyo would never do
such, but the point is that TWICE can only be critiqued musically and not
personally as, from my understanding, they truly are upright women who attempt
to always do as much good for the world as they can.)

Overall, while I personally will
forever remain critical of all of their title tracks barring “Knock Knock,”
TWICE is a group I would consider myself a fan of. They do have a lot of music
potential—this we hear in “1 to 10” or in “Only You” for examples—and I hope we
will hear more of a musical TWICE and less of a “generic pop group” TWICE. It
is a tough situation, however, as sheer popularity appeal via catchy songs is
what made TWICE get this far (and, pessimistically said, music quality in the
pop scene does not get as much respect as it should be as fans care more about
the aesthetic pleasures instead—which, again, is understandable). But indeed, I
remain optimistic that TWICE will head towards a more musical-orientated side
soon. And I remain optimistic and mostly delusional that Jihyo will one day get
down on one knee and propose to me. This, though, is probably irrelevant to the


jokes aside, thank you for reading this review whether in full or short. I
appreciate it and hope, most importantly, that it sparks some deeper thinking
about music or K-Pop for readers. That is why I write reviews; I do not write
for the popularity and attention (after all, writing music reviews is a
horrible way to get attention), but that I hope I can begin discussions and
actively engage readers to being more critical to K-Pop.

the next review, I have received an indirect request: IU’s “Palette.” I claim it
is an indirect request as a dear friend is the one who personally asked me.
Thus, in some ways, it still is a request even if not sent in officially via
the blog. Nonetheless, that will be the next song we focus on. Afterwards, I
have mixes of Critical Discussion posts and artists that have yet to be
reviewed at all (though IU is interesting an artist I have yet to review) that we
will cover. Until then, “[a]lways stay with me, don’t leave me boy/girl”—because,
quite obviously, I am a rather clingy boy. Jokes aside, look forward to IU’s “Palette.”  

Miss A’s Mini-Album – “Colors” Review

Reviewed on April 11, 2015


Personal Message: As mentioned, a requested album review will take place. To the person who sent in the request, thank you very much. That said, with this being an album review, I will leave a disclaimer of how it may be mediocre; I am inept with album reviews and am still in the progress of refining the outline (feedback from readers is greatly appreciated). For a disclaimer regarding the audio links, though they are currently functional, for readers in the far future, the links may be copyrighted and thus unreliable. Should that occur, manually searching up the songs will be the solution. Also, after this review, Minah’s “I Am A Woman Too” will be the upcoming one.

Progressing past technical background, I am rather ecstatic to review this album. Although I am not utterly familiar with Miss A, I do recognize the 4 incredible ladies of Fei, Jia, Min, and Suzy. In fact, at the very beginning of this blog’s existence, I planned to taint review their song of “Hush.” Another very prominent song in mind, one that is incredibly famous in terms of Korean pop culture, is “I Don’t Need A Man.” Though I have yet to critically deconstruct it musically and socially, to offer my current stance regarding the musical component, it is lower, but the social aspect is definitely one I find empowering (I will spare readers from my digression regarding that topic as the upcoming review will do so). However, I have yet to fully analyze the meaning of the song, so that claim may not hold as completely true. Something to constantly bear in mind, the blatant layer of anything seldom discloses the entire picture; what is seen on the surface does not reflect what is underneath. As such, though “I Don’t Need A Man” is blatantly empowering to females, a deeper glance may in fact showcase it perpetuating sexism (this being an example; as stated, I have yet to truly analyze the song). Bringing a sheer opposite example, AOA’s “Miniskirt,” though seemingly sexualizing and degrading to females, it is instead the opposite: empowering.  

Focusing back on Miss A, besides recognizing their songs of “Hush” and “I Don’t Need A Man,” I have watched/listened to the Chinese and Korean radio show, “Idols’ True Colors,” where Fei and Jin are hosts along with Zhoumi (though I do confess I am unfamiliar with the group he is from). Due to the radio show, additional exposure to the two members of Miss A exists. On the topic of that show (and, at this point, feel free to skip below) and all of the hosts, I feel the need to truthfully correct an incredible mistake I made in the past: being passive-aggressive towards the hosts, and in fact, members of Red Velvet, specifically with Wendy. If this does not bring up memories, I am referring to the time where Red Velvet’s Wendy made racist impersonations on the mentioned radio show of “Idols’ True Colors.” Although a few shades of the idols’ true colors might have been unveiled, I wish to revisit this situation. If readers are feeling defensive and feeling as if I am going to humiliate the hosts and Red Velvet, that is not my plan; my plan is, in a few ways, the utter opposite: I will discuss a topic of “racist binaries,” assuming that is the proper label.    

Firstly, what was done, said, and reacted to is still wrong; Wendy’s impersonations are still racist, and the entirety of other Red Velvet members and Jei, Fei, and Zhoumi laughing along are still all equally racist actions (notice: actions and not people). However, unlike in the past where I dedicated a post that did passively-aggressively degrade the members and hosts, I would like to redress what I said and bring a more enlightening, educating moment. Though I do not recall exactly what I have stated in the archaic post, I am certain that I created an image regarding Red Velvet and the hosts as horrible people, unintentionally and discreetly. This is where I have created a huge mistake, and ironically, contributed to racism versus my intention of combating it. Readers may now feel confused; by directly confronting the racist impersonations and calling out the idols, it would seem that I was fighting against racism. This is where explanation will occur: I fell upon the trap of racist binaries.

To bring a deeper understanding to the situation, I will first explain what a “racist binary” is (and once more, I am not confident on if the label is correct, but nevertheless, the idea should be what is concerned). A racist binary depicts an antithesis between two people: the non-racist and the racist. The non-racist is someone who is depicted as genuinely friendly, open to differences, accepting of differences, and much more. The racist is someone depicted as a villain; this person plots for the deaths of minoritized groups (another discussion on “minoritized” and “minority” could take place, but in summary, minority is a false label while minoritized is the accurate one), hates people of a minoritized group, and is simply an atrocious person.

Relating this back to the racist impersonation situation, I unfortunately applied the racist binary idea to it. I created an image of how the hosts and Red Velvet were the “atrocious persons” who sought to be racist and inhumane when, truthfully, all of those idols are indeed genuinely friendly, welcoming people. This is the issue with discussing racism and how it becomes easily perpetuated. Racism is not restricted to people with heinous intent; racism is possessed by every single person, to some degree, but nevertheless, existing. With the racist binary concept applied, no longer are people willing to accept their racism, miniscule or significant, but instead, becoming defensive and evading topics of racism take over as reactions due to current depictions of racist and non-racist. If racism is to be truly discussed and challenged, rather than labeling racists as individual people with horrible intentions, understanding that racism is discreetly taught and perpetuated on a social level, such as from institutions or even individual/personal sources (which still stem from a social background), will be the method of being constructive, productive, and ultimately, the catalyst for proper change. In this sense, while the idols’ actions were indeed racist, the idols are, as absurd as it seems, not necessarily bad people at all. Rather than defending the idols or disregarding their existences due to what was said, being able to remove the racist binary and instead view this moment as a way to address racism on a social level is what should result, not insulting or defending the character of the idols as racism is possessed by everyone, of varying degree.

As an overall point, remembering to disarm the racist binary idea of how being racist automatically equates to being an appalling monster will be how productivity occurs from racist moments. Being able to admit to racism and to understand that it is not an individual’s fault, but rather, society as a whole, is where self-correction and self-improvement as a person, a human, will begin. Addressing racism and correcting it via understanding and critical thinking is vastly more reliable than denying being racist due to the existing binaries that depict racist people as vicious animals, which no person would want to be correlated with.

To truly focus on Miss A’s mini-album of “Colors,” though I encourage and hope readers do take a few moments to ponder over my previous point, their latest comeback is decent. Their title song from the album is “Only You” (for readers curious on whether I will do a standard song review of it, I will most likely not, sadly). 6 songs exist, but as usual in album reviews, “One Step” at a time will be the procedure. Every “Love Song” in the album will be analyzed for its lyrics and its overall vocals and structure. While I am “Stuck” with ideas on how to improve the review outline, I hope readers will claim “I Caught Ya” with a “Melting” mistake. After all, “Only You” are able to give proper feedback and new ideas on how to not induce cringes during transitions.


1. “One Step”One Step (Audio)

– Lyrics: Addressing the lyrics to “One Step,” though slightly vague, the overarching story is a man or lady expressing unease at their love-interest for rushing a relationship. As explicitly stated, the main character urges the love-interest to “stop rushing,” and instead, to “slowly come into” the main character’s affection. Of course, this is not the main character attempting to utterly repel the love-interest; the man/lady feels “empty when alone,” and thus, desires to be with the love-interest as “if it’s not the two of [them], there’s no point.” Having a gradual, properly spaced and paced relationship is what the main character desires, and realistically, that is a highly respectable and an advisable mindset.

– Vocals+Structure: Swapping to “One Step” in terms of its overall sonic component, a ballad genre takes place. In terms of the vocals, Miss A showcases smooth, melodic, consistent singing. With the song as a whole being moreover calm, the vocals fit accordingly. Furthermore, the instrumental also emulates such via being equally slower paced, and, most prominently, having an exceptionally potent, deep bass line that occurs frequently. As a result, in terms of the mechanical aspect to “One Step,” with vocals remaining alluring through serene, tuneful singing, and the instrumental identically following suit, it holds well. However, though the mechanical side may thrive, the other side of its structure endures an expense: lack of variety. Much of the singing and even instrumental remain linear; very little deviation occurs for both parties as “One Step” remains consistently calm. Due to such, over a longer period, the song gradually yet definitely begins to drain of its appeal. After all, with every section to the song (verse, chorus, etc.) remaining awfully akin to the prior, and with the overall flow simply being stagnant, “One Step” loses its charm.

Overall, “One Step” is a highly relaxing song. Mechanically, the song does possess solid singing and a highly soothing instrumental, such as from the delightful bass line. Unfortunately, for where the song lacks, the consistency in its structure does not directly translate over for its appeal; with the song being linear, the absence of being dynamic causes appeal to languish versus remaining consistent.

2. “Only You”Only You (Audio)

– Lyrics: For an utterly irrelevant note, there is a humorous homophone incident that occurs: “no” versus “neo” (means “you” in Korean). The latter is what is being said as it would make sense, but, as I have pointed out in other reviews such as in Fiestar’s “One More,” anything is open for interpretation, and thus, there is no positive answer on whether the lyrics were meant to be “no” in English or “neo” in Korean. Grammatically of course, “No other guy/male but you” would sound more proper than “No other guy/male but no.”

Ignoring the off-topic point, the lyrics of “Only You” depict a romantic plot. A lady is, in essence, proposing to her love-interest, but for what is explicitly occurring, she is attempting to win a boy’s love. Briefly mentioned earlier, the main character claims there is “no other guy but [the love-interest]”; even despite having “a lot of male friends,” she views the love-interest as the “only” one, “only you,” hence the song’s title. Now while the love-interest is reluctant due to fear of her simply “playing around,” she insists that is not the case. “[Her] heart is racing” and with “no one else” being capable of making her feel such, she acknowledges the love-interest is “different from other guys,” and thus, should “accept [her]” as, implied, a partner.

One interesting line in the song does press a few discussions, but for the sake of progressing the review, I will not necessarily cover it. Nevertheless, the line is: “Because girls who don’t know men aren’t that great.” In context, this is the main character’s rebuttal for having a lot of male friends, which then leads to the following line/point, an assumption that she could not fall in love due to many male friends. While this may merely be the main character’s own thoughts, it is not restricted to simply a story, and truthfully, may be actual mentalities. To quickly address the discussion points, no assumptions of a person should ever be made on the sole basis of their friends’ gender. In the lyrics’ case, the main character may have more male friends, but that should not equate to the idea that she is incapable of loving males on a more intimate level. Therefore, the following defensive claim of “Because…that great” is also incorrect; regardless of whether or not more male friends are known, no assumptions should be made either. (And since it is becoming incoherent, the lines I am referencing: “I have a lot of guy friends, but that doesn’t mean I can’t fall in love,

because girls who don’t know men aren’t that great.” Also, feel free to skip to the next section at this point.)

As a final point (though multiple discussion points have spawned; it is interesting to analyze how females and males that have closer friends of the opposite gender are treated, and furthermore, to also peer at how there is a discreet standard that closer friends are assumed as the same gender), the displayed lines are worth nitpicking. A female not knowing a lot of males, or even knowing a lot of males, is great regardless, and for what can be agreed with, despite having more friends of the opposite gender, it does not indicate that one is incapable of being in a more personal, romantic relationship. And to actually dive into the other points, it is rather unfortunate that as a society a standard has been established in terms of the gender of close friends; often time friends of a person are assumed to be the same of the person.

Although this may appear as a minuscule point, there are subtle consequences of such (and for even deviating apart, which I will cover later): there is more division between gender, and from there, more justification and normalizing of horrendous treatment, such as sexism, occurs. For example, with the standard of same-sex friends being rife, it allows for alienation of the other gender when, quite obviously, the sole difference between a male and a female is in reproductive organs. Males and females are secretly taught and socialized with the idea that the other person of a different gender is exactly such, an “other.” Now, this highly invisible division is what harms; in the long-term run, it prevents the idea of “human” and instead, “male” and “female,” and as the ultimate point, this is what allows highly strict, unmalleable gender norms/binaries and sexism to thrive as no longer are males and females seen both as humans, but as stated, antitheses of one another.

This is also more troubling when considering how this current trend self-perpetuates; attempts to challenge the binary/separation of genders is often time met with hostility due to the already established idea of it. With a more sensitive topic, and with me believing in honesty and being open and intimate to readers, as I have mentioned in the past (I believe my review of Dal Shabet’s “B.B.B” covered so), I am more comfortable around females than males. Of course, I still do have male friends, and there are many males I do highly admire and respect, but nevertheless, as anticipated, I do have more female friends than ones who are males. Though there has been only one incident, backlash has occurred before from this: a question of whether I was homosexual or not.

Though it is another discussion on how society has socialized traits based on sexual orientation (and actually, an old yet my most popular review on Apink’s “Luv” does cover this), I will not go in-depth as the linked review does (or at least I hope it does). As a quick addressment to that point, behaviors and traits do not stem from sexual orientation. Simply put, a sexual orientation is solely who a person finds attractive, nothing more or less. With personal examples, I am a heterosexual male who adores makeup, cries easily when watching emotional videos such as Fiestar’s Hyemi crying, and likes “feminine” colors, and though I have not been personally burdened yet (minus the mentioned incident), it is irking to find people shaming and creating assumptions for males who drift away from false ideals of “masculine” (a later review will truly elaborate “feminine” and “masculine”).

Returning to the original topic of same-sex friends and how it self-perpetuates, from the females’ perspective, unlike my current privilege of being a male, females are bashed to a significantly greater extent for having more male friends than females. After all, I would rather have assumptions towards my sexual orientation than to be utterly objectified via slurs of “slut, whore” or “sleeping around,” and truthfully, even females are not exempt from having their sexual orientation questioned due to not having many same-sex acquaintances.

As an overall summarizing lesson, in addition to the fact that I should be prohibited from writing at 1:00 a.m. due to extreme digressions (I still encourage readers to ponder over this, whether that is in the form of disagreement or agreement), it does not matter who a person’s friends’ gender are. If a female has more male friends or a male has more female friends, it does not indicate anything. In fact, even if a female has more female friends and vice-versa for a male, it all simply is utterly minuscule. Creating aggressiveness towards people who deviate from the norms, be it same-sex friends or gender norms, is purely an act, intentional or not, of ensuring the current norms remain intact. Thus, challenging it by also deviating or accepting those who do so will be what should occur, not current acts of attacking, figuratively and literally, those who do not fit into the unrealistic standards.

– Vocals+Structure: If I am not a hypocrite, then I simply have no idea on a proper label. I am genuinely laughing as I did claim “but for the sake of progressing the review, I will not necessarily cover it.” Regardless, to return to K-Pop and Miss A’s “Only You” (though the whole reason the discussion took place was due to the lyrics; pop culture does matter, K-Pop is more than music, and thus, I encourage readers to always be critical with consuming it) after going to bed; anything after this will be written after I slept to spare readers, the song, expectedly, possesses its strengths and weaknesses.

Though shamefully no time exists to review this song via my standard outline, I will give my deconstruction. Vocally, Miss A discloses their versatility: different scales of power exist, the pacing fluctuates, and the melody remains diverse. Though nothing extreme is present, the vocals remain highly appealing due to the possessed variety. Switching to the song’s structural side, while the mechanical aspect of their vocals and simply how the song sounds is impressive, the layout of “Only You” becomes partially hindering. For example, while the progression is beautiful, it does not finish as such; the verse to pre-chorus to chorus route is utterly delightful and follows a gradual yet organized flow, but once the post-chorus occurs, the transition to a heavier bass and slower pace does not grant the intended outcome of a climactic point; instead, the sheer opposite of an unsatisfying and overly contrasting section is given.

Nevertheless, overall, “Only You” is not too bad. The vocals remain energetic and melodic, and the general structure possesses potential. The sole issue lies in that the occurring post-choruses are highly unsuitable.

3. “Love Song”Love Song (Audio)

– Lyrics: With a title of “Love Song,” anticipation of it being a ballad would be in mind. Interestingly, and contradictingly, that is not the case; “Love Song,” though still in the realm of a romantic story, takes the form of an EDM/electronic song. Nevertheless, for what is depicted, the lyrics are absurdly bereft of details. The plot showcases a man or lady who is hypnotized by love. A love-interest has made them “go crazy for countless nights.” As a result, it causes the main character to partake in “singing [the love-interest] in a love song,” as seen in the title. Other minuscule details exist, though it is all moreover the same idea as the first initial line. In that sense, the lyrics to “Love Song” are rather disappointing and extremely lacking.

– Vocals+Structure: Unluckily for the musical side, the lyrics being lacking is not restricted to solely the story; the sonic component to “Love Song” is, while different, equally deprived. For the vocals, lines that follow a calm, melodic style are admirable, but for all else, the vocals are on the lower tier as the adopted style is moreover chaotic or overly mundane. Furthermore, with the instrumental taking the spotlight due to the EDM style, the same chaotic trend continues. Although the new take of utilizing standard instruments versus pure electronic sounds is respectable, electronic sounds are often used in EDM music as, even in its name of “electronic dance music,” it is more suiting. In “Love Song,” the “violin drop” that occurs is moreover vexing than pleasing, and in many ways, could have been genuinely potent should the violin have become replaced with a standard electronic sound.

Overall, this song has vast potential and is a welcoming attempt to the EDM genre, but with lacking lyrics and a highly drained musical side, it becomes disappointing. T-ARA’s “Sugar Free,” which I did review in the past (though it would be a miserable read as I was even more inept than currently; at the very least, the numerical values should still be accurate), is a prime example of how EDM could potentially be handled.  

4. “Melting” Melting (Audio)

– Lyrics: Homogeneous to the prior song, once more, “Melting” does deliver a love related story. In terms of the genre, it is neither ballad, EDM, or even standard pop, and thus, I truthfully an unsure on a proper label. Focusing on the lyrics, equal to “Love Story” where lines were absurdly empty, the same issue is present: around 70% of the lyrics are solely “nanana.” Nevertheless, for what little  is unveiled, the story shows a lady or man who is overwhelmed with their affection for their love-interest, and thus, they feel as if they are “melting” or “in a spell.”

– Vocals+Structure: Though lyrics are usually not congruent to a song’s musical capabilities, the current trend as seen from “Love Song” and “Melting” conflict such; “Melting” is as equally plain as its lyrics. The vocals are highly repetitive and lacking due to the raspier, whispering style, and additionally, having to repeat identical words and lines. Even the tune is equally stagnant by itself, and with no fluctuation occurring to redress such, the vocals drastically deteriorate for the worse. Structurally, akin to the vocals and instrumental being plain, “Melting” utilizes a layout that practically recycles one song section for the entirety of the song’s length; it is as if a dull post-chorus was repeated endlessly for the whole song. Of course, there are still identifiable sections, but with it all sounding overly similar to the previous, no variety exists.

Overall, as blatantly seen, “Melting” certainly melts as the song is highly sluggish. With no change and variety occurring, and with the sections all individually holding poorly, a low rating is what “Melting” will be rendered as.

5. “I Caught Ya” I Caught Ya (Audio)

– Lyrics: Though the last 2 songs have been in poorer quality, I do admire the mini-album’s attempt to bring in diversity of genres. “I Caught Ya” takes another new genre for the album: rock. Thankfully, unlike the prior songs, “I Caught Ya” has respectable lyrics (perhaps in credit to the member, Suzy, writing the lyrics) along with the sonic aspect. For the involved story, though the topic is still involving love, it is not necessarily romantic. “I Caught Ya” reveals a lady who, as the title, “caught” her partner cheating. The main character caught the “boy” “red handed”; after all, his “fake face” “revealed” the truth “pretty quickly.” In reaction, anger takes place for the main character. She refuses “to hear it” and would prefer the boy to “piss off.” Furthermore, though the boy is now “sad” over the situation, the main character remains apathetic and considers herself superior as she is “too good” and has no intentions on wasting her time with the incident.   

– Vocals+Structure: Glancing at the song itself, though other experiments with different genres have failed, “I Caught Ya” succeeds with adopting a rock genre. The vocals remain charming due to reaching incredibly seducing lower notes but also the slightly higher notes. Additionally, the guitar provides a pleasing foundation for the vocals. With the guitar riffs and even beats possessing lower pitches, the contrast from the singing’s general higher pitch and the instrumental augments both parties. As for the song’s structure, excellent progression exists as every section flows to the next properly. Transitions are also well done in credit to the alluring guitar riffs; moments of solo guitar allow not only a mechanical aspect of the guitar itself to thrive, but additionally, a natural, theme-suiting switch that aids the structural component is gleaned.

In the end, “I Caught Ya” is an admirable song in “Colors.” The rarer take of rock is well conducted. The vocals remain variated and tuneful, and likewise, the instrumental with its key guitar.

6. “Stuck”Stuck (Audio)

– Lyrics: Though I am uncertain, while Suzy has written “I Caught Ya,” Min supposedly handled “Stuck” and wrote its lyrics. If this is true, it showcases not only how additionally creative and intelligent the ladies are, but that Miss A should handle their own lyrics as, from “Love Song” and “Melting,” lyrics given to them have been of horrendous quality. Following Min’s work, the lyrics through the medium of a ballad showcases a romantic plot. A lady or man is infatuated by their love-interest and is sharing an intimate moment as “it’s just the two of [them] right now.” The main character adores how the love-interest is able to “set [the main character] free” and feels, overall “stuck in love.” Other details exist such as the lady/man desiring to “kiss [the love-interest’s] shining lips” or to hear “[their] sweet voice.”

– Vocals+Structure: With “Stuck” utilizing ballad, promising vocals are foreshadowed. Thankfully, it can be confirmed: the vocals presented remain incredibly tuneful and diverse with pace and notes. Variation of power also occurs, though vastly more minimal. For how the ballad is structured, an overall calmer style is in place. As a result, “Stuck” retains its ballad tone and is capable of delivering a more romantic style as the vocals hold the spotlight. Nevertheless, while the vocals are decent and the structure is beneficial towards the overarching atmosphere, as seen in “One Step,” a linear layout loses much appeal over time. The same issue applies for “Stuck”: with every section remaining highly similar to the others, the created consistency prevents fluctuation, and while that is supportive to the vocals and mood, appeal becomes easily lost.

Overall, “Stuck” may possess a lovely story, but the lack of being slightly more dynamic hinders it from being a more efficient and solid ballad.  


Personal Ranking:

With every song being partially deconstructed, I will now leave my personal rating of the best to worst song in the album of “Colors.”

1. “Only You”

2. “I Caught Ya”

3. “One Step”

4. “Stuck”

5. “Love Song”

6. “Melting”


As a final verdict, Miss A’s mini-album of “Colors” is not too solid. Only “Only You” and “I Caught Ya” remain impressive, and even then, flaws are still prominent. For the rest, the included ballads are moreover average, and for “Love Song” and “Melting,” they can be rendered as failed attempts at different genres. As such, unless if an avid fan of Miss A or disagreeing with my take, I do not recommend purchasing the album. However, I do recommend purchasing “Only You” and “I Caught Ya,” and for what everyone can certainly do, supporting the 4 ladies of Miss A.

As always, thank you very much for reading this review, and as consistent readers may know, apologies for longer digressions (but they are still vital topics to discuss). For the requester, thank you very much for this request, I wholeheartedly appreciate it. Also, I cannot express enough gratitude for your patience and, in fact, readers for taking the time to read this review (whether that is in bits or in its entirety).

In terms of upcoming reviews, I did receive an interesting music video review request. That will be covered after my upcoming one: Girls’ Generation’s “Catch Me If You Can.” For those who were looking forward to Minah’s “I Am A Woman Too,” it will be placed in the backburner (assuming that is the right phrase) for now. Nevertheless, the 2 upcoming reviews will be exciting due to either being unique, or in the other case, upsetting due to my current criticism.

Once more, thank you for reading. Do not forget to leave feedback on my current album review structure as “Only You” are capable of claiming “I Caught Ya.” Through “One Step” at a time, I will slowly improve and hopefully not get “Stuck.” Even then, I wish every reader enjoys a “Love Song,” and more importantly, that I genuinely stop this type of conclusion as readers have their eyes “Melting” in anguish. Stay tuned for the upcoming review of Girls’ Generation’s “Catch Me If You Can.”