Nine Muses – “Sleepless Night” Review

Muses – Sleepless Night (Dance Practice)

Nine Muses – Sleepless

on December 8, 2015

Personal Message:
It has been nearly two weeks since the last review, and I do greatly apologize for not
leaving any notifications. Currently it is “dead week” for my university and
thus, I am studying hard and pushing myself towards being prepared for finals.
As a result, I have had minimal time to write reviews, and for what was to be
the next review, I was amidst reviewing Hong Jinyoung’s “Cheer Up.”
Nevertheless, I will be making a quick change: reviewing Nine Muses’ comeback
of “Sleepless Night” of
which thoroughly describes my current days with studying and working
. However, as I am in the middle of university work, this
review will be moreover concise and I will not have time for any social digression
(though many are coming in future reviews; “Cheer Up” has one if there are
readers who are also interested in this side to my reviews). Optimistically,
once the semester is over, I plan to dedicate a lot of my free time towards
catching up on reviews, and furthermore, on catching up subtitling videos (a
few have requested for me to finish subtitling one video, for example).

Regarding Nine Muses and their
latest song, I will directly state: this song is the group’s best release so
far this year, and especially with having the current, different roster (in
reference to Sojin and Keumjo joining while Eunji, Lee Sem, and Sera left).
Admittedly, “Glue” is still Nine Muses’ best song, and this is ignoring the
overly sugar-coated review I had done for it a year ago when I was naïve with
song reviews (I would predict it being an “above average” song and that there
would be sevens but no nines, unlike what the current review says).
Nonetheless, “Sleepless Night” is significantly better than “Drama” and “Hurt
Locker,” both of which were released during this year. In fact, I have reviewed
“Drama” and I will confidently say I still
abide by the song’s rating: slightly above average. With “Sleepless Night,” it would,
most likely, score a seven, but I have yet to deconstruct the song and thus it
could in fact be higher or lower.

Overall, on a biased level, I am
very much satisfied with “Sleepless Night,” and I am hoping the ladies continue
to improve and to, perhaps, finally win first place on a music show. They have
gone through many setbacks, but despite them all, they continue to work hard
and to persevere. It is also heartwarming to find that Sojin and Keumjo are
welcomed and perfectly fitting the group. Given more time, I will not be
surprised if they release a song that certainly puts “Glue” to shame. All that
said, with my “Sleepless Night[s]” of homework, this review should uncover
whether this song is worthy of listening for my studying nights.


Song Score: 6/10
(6.4/10 raw score) – “Slightly above average”

Vocals: 7/10

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

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

1.     Introduction:

2.     Verse: 8/10

3.     Pre-Chorus: 6/10

4.     Chorus: 6/10

5.     Post-Chorus: 5/10

6.     Rap: 5/10

7.     Bridge (Introduction): 6/10

8.     Conclusion: 6/10

Line Distribution: 7/10

Verse, Chorus 1, Chorus 2 (Total: 3)

Chorus 1, Chorus 2 (Total: 2)

Rap (Total: 1)

Introduction, Conclusion (Total: 2)

Pre-Chorus 1, Post-Chorus, Pre-Chorus 2 (Total: 3)

Pre-Chorus 1, Post-Chorus, Pre-Chorus 2 (Total: 3)

Verse, Pre-Chorus 1, Pre-Chorus 2 (Total: 3)

Verse (Total: 1)

Equal Value: 2.25 sections per member.  

Instrumental: 7/10

Lyrics: 5/10

Can’t sleep, I’m hungry
Can’t sleep, I think of you

I think I am carried away
Wherever I look, I can’t find someone like you
Yes I was crazy, I was so crazy
Where can I meet a good man like you?
You remembered all the important dates
You were by my side in spite of everything
Whenever I got sick, without a single complaint
you would run to my side
What do I do?

I can’t sleep, I’m hungry
I am thinking of you again, I’m on the edge
What do I have to do?
I should let you go now
Oh no, whoa

I can’t sleep, I’m hungry
I am thinking of you again, this lonely, sad night
What do I have to do? I should let you go now
Just give me some time

Don’t forget me too soon
Don’t fall in love too soon
Just once,
I wish I could see you

I used to call you many times a day
and whine to you
I don’t know
Wherever I was you only looked at me
I didn’t know how precious you were
Do I have to say goodbye?
I am so empty, I can’t stop thinking about you

I can’t sleep, I’m hungry
I am thinking of you again, I’m on the edge
What do I have to do?
I should let you go now
Oh no, whoa

I can’t sleep, I’m hungry
I am thinking of you again, this lonely, sad night
What do I have to do? I should let you go now
Just give me some time

Can’t sleep, I’m hungry
Can’t sleep, I think of you

Choreography Score: 7/10

Overall Score: 7/10
(6.5/10 raw score)


Before truly focusing on “Sleepless Night,” for upcoming reviews, I have
slightly revised the review outline once again. The Choreography Score will,
finally, include sub-scores in that “Syncing” and “Key Points” will be
categories that ultimately compose the Choreography Score. This will provide
more depth to the Choreography Score rating and hopefully make ratings for it
more justified. On topic with Nine Muses’ comeback, I will linearly cover the
categories due to time constraints (again, I am very busy with work and
preparing for finals). Unfortunately, I cannot dive into incredible depth,
though I will ensure that respect is still given for the song and review.

the vocals, knowing the group is Nine Muses, a seven or eight would be
expected. Specifically with “Sleepless Night,” that expectation is met: a seven
is granted. However, unlike prior releases where prominent, powerful yet
melodic singing was the highlight, this song showcases solely the latter: Nine
Muses’ tuneful singing. Even then, the vocals are still above average. Every
section remains melodic, and homogenously, vocals constantly maintain an upbeat
and diverse style. Ranging from the hasty rap, the passive post-chorus, the
whispering introduction/bridge, or the stronger verse, even if the given vocals
do not showcase powerful note holds and stretches, there is still nonetheless
diversity within the singing. Accounting that along with how the entire song
remains exceptionally tuneful, a seven is rightfully earned.

it comes to the song’s sections, the category does average at a six. In fact,
it appears that solely the verse is what surpasses a rating of six. Examining
each section in the song, to begin with the introduction, it excellently
establishes the song’s theme, style, and furthermore, the introduction’s vocals
are seamlessly transitioned into. Unfortunately, though sonically the vocals
and instrumental are far from negative, they both still fall short of a higher
standard. In terms of the verse, as the eight indicates, this section is
fantastic. Vocals are very tuneful, and additionally, are diverse in pacing and
rhythm. On that note, the verse’s structure is also praiseworthy as it provides
a flawless switch in flow. Elaborating, the verse is noticeably more upbeat
than the introduction, but certainly, where that actual switch occurs between
styles is extremely subtle, and thus, this allows the song to remain cohesive.
Overall, the verse is outstanding: the vocals are melodic and engaging, and the
structure accommodates both vocals and the song in whole.

at both pre-choruses and choruses, the two sections both score a six for nearly
identical reasons. Both sections showcase higher, frail vocal notes, and while
in an overarching view this provides “Sleepless Night” coverage of higher
pitches, within the sections themselves there are minimal changes. Although
this is not to say that lacking fluctuations of notes within a section or even
two is a negative trait, for “Sleepless Night” this does unluckily create redundancy.
Since both pre-choruses and choruses utilize similar melodies and pitches, and
furthermore, are after one another, the singing does begin sounding mundane.
Nevertheless, the vocals are still respectable and charming, but of course not
to the extent of, for example, a seven, and that neither sections possess an
alluring structure that further augments their quality.

the post-chorus is next. Scoring at a pure “average,” the predominant flaws to
this section are its absurd—yet understandable—placement, and that the vocals
are moreover “fillers.” Though “Sleepless Night” adopts a calmer, gentler tone
and style and therefore this post-chorus does seemingly fit, when factoring in
how relatively hasty and energetic the prior sections are, the post-chorus no
longer appears as utterly suiting. It provides an abrupt change in the song’s
pace as if it were a misplaced bridge. Now, of course having a bridge in the
middle of a song is not an inherent issue (in fact, an upcoming review on EXID’s
“Hot Pink” does exactly such and properly executes that), but context is key:
in “Sleepless Night” ’s case, it comes to a rougher stop and would have perhaps
benefitted from a slightly more upbeat style or even different vocals. Relating
the “filler” vocals, though the section’s singing is perfectly reflective of
how the section in its entirety plays out, the vocals can be labeled as dull.
Passivity does not require that vocals are lacking in tune or specialty, but
rather, that the vocals’ energetic state is one that is calmer to match. With
the post-chorus, the vocals are reflective but not attractive.

on the rap, an unexpected five is in store—unexpected in the sense that, with
Euaerin conducting it, based on her skills alone she should be able to carry
the rating. Surprisingly, though her rapping talents are displayed, the section
still falters. Essentially, the rap remains unchanged: quick, shorter lines are
rapped after another, but that is it. There are minimal changes to the rap, and
thus, even if the rapped lines are enticing, without any other varying trait
the rap simply becomes dull and, as its rating, average. Lastly, for the
remaining sections of bridge and conclusion, a unique take is seen: the
introduction is reused for the bridge. Positively, this does result well as the
introduction naturally fulfills a traditional bridge’s role, and furthermore,
the sonic appeal exists—even if not to an exceptionally high degree. The
conclusion is also very similar in style to the introduction/bridge, and as a
result, the song closes with relaxing sounds and without abruptness.

Distribution in this song was slightly difficult to grade in the sense of
deciding between a six and seven. In the end, and perhaps generously, seven
will be the score. If Euaerin and Keumjo received one additional section from
members who possess three, Nine Muses would reach a nine. Sadly, that is the
not the case, but considering that there is no significant disparity and that
the group nearly meets equality, a seven is reasonable.

Night” ’s instrumental receives a seven in credit for its individual beauty yet
supportive functions. Individually, the instrumental remains harmonious and
soothing, and intriguingly, despite utilizing instruments and sounds that are
associated with slower and serene songs, it is still rather upbeat and exciting.
In a larger picture with the vocals included, the instrumental perfectly
complements the group—vocally and structurally. Nine Muses’ voices perfectly
blend with the instrumental, and every section in the song is properly
reflected, as seen by how the instrumental sounds different per chorus,
post-chorus, verse, and so on.

the musical component to the song, for the Lyrics category, a five is earned.
Excessive repetition of ideas is what prevents any higher rating, but for what
shifts the lyrics beyond a lower score is that the plot holds as partially interesting.
Especially with the verse and rap, the plot’s background is further developed
and it does remain slightly unique. Nevertheless, with the same main ideas and
details of, to summarize, coping with a relationship breakup, the lyrics do
become lackluster. Squeezing in the very last category of the song’s
choreography, a seven is in place. Syncing remains sharp and accurate, and
throughout different points, there is in fact very impressive syncing. For example,
there are instances where every member may homogeneously perform a move, but
stunningly, all said moves differ for the eight members. Key points are also seducing
in that, for one aspect, there are props involved and thus, more variety is gleaned.
Generally, however, key points do differ per section (though this is a given
considering some sections are the only sections, such as with the verse), and
for moments of repeats, all still remain enticing even. At worst, during the
pre-choruses and choruses, the choreography, akin to even the sections
musically, can become dull as the key points are incredibly similar.


Muses’ latest comeback finishes with an Overall Score of a seven, but if
excluding that and the song itself is gauged, then a six is the rating.
Regardless of the given ratings, biasedly I still hold the opinion that “Sleepless
Night” is a promising song and that Nine Muses are on the route to releasing
even better songs. Specifically with this review, I do admit to slightly
rushing towards the end and I do apologize for doing that. Once again, I am on
a rush for time and will provide more thorough yet concise reviews once finals
are over. To clarify, future reviews will absolutely not follow a linear
analysis as the one in this review (even prior reviews are less systematic).
Time was the reason for this writing style. I have found that a more open,
free-flowing analysis is more enjoyable to write, and predictably, more
enjoyable to read.

the semester is over, many songs are in schedule for review—many being
relatively recent comebacks. That said, thank you to those who read or skim
this review. Especially for readers who continually return, thank you for being
patient. Without doubt, once the semester is over, the blog will hastily catch
up in reviews for those who have been waiting. After all, “wherever I look, I
can’t find someone like you.” Stay tuned for Hong Jinyoung’s “Cheer Up,” and
from there, recent comebacks to be covered.

Nine Muses – “Drama” Review

Nine Muses – Drama (Dance Practice)

Nine Muses – Drama

Reviewed on January 29, 2015


Personal Message: I am quite excited for this review. Personally, with Nine Muses being one of my favorite groups, I have been anticipating their comeback for a long time. Now, before I begin “Drama” (hopefully no pun intended), I will say this should not have been the main song; “Jururuk” (this is its Korean title; I am unsure on the English translation, and from checking a few days ago, the English title is not yet out) is a significantly stronger song than “Drama,” and considering that it still follows a usual K-Pop style, it would have been preferable to the current title song. To address the link, it is their standard dance practice video. Thankfully, it provides the clearest form of “Drama” in both categories of the song and dance. On the subject of their dance practice videos, watching their video for “Drama” reminds me of how horrendous my fashion, or lack thereof, is all their previous ones, and hopefully even with a changing roster, these videos will continue to be made.

Sliding over to the topic of Nine Muses’ roster, two new members have been added: Sojin, seen earlier from the sub-unit group of Nasty Nasty, and Keumjo, a newly introduced member. Despite being a new member, Keumjo has already begun proving her vocal capabilities. Perhaps her skill comes from proper training and practice, and while Star Empire may be questionable with how they treat their idols, for what holds true, their training seems to be effective as many idols under the company are exceptionally solid singers (or perhaps Star Empire simply finds already talented people). For Sojin, the sub-unit showcased her vocals, and while they are not necessarily the strongest, they still remain solid. I hoped for her to possess a decent portion of lines in “Drama,” but that is not quite the case. Nevertheless, for lines she did have, they are splendid. Ignoring the musical side to the ladies, fans will hopefully uncover their personalities soon enough. Sojin has already had some exposure during Nasty Nasty’s “Knock” promotions, but Keumjo still resides in the shadows. Thankfully, though, Nine Muses’ reality show of “Nine Muses Cast” (refer to my review on it for more information) is now including the new members (from glancing at some recent episodes; I will need to catch up from episode 4), and additionally, should the reality show continue, fans should feel utterly familiar with them soon enough.

Shifting over to their recent comeback itself, “Drama” does mark a new era for Nine Muses. Biasedly, I am disappointed that Nine Muses did not keep their “Dolls” to “Glue” trend, but acknowledging that the group has vastly changed, swapping to a new style is understandable. Nevertheless, what I heavily adored in Nine Muses’ previous releases (ignoring the songs earlier than “Dolls”) were their style of remaining vocally oriented and utilizing “classier” instruments while retaining the standard pop style. For example, “Gun” remained catchy and upbeat as a typical K-Pop/pop song, but the addition of soothing, melodic, and powerful vocals and an instrumental that was based upon acoustic guitars and such amplified how delightful it was. Those factors are my personal preferences, and unfortunately, “Drama” loses that style. Of course, however, songs are reviewed (unlike in the past) without biased influences (in fact, “Piano Man” by MAMAMOO, an older review, would have suffered if I were biased). In light of “Drama,” it follows a mellower style; the vocals focus moreover on melody than energy and power, and, although the instrumental adds a catchy aspect, overall, it follows suit with remaining equally calm.

With enough background context, let us begin the review. “Drama” sadly holds on the weaker side if it were to be systematically broken down (as the review will do), but on the positive side, Nine Muses has the potential to reignite their previous growing popularity. Sojin and Keumjo are definitely holding their weight, and with the rest of the members being experienced, Nine Muses’ future comebacks should be highly anticipated even if their recent one is weaker.   


Song Total Score: 6/10 (6.2/10 raw score) – Average score of the sub-categories

– Vocals: 6/10 – Unlike older songs, the vocals in “Drama” are vastly weaker. The strength mainly resides in that the members are putting forth exceptionally melodic lines; every line comes off as light and delightful, and the post-choruses are prime examples of such: “Only you, dudurudu” becomes lingering and varying with notes. In terms of what cripples their vocals, it is exceptionally stagnant. While pitches vary, the overall style and delivery remain completely unchanged. The verses, pre-choruses, and other sections sound exceptionally identical to one another, and thus, the vocals lose their charm as the song progresses. At most, when the choruses arrive there is a slight increase in energy, but for every other section, the same style of singing occurs. If there was more diversity with the sections in terms of the vocals, be it more energy, a change of pacing, a different flow or melody, the vocals would easily hit an 8 or potentially higher. Sadly, with the lack of that crucial variety, the score will suffer.

Slightly above average vocals. The singing is highly melodic, but without any change of style in terms of the vocals, the singing depreciates, and overall, the song is impaired as well.

– Song Structure: 6/10 (5.57/10 raw score)

The song goes in this structure and order:

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

1. Introduction: 4/10 – Before beginning, there is an absurd section promptly after the first post-chorus. It is essentially a slower version of the verses along with having a rap line towards the end. For the sake of consistency and not inducing confusion, I will not grade that section since the regular verses and rap will already be analyzed. On track with the introduction section, it is the pure horn sounding instrumental, and congratulations to “Drama” for holding the shortest introduction I have yet to hear.

If my previous sentence carried a slight passive aggressive tone, that is correct. Firstly, to explain the negative aspects, the most prominent issue is the introduction is simply too short. There is no time for development. Without having the chance to construct itself, it lacks cohesion or, in this case, it comes off as simply unnecessary. Furthermore, for what is heard during the brief one-second span, it is an exceptionally obnoxious horn/trumpet sound (apologies for my ignorance on instruments). Mechanically the introduction falters; the horn sound provides no musical pleasure and its pure purpose is to provide both a filler and transition. For what does remain beneficial, as mentioned, it serves as a filler and transition. Firstly, with a more energetic and powerful rap occurring after, the introduction needed to bring the song’s intensity and atmosphere to that point. While the method to do so is questionable, it is unequivocal that the result desired was acquired; the following rapping section became rendered as natural due to the sudden horn sound. Also, although diving into the rap would have potentially worked and could have been more desirable, the introduction, regardless of its duration, still exists, and thus, an introduction is at the very least still filled in and existing.

Overall, however, the introduction holds as slightly below average. Its role of transitioning the song to the rap was solid, but individually it holds on the weaker side.   

2. Rap: 7/10 – Euaerin and Sungah handle the rap. Interestingly, Sungah seemingly now possesses a rapping role versus her previous one of being a support vocalist. Even in “Jururuk/Trickle,” the discovered English title (although the literal/direct translation would be similar to “Drip Drip”), she was rapping, and while she may be new to the role, she has been faring well.

In terms of the rapping section, as expected from having Euaerin, an exceptionally promising rapper, the section holds well. With the instrumental instantly arriving in whole, to properly mesh with the more energetic soundtrack, the rapping needed to emulate such. Both Euaerin and Sungah succeeded with that; their rapping came off with a perfect amount of power that replicated the instrumental. Furthermore, the flow holds equally well. Never did the rap hit a stagnant point. Line to line, all was fluent. In terms of the weaker components, while their rapping strength and energy suited the instrumental, the downfall appears in the melody: lines were moreover focused on remaining impactful versus tuneful. During certain moments, specifically with words such as “aninde” or even the line of “Yo this is drama,” extra presence became heavily invested. Although the additional power certainly aids with syncing to the instrumental, an overly amount of emphasis on power leaves the side effect of losing potential melody, and unfortunately, that result is seen in “Drama” ‘s rap.

Nevertheless, this section holds as above average. Synergy between both the rapping and instrumental was solid. Despite losing the potential to add a melodic aspect, in the large scheme, this rap section does suit as the rest of the song is primarily focused on being tuneful.

3. Verse: 6/10 – Kyungri and Hyuna handle the first verse. Keumjo and Hyemi are in charge of the second.

The lyrics, structurally, and the vocals allow the verses to hold well. Ignoring those factors, however, the verses do reside on the duller side. Firstly, addressing the vocals, each member sings in an exceptionally tuneful style. Now, overlapping the line structure with those vocals creates a desirable outcome; the softer, harmonious vocals follow simplistic lines, and towards the end of the lines, a pause with “hm” or “oh” further accentuate the section’s overall melody. Sadly, while the melody is catchy and soothing, there is little variation. The instrumental remains lackluster, and the notes, although individually varying between one another, in terms of being a set and system, are recycled twice. Coming off as dull is what prevents the verses from scoring higher. The melody in itself is delightful, but when accompanied by a dull instrumental and with reusing the same melody and line structure, the verses become stagnant.

Slightly above average will hold as the score.  

4. Pre-Chorus: 5/10 – Keumjo, Minha, and Hyemi are responsible for the first pre-chorus. Kyungri, Sojin, and Hyuna tackle the second one.

The pre-chorus takes an interesting form: in verse but inversed. In essence, the pre-choruses are the opposite of the verses; there is a diversity of melody, pacing, and even energy, but the melody itself comes off as dull. In terms of the diversity, every member grants a differing aspect. For example, the first singer, be it Keumjo or Kyungri, delivers energetic, rhythmic lines while the following member approaches with softer, slower paced singing. Even the following is different; Hyemi and Hyuna, separately and respectively based on the first and second pre-chorus, arrive with impactful and vastly more melodic vocals than the previous members’ singing. Although the variety is excellent and definitely desired, the melody drags down the pre-choruses. Specifically with the first two members of a pre-chorus, their style of singing was orientated towards flowing with the beat or remaining frail and soft, and while they are not utterly bereft of tune, in comparison to other sections, the melody degrades. Thankfully, however, the final member to conclude the pre-chorus does offer excellent melody and power. But unfortunately, due to the vast majority of the pre-choruses remaining dull in the perspective of melody, this section ultimately suffers.

Average will be the score. Losing melody to gain variety when the more efficient and yearned outcome would be the combination of the two impairs the score.      

5. Chorus: 5/10 – The duo for the first chorus consists of Kyungri and Keumjo, and likewise for the second chorus, the same duo returns, though the order is flipped.

As the current trending issue appears, the choruses in “Drama” follow with the issue of remaining stagnant. Especially with the label of “chorus,” some variation, in juxtaposition to the previous sections, should have been added. On where the dullness derives from, the line structure may be to blame. Attempts to create variety during the lines ultimately failed; “oh” was used as pauses, and similar to a previous review on Apink’s “Luv” (though in “Luv” it was a phrase if I recall), due to how insignificant and minor the pause was, it becomes negligible. Furthermore, with Kyungri and Keumjo replicating each other’s line exactly (ignoring the lyrics), the already monotonous lines become additional uninteresting. In terms of what does remain solid, though the lines are hindered with lacking variety, the mechanical aspect of the vocals themselves were respectable. The vocals were quite tuneful, and in fact the choruses are solid should solely the vocals be peered at. Sadly, when combining the repetitive line structure and how unvaried the lines are, and in addition the instrumental with remaining practically unchanged minus a miniscule increase the beats’ speed, the choruses do fall on the weaker scale.

Average for a chorus. The singing was solid, but every other aspect falls exceptionally short.  

6. Post-Chorus: 6/10 – Though it is unclear on who hums the post-choruses, it does sound similar to Keumjo’s voice. There is a chance, however, that the group as a whole contributes, but with lacking a vocal layering aspect, I cannot confirm such. Nevertheless, for this review, we will run on the assumption that Keumjo delivers the post-choruses. Also, Euaerin does appear at the end to conclude it.

Once again, the same vexing, ubiquitous issue occurs: lack of variety. In compensation, however, the vocal component redeems a large portion of the post-choruses; the most promising aspect to the post-choruses is how melodic Keumjo’s singing is. Her lines of “Only you dudurududu” become catchy and lingering. Adding on, her lighter pitch augments the section; utilizing a higher note allows for natural note stretching, and in addition, the instrumental becomes properly mixed with the singing. Disregarding the strong vocal delivery, however, the section as a whole falls into the current grave “Drama” has created. ““Only you dudurududu” may sound appealing, but after repeating for a cycle of 5 lines, and that is discounting the plain “Only you” lines, and, of course, not summing the total for the song as a whole, it hastily drains of its charm. Unlike other songs that are able to exploit repeated lines, such as AOA’s “Like a Cat,” or to use Nine Muses’ superior release, “Trickle,” “Drama” lacks variety in its post-choruses. What “Like a Cat” manipulates well is an exceptionally catchy, paced-varying, and melodic post-chorus, and thus, it properly works. Even in “Trickle” a significant amount of depth is given; the pacing differs, the energy and power of vocals fluctuate, and it still retains a melodic flow. “Drama” fails in that solely the melody is solid. The same line can definitely be repeated, as seen in the two mentioned songs, but without any notable diversive features, a hook-styled post-chorus transforms from being catchy and hypnotizing to utterly tiresome, and unfortunately, “Drama” falls in the latter.

Nevertheless, on the sole basis of Keumjo’s pleasing melody and singing, the post-choruses will hold as slightly above average.

7. Conclusion (Post-Chorus): 6/10 – The conclusion recycles the post-chorus, and thus, Keumjo and Euaerin are responsible.

The conclusion suffers from the form it possesses, which is the post-chorus, but furthermore, with the post-choruses losing their charm as the song progresses, a weaker, plain final impression becomes the result due to the section playing once more at the very end. In terms of what is beneficial of this conclusion, it leaves the key melodic, looping tune, though whether that lingering melody is pleasing or agitating at the end point is debatable. Another positive perspective to the conclusion is Euaerin’s line; her line of “I wil never ever give up, only you” offers a calming, restful moment for the song, and with the conclusion, that role precisely aids in fully closing the song.   

Slightly above average will be the rating. The somewhat dreaded post-chorus returns, but factoring in how Euaerin’s final line concludes “Drama” properly with no abrupt cuts, and that remnants of the song, in the form of the post-chorus melody, linger around, this conclusion is not too awful.

– Line Distribution: 6/10 – Although Nine Muses’ name inaccurately depicts the current number of members, the group still hits a higher group size of 8. With that, distribution of lines will be difficult, but considering the group’s previous songs, it is definitely plausible to have an equal share.

Hyuna’s lines involved the first verse, the verse+rap hybrid section, and the second pre-chorus. A decent spread is seen by her, though biasedly due to loving her singing it might appear to be on the lacking side. Keeping in mind there are 8 members, however, this should be a perfect amount of lines.

Euaerin, being the main rapper and certainly a solid one, has her rap section near the start and appears with one line towards the end of the post-choruses. No issues exist. A rap section was given, and additional lines were also granted.

“Good words” Sungah (referencing episode 7 of “Nine Muses Cast”; Hyemi told her to write “good words” for her poster, and behold, she did exactly her member’s request) had the rap section with Euaerin and some time at the verse+rap section. Considering the rap section was lengthier, sufficient time, for the most part, was given. Perhaps some additional lines beyond the verse+rap section would have been desirable, but overall there are no issues.

Kyungri’s moments involved the first verse, both choruses, and the second pre-chorus. Though having both choruses may seem excessive, it is nothing burdening to the other members. As of now, no issues are present. The rest of Nine Muses should still have enough lines.

In Hyemi’s case, she had time at the first pre-chorus, the verse+rap section, and the second verse. So far, three sections appear to be this song’s distribution as Hyemi further supports that trend. A perfect amount of lines were given to Hyemi.

Minha’s spotlight includes the first pre-chorus and the mixed verse+rap section. Unfortunately, she does lean towards the lacking side. The pre-chorus line she possessed along with the one at the verse+rap were rather short, and thus, little time was granted. Overall, Minha does lack sufficient time. One additional line would potentially amend this issue.

One of Nine Muses’ newest member, Sojin, possesses lines at the verse+rap and the second pre-chorus. Similar to Minha, with solely two lines, in comparison to the rest of the members, she is slightly bereft of lines. Although my memory of “Knock” during her sub-unit era is vague, I do recall her vocals being decent. More time would have been desired for her.

Finally, the second newest member, Keumjo, is truthfully leaving a solid presence. Despite being a new member, she is already in charge of a copious amount of sections: the first pre-chorus, both choruses, the second verse, and, whether accurate or not based on my labeling, all of the post-choruses. If my assumption holds true, then Keumjo is slightly dominating “Drama.”

Overall, the line distribution is equal for every member except Minha, Sojin, and Keumjo; Minha and Sojin are lacking lines while Keumjo possesses excessive lines. If Keumjo’s parts were split up, the balance of lines would, overall, be rather solid.

Unluckily, with some noteworthy disparity occurring, the score will hold at only slightly above average.   

– Instrumental: 5/10 – If the pattern of this review has not yet been established, it will be reiterated once more: lack of variety. Claiming “Drama” is dull is getting dull. On topic with the instrumental, as stated, it remains on the plainer side. The flow of the instrumental remains unchanged throughout the song. While that may be its style, with every section’s soundtrack sounding rather identical minus the exceptions of a quickening pace at the chorus or slowing down at the verse+rap section, it amplifies its boring aspect. Furthermore, since the song’s sections were already dormant in that little variety existed, the instrumental emulating such only further worsens the situation. Diving into the instrumental itself, nothing holds as appealing. The beats prove to be catchy, but there were no prominent instrument/sound that proved to be a highlight.

Overall, an average instrumental. Mechanically it falters in that no unique aspects are present, and even with its flow from different sections, the soundtrack proves to be rather stale.

– Meaning: 8/10 – To redeem the rest of the song, the lyrics will hopefully disclose an interesting story. With a song title of “Drama,” one may expect a love story; perhaps a couple split ways after “drama” occurred, for example. Through these Korean-to-English translated lyrics, though they are not 100% accurate, we will find out the dramatic story:

I pretend to be innocent, pretend not to know
But did I touch Eve’s apple without even knowing?
Did my lips touch it? This isn’t right, this can’t be
But I’m still falling for you, yo this is drama
We’ve become awkward, a triangle of evil
We’ve become dangerous, a lawless jungle
The risky tightroping is about to begin
Stop over, I need to prepare my heart

You and me, on top of the stage, just us two
Sad music plays behind us, hm
The stars in the dark night sky shines like lights
Under those lights, we crossed paths, oh

I liked you from the start
But my best friend said she’s in love with you
Says it’s going well
between you two
It’s like a story from a drama
What do I do now?

This cruel drama (oh), this drama that has already started
My love story with an unpredictible ending
This risky feeling (oh), my heart wants you
I can’t stop it every day

Only you dudurudu only you dudurududu
Only you dudurudu hoo hoo hoo~
Only you dudurudu only you dudurududu only you
I will never ever give up, only you

No way (no), we’re tangled up (no)
Wandering inside my dream
The boy standing at the end of the maze
The boy, past the field of thorns
Stay there, don’t run away
I’ll be right there, never mind

She says you two fought, that your personalities clash
My friend told me she’s gonna end things, hm
My bad heart said it can’t be, but wants it to happen
I said, it can’t be, but at the same time, oh

I check on you
several times a day
I can’t do anything
so I just look at you
My thoughts are so complicated, I have no one to talk to
What do I do now?

This cruel drama (oh), this drama that has already started
My love story with an unpredictible ending
This risky feeling (oh), my heart wants you
I can’t stop it every day

Only you dudurudu only you dudurududu
Only you dudurudu hoo hoo hoo~
Only you dudurudu only you dudurududu only you
I will never ever give up, only you

Thankfully, while the sonic component of “Drama” may be lifeless, at least the lyrics prove to be enticing. “Drama” tells a story that is, like its title, similar to a drama (many K-Dramas I have heard about often time utilize this scenario); there is a “a triangle of evil” between three people: the main character, the main character’s best friend, and the boy that she likes. The story unfolds with the lover liking the boy “from the start,” but with her best friend claiming she is “in love with [the boy],” her life starts emulating a drama show. Time passes, and while the lover is in anguish over her lost love-interest (she yearns for them to be happy, but simultaneously, hopes for them to split so she may be with her love-interest), she “never ever gives up” on the boy, and finally, that mindset comes into play; her best friend decides to “end things” with the boy, and thus, allows the lover to have a chance.

Due to completely unique and unexpected lyrics, the score will be on the higher side. Furthermore, with various details that draw a clearer scenario, the lyrics become even more solid. That said, solid will be the score. The plot is original and interesting, and the supporting details are equally pleasant.

Transitioning over to the “Critical Corner” (at this point, I may include it as a sub-category to the Meaning section), on the initial layer, nothing holds as questionable or worthy of heavy critique. Besides the obvious idea of how, despite the depicted main character being a lady, the main character position is neutral in gender, I am unable to find any aspects worthy of deconstructing. Perhaps a small discussion on this “Drama” scenario could be started. Should this scenario take place, though I hope readers will not be subjected to “Drama” ‘s lyrics, it would seem to be an emotional mess; a love-interest cannot be a love-interest as a best friend, someone that deserves support and love, is already in the relationship, but homogeneously, there is a “bad heart” that appears at times that yearns for them to split. My stance on this situation, overall, is, if the best friend and love-interest found their affection for one another, unlike the main character in “Drama,” instead of “never ever [giving] up,” facing facts and moving on is exponentially important. Prioritizing everyone’s happiness, both friend and love-interest and self, should be the main focus. In this scenario, moving on will yield the most joy as it allows the couple to remain satisfied and, after accepting their outcome together, self-happiness will be found once again. But, of course, this realistic and genuine love for every party involved is no fun; after all, it strips away the “Drama” involved, and thus, many K-Dramas would evaporate. Jokes aside, however, moving on and overcoming issues are prime skills in life, be it forgetting a love-interest or a more significant problem.


Choreography Score: 6/10 – To already address whether or not the choreography is dry and dull, it is not, thankfully. Or at least, in terms of the positions and formations. On that subject, the positions and such prove to be outstanding. A variety of different formations were seen, and the only occuring repeats were the pre-choruses, choruses, and post-choruses, but in this case, that remains completely viable and acceptable. Now, for what impairs the choreography, the key points were not too strong. The dance sets could have been more charming, as seen during the post-choruses. Drawing an example, the post-choruses’ key point involved moving hips to the beat, and while the syncing was excellent, the maneuver lacked complexity and remained too simple. In terms of syncing, overall, it holds well. Movements involving beats were properly conducted and accurate, but for the dancing that attempted to sync to the song’s flow, there were multiple cases of losing the connection between song and choreography.

In summary, the formations prove to be “Drama” ‘s strongest asset. Aspects that could be improved include more captivating key points and, for what harms the score, more accurate, pinpointing maneuvers that properly sync to the song, in both categories of beat and flow. Slightly above average will be the score.


Overall Score: 6/10 (6/10 raw score) – In the end, Nine Muses’ latest comeback of “Drama” concludes with a 6/10, which, in rating terms, represents “slightly above average.” In honesty, I would personally rank the comeback as “average.” Nevertheless, considering this is Nine Muses, a group consisting of incredible, hard working, talented, and exceptionally intelligent and humorous ladies, scoring a lower-ended number is absurd. I remain adamant that “Glue” is by far their strongest song, and while I believe they will eventually reach that standard or potentially even topple it, this comeback hardly scratches their previous song releases. However, as mentioned earlier, “Trickle” is a song that does manage to hold up to Nine Muses’ usual rating. “Trickle” is an incredible song that features the “Nine” in Nine Muses; if I were to review it (I will not), I foresee places where a 9 would be the score, such as the Vocals section and a song section (specifically, the post-chorus). Anyhow, “Drama” is a weaker comeback, but for the sake of the group, I still support their return to the K-Pop industry. Sojin and Keumjo are looking to be excellent members in both departments of dance and singing and personality. In fact, I recommend people watching their reality show of “Nine Muses Cast” to get insight on the new members and the group’s affection for one another (and their obnoxious, mischievous yet jocular side).

As I always say, thank you very much for reading. I planned to release this review sooner, but due to becoming rather ill and studying for finals (which are done on the positive side), I have not prioritized reviews. I am currently running a bad cold it seems. My throat has been exceptionally painful (to the point where I cannot talk, or at least, the maximum volume of speaking is heavily limited) and there are the standard symptoms of a stuffy nose, coughing, and such. Missing important academic days irritate me (as well as the inability to talk), but not much can be done besides hopefully resting and recovering quickly. Anyhow, thank you very much for reading and for waiting on this review. I will do my best to bring in one more review before this month ends in order to reach my personal goal. Also, if the analysis and writing are lackluster in this review, forgive me. I will blame being ill and that, of course, I am still improving and learning.

Upcoming reviews will include Dal Shabet’s “B.B.B,” but considering I am on a rush to publish one additional review, I may review a recent ballad I stumbled upon. Whichever one offers the easiest or quickest review will be done first. After that, for the month of February, a new milestone may be created, and to bring some more diversity of artists, I have many male groups in mind and other groups that have yet to be reviewed. A January blog reflection will dive into more depth on such.   

Once again, thank you very much for reading. Stay tuned for a review that should hopefully be finished before January ends. Although that seems intimidating with what little time remains, “I will never ever give up” since “only you” deserve it. Keep checking back.

Moon Hyuna – “I Like The Way Back Home” Review

Moon Hyuna – I Like The Way Back Home (Video/Audio)

Moon Hyuna – I Like The Way Back Home

Reviewed on November 30, 2014


Personal Message: Considering I’m on a rush for everything, I decided to do a “bonus review.” This review will be vastly shorter, but it is a simple way for me to add more reviews to my archive and to not overwork my brain after a 4-hour session of writing a research paper share the incredible bond between the amazing member of Nine Muses and her cats. I am currently hopping all over the place with reviews; I am in the progress of reviewing T-ARA’s “Little Apple” as well as Girl’s Day’s “I Miss You” (yes, I am being silly and slightly idiotic for multi-tasking). For those unfamiliar, Hyuna is a member of Nine Muses. If this song is not sufficient evidence already, she holds a solid vocalist position in the group, and considering Sera’s departure a while back, that position is even more heavily enforced.

Anyhow, I think this song was self-composed by her, and if so, it shows off how talented and intelligent Hyuna is. This also reminds me, I need to start watching Nine Muses’ reality/fun show of “Nine Muses Cast” (future show review, perhaps). On the subject of her feline pets, for those following her social media accounts, many are quite acquainted with these cats. She has posted various cute, silly, and heart-warming videos and pictures of them. Now, for this song, she took it a step further and decided to write one for them; the lyrics express her love towards them.

Although this is not a fully polished, heavily drafted song that is expected to sell in the K-Pop industry, it is one that is personal and from Hyuna herself. Nevertheless, I will grade it as if it were the standard songs I review until I remember how sweet her cats are. But, even with the stricter grading guideline, I foresee this song holding well.

Without further wait, let’s see why Hyuna “[Likes] the way back home.”


Song Total Score: 6/10 (6.25/10 raw score) – Average score of the sub-categories

– Vocals: 7/10 – Even if the song lacks complexity and such, that does not hinder Hyuna’s decent vocals. For “I Like The Way Back Home,” Hyuna showcases sweet, soft, and melodic vocals. Nothing is drastic in terms of showing off power or high notes, but her smooth, soothing, and gentle style is definitely a pleasure to listen to. Even in Nine Muses, she has been known for splendid vocals, and in the group, her stronger vocals and higher notes are often time disclosed. Anyhow, all the work and practice she has done as an idol still translates over to this casual, self-composed song.

Above average for vocals. Hyuna’s voice proves to be very relaxing. If there were some extra varying lines to show off even more melody, an 8 would have been easily granted. Nevertheless, Hyuna possesses solid vocals, and as stated, in a standard Nine Muses song, she would be rated at an 8 with no issues.

– Song Structure: 6/10 (6.17/10 raw score)

The song goes in this structure and order:

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

1. Introduction: 6/10 – A very standard structure for this song. That is to be expected considering how this song is rather simple.

For the introduction, a piano melody plays out along with a background harmonica (probably wrong on that; forgive my ignorance).

While the introduction sets up the song properly with the gentle tone, it was a tedious and simplistic melody; there was little diversity if any at all for how the melody flowed. Furthermore, the harmonica only added a basic foundation; even that instrument failed to be compelling.

Considering how it did set the song’s mood, at least the role of an introduction was fulfilled. Nevertheless, for an introduction, it is rather plain and lacks a lot of necessary details to make it significant. But, considering how this song is rather simple, not much is to be expected. Slightly above average is the rating.

2. Verse: 6/10 – For the verses, Hyuna arrives with calm yet stable singing. Like the piano melody that occurs as she sings, her melody does remain simple and repetitive; the same pitches and flow is used.

Continuing the simplicity theme that was established at the start, the verses are slightly lacking. The piano melody follows a stagnant flow, and unfortunately, even Hyuna’s lines follow suit. Thankfully, her voice and singing is pleasing enough to earn some points, but overall, this section remains somewhat stale. Slightly above average is the score.

3. Pre-Chorus: 6/10 – The pre-choruses still possesses the same, tedious piano melody at first, but eventually there is a shift. In terms of the vocals, however, it does differ from the verses. This time, Hyuna is stretching out a word’s duration. Eventually, the piano slows down as Hyuna creates some hype, especially at the “lalala” part.

The first section of the pre-choruses are relatively plain; the piano still carried over the repetitive melody, and while Hyuna’s style differed, the stretched out words were still not too appealing. However, towards the end, the piano slowing down along with Hyuna adding in some extra energy to her singing gave a significant, welcoming shift. That piece not only allowed a smooth transition, but it added the necessary change of pacing and flow in order to prevent the song from becoming even more dry.

Slightly above average is the score. The ending section of the pre-choruses gives a decent boost to the score.

4. Chorus: 7/10 – Now if the sections leading up the chorus were dull, this section redeems that; this part is flourishing with a variety of melody and pacing. Hyuna’s vocals continued the gentle style, but at the same time, extra energy was added. A cheery, relaxing, and upbeat mood was given. In terms of the piano, the melody became more layered than a simple, repetitive one.

This is where Hyuna’s song shines. The vocals are full of diverse melody, the piano became vastly more complex, and perhaps the strongest aspect is how well the vocals mesh with the piano and vice-versa. Hyuna’s vocals were more energetic, but the piano reciprocated that and thus, the choruses sound very soothing and delightful.

Overall, an above average section. This section is very relaxing and peaceful. Hyuna’s singing was solid here, and likewise, the piano instrumental.

5. Bridge: 6/10 – Hyuna begins the bridge with a slower pace. The instrumental also becomes passive to emulate her style. However, towards the end of the bridge, Hyuna does toss in a significant amount of power and does hit a higher note. Upon that, the piano escalates back to the usual flow.

While the vocals and piano were solid, this bridge is nothing outstanding. There were no prominent aspects that push it as incredible. Nevertheless, it holds its ground of being decent. The initial seconds were appeasing, and the follow up of the stronger vocals were welcoming, and thankfully, still within the realm of the overall softer, gentler tone.

Slightly above average is the score. The singing and instrumental were decent, but unfortunately, there was nothing too stunning.

6. Conclusion: 6/10 – The ending in “I Like The Way Back Home” reminded me of some childhood memories; a lot of the songs my parents listened to had this type of ending. Instead of an actual concluding part, the song simply faded out until nothing was heard.

Specifically on what occurred, the conclusion of this song had Hyuna singing a sweet, melodic tune of “Nanana/lalala” (I personally cannot differentiate if it is a “Na” or “La” sound) that eventually became more quiet until, as expected, nothing was heard.

In focus of the singing, it was a melodic and soothing way to finish. Unfortunately, however, with this type of ending, it did leave a slight abrupt feeling; after the last chorus, the song randomly transitions to the “Nanana/Lalala.”

Overall, slightly above average. The song itself was solid, but the method of ending remains questionable. The change to the melodic sounds were surprising, and even at the very end, it does not leave a sound conclusion, but rather, an ending that feels unfinished.

– Line Distribution: X/10 – Hyuna is singing alone, so this is not graded.

– Instrumental: 6/10 – Although I am biased towards the piano (I personally find it, in terms of sound, the most pleasing instrument), that does not automatically mean a good score will be given.

In light of the instrumental itself, it was predominantly the piano and harmonica. By itself, they stand as decent although somewhat repetitive. Adding in the vocals, however, and the instrumental holds well. The biggest asset to the instrumental is how well it supports Hyuna’s voice. In the end, slightly above average is the score. The lack of different melodies will impair the score, but nevertheless, the piano significantly added to the tranquil, serene atmosphere.

– Meaning: 6/10 – If the video itself is not a clear enough indication, this song will probably be about Hyuna’s adorable cats. Perhaps the title is “I Like The Way Back Home” due to anticipating her beloved cats’ attention and presence when she does return home. Anyhow, let’s find out what Hyuna is singing about through these Korean-to-English translated lyrics. And, unlike a lot of other songs, I will toss in that these lyrics may be inaccurate by a larger margin; since this is not an “official” song, but rather one that Hyuna composed, there are not multiple translation sources at all to check with. Nevertheless, it should be close enough, and adding in my own knowledge, I recognized multiple words that were correct per line. At the very least, the general idea is accurate. Anyhow, here are the lyrics:

Samsung Station, Exit 2
30 minutes walking distance from home
I’m so tired today for some reason
I feel pretty down too

I’m so tired but
This familiar street, this familiar town
I sing lalala

I like the way back home
I like your soft eye smile
Your soft tail and your light steps
My white cat, Moya
I like the way back home
I like your awkward eye smile
Your rubbing body, your meowing sound
My talkative cat, Hoya

I feel you even before I open the door
The flower has blossomed
Pretending that nothing’s up, that you don’t care
But inside, you’re going crazy

I’m so tired but
This familiar street, this familiar town
I sing lalala

I like the way back home
I like your soft eye smile
Your soft tail and your light steps
My white cat, Moya
I like the way back home
I like your awkward eye smile
Your rubbing body, your meowing sound
My talkative cat, Hoya

Stay by my side tonight
Stay by my side tomorrow night
You’ve fallen asleep and your small weight
makes my steps go faster

I like the way back home
I like your soft eye smile
Your soft tail and your light steps
My white cat, Moya
I like the way back home
I like your awkward eye smile
Your rubbing body, your meowing sound
My talkative cat, Hoya

As predicted, the song is about her cats. Hyuna is expressing how her cats give her positive energy throughout her day. Even with being tired, she knows she is coming home to a pair of loving, adorable, fluffy pets. Furthermore, she also describes some special attributes of each cat; Moya, the white cat, has its tail, eye smile, and steps praised, and Hoya, the brown cat, is expressed via being very “talkative” with the constant meowings and being cute with rubbing its body.

Overall, slightly above average for the Meaning Score. Different details are given regarding her cats, but nothing is extremely extraordinary. Also, some additional details could have potentially garnered this section a 7. But, of course, the overall meaning is something very admirable and sweet; Hyuna truly loves her feline companions, and through singing and composing a song for them, she truly showcases that bond.  


Choreography Score: X/10 – Being a ballad and self-composed song, no dance exists. The purpose of the song was for Hyuna to express her love towards her cats, Hoya and Moya.


Overall Score: 6/10 (6.25/10 raw score) – With purely the Song Total Score, Hyuna’s composed song of “I Like The Way Back Home” concludes with a 6, so slightly above average. Considering this song was simply made as an ode towards her cat, that score is impressive enough. Once again, this was moreover a bonus and fun review than anything else, so the scoring should be taken lightly; after all, the main focus of this song is about love, as cheesy and silly as it sounds. If everyone was genuinely happy and everyone knew how to love one another, this world would be an extremely joyful place (obviously, right?).

Personally, I enjoy this song despite how simplistic it may be. Perhaps the ballad side of me cherishes it, or it might be the Hyuna-loving side in addition to loving her pets, but regardless of the reasons, I find this song worthy of listening to.

Anyhow, as always, thank you for reading this review. Even if this review was vastly shorter than my usual ones, I decided to do it for a bonus/filler review, and primarily, to share the video. The world has enough things to get angry and sad about (although it is still very important to tackle the things that create such feelings), so why not have a video of adorable cats to create some smiles?  

As said earlier, I am currently working on T-ARA’s “Little Apple” and Girl’s Day’s “I Miss You.” After those reviews, I will begin my requested song (apologies for the delay). Now, in regards to the songs after that, I plan on reviewing a male artist (plenty are on my list). Considering how I have been very busy for November, I am disappointed at my current quantity of reviews, but of course, quality over quantity. My current plan is for a strong, finishing push. At the very least, if I fail to publish a few reviews before November ends, I will have a head-start advantage for December.

Stay tuned for T-ARA’s “Little Apple.” It should be finished by tomorrow the end of today. Truthfully, I am writing this while it is 12:45 in the morning, so technically it is already November 30th. Anyhow, I apologize for the lack of reviews. I have been busy with finishing some work, and in honesty, I did put some time towards watching videos and other activities. Randomly switching subjects, that reminds me, I have a month reflection to do, so that will be something to look forward to.

I have said enough. Thanks for reading, enjoy this video and Hyuna’s singing. Keep checking back for my review of T-ARA’s “Little Apple,” and remember, I feel very grateful to have you “Stay by my side.”

Nine Muses – “Wild” Review

Nine Muses – Wild (Live Performance)

Nine Muses – Wild (Dance Version)

Nine Muses – Wild

Reviewed on August 12, 2014


Personal Message: Well a double change of plans. So earlier I was doing this review, and got all the way to the Song Structure part, only to have to restart due to a crash. Pretty upsetting and on top of that even more upsetting was realizing how I’m always handed down the “broken” things to use; or well, things I would consider very usable but then torn down since people are expecting too much instead of being glad with what they have. So that was really upsetting but whatever, back to my own personal laptop to use for this blog. 

But, like the K-Idols, regardless of how terrible a day, time to put on a smile for the others who are having a bad day. Anyways, I originally planned to review f(x)’s “Rum Pum Pum Pum” since that’d be quite an interesting, critical review. However, today is Nine Muses’ 4 year anniversary! Well technically it happened yesterday in Korea time but, for my place, it’s today. They’ve had an amazing year with 2013 with releases of “Dolls”, “Wild”, “Gun”, and “Glue”. Although this year is a bit rough, I hope to see these ladies continue to shine with even better songs. Anyways to celebrate their anniversary, I decided to review the song that got me into Nine Muses: “Wild”. 

Besides being one of Nine Muses’ top songs, this song is very, very meaningful to me. To me, this is what started it all; this is what really got my passion for K-Pop, and from that, a complete change. Good change. Change for the better. K-Pop has given so much to me, and without pouring out a list, it has given me positivity. I won’t get too personal, but K-Pop has done so much. Whether it’s due to the incredible songs and choreography, hilarious and sweet group members, or even the darker, shadier side of the industry, it has definitely made an impact on my life. I am very thankful for it, and it all started thanks to these nine, amazing ladies. 

I still remember the first time I watched the MV. Although I didn’t link it, feel free to YouTube it and such. It’s a very sexy MV, but not sexy in terms of pure body-revealing scenes, but rather it has a classy, passionate type of sexy. Anyways, the first time I watched it, it was a bit too much for me to handle, I was honestly disturbed (although now I am completely accustomed to Nine Muses’ style and concept). However, on the bright side, I loved the song. It was very interesting; classy yet electronic based and rocking with amazing vocals. On top of that, a fantastic choreography. 

From there, I became interested in the group. And gradually, I became more and more attached to the members after seeing their dorkier sides, and after seeing the hardships they went through. In fact, former member/leader, Sera, became my role model. Anyhow, I wasn’t just interested in Nine Muses; eventually, I wandered out and found more K-Pop groups and such, and before I knew it, I found a burning passion for K-Pop. Again, it’s more than the beautiful singers/dancers and amazing song, but even the hardships and darker side of the K-Pop industry keeps me staying. This passion and what I have gained out of K-Pop is all thanks to “Wild”. It was what started this all, and without it, this blog wouldn’t be here at all nor would a lot of positivity in my life exist. For that, I am very thankful and as a result, I cherish “Wild” as a very meaningful song to me that started off this amazing journey.

But let’s forget all that stuff for now and focus on the actual song itself. “I’m burning for love love” and that love is for “Wild”, let’s venture in and take a look. 


Song Total Score: 8/10 (8.2/10 raw score) – Average score of the sub-categories, separate so Choreography Score doesn’t affect it.

– Vocals: 9/10 – Incredible vocal work by the beautiful, intelligent ladies of Nine Muses. As expected from them. The vocals for this song is excellent; they’re hitting a variety of notes and flow. For “Wild”, we can hear the lower notes and the exceptionally higher notes. Their singing style also varies; we can hear a slower, sexier kind of singer, but we also get to hear some very powerful, confident, impacting vocals.

Overall, a huge diversity of vocal work is done and it’s all well executed. Beautiful singing here.

– Song Structure: 8/10 (8.43/10 raw score) – Going to have scores for “Verse score”, “Pre-Chorus score”, “Chorus score”, etc.)

The song goes in this structure and order:

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

So for “Song Structure”, I’m going to go through each section (Verse, Chorus, etc) and give a score per section. After that, the average is the “Song Structure” score.

Note: So a pretty standard song structure. The only funky thing is the chorus before the final chorus is different lyrically, but melody-wise, is the same. 

1. Introduction: 9/10 – If it’s the introduction’s job to get people hooked, this one did that for sure.

The introduction of this song is the “Oh oh oh” part. From their vocals, they give off a catchy melody for the start. It definitely gets your attention and it starts to produce a small build-up in anticipation for the first verse. Furthermore, the instrumental is well done here. The strong beats are kicking in along with the key instrumental piano melody. 

A very solid start.

2. Verse: 9/10 – I will be grading the first verse, which involves our beloved Kyungri. The second verse is with Minha and Lee Sem, but they replicate the same structure.

Already I’ll say, this is incredible. This song does an excellent job of luring in listeners. Anyhow, the verse is fantastic. Kyungri starts things off with some very solid singing. Her first two lines have a unique “tonight” pause/break at the end of a line that provides build-up and a well-crafted contrast. It’s a nice spice for listeners. Progressing on, she  continues the same style of bringing a catchy melody through her vocals and finishes off the verse with a small note hold at “ dwae~” That allows a smooth transition to the pre-chorus.

Overall, very impressive work by Kyungri, and Minha/Lee Sem towards the later verse. The lines are very sweet and catchy due to the unique melody and the “tonight” provides a nice contrast which prevents any dullness to occur for the verse. Probably one of my favorite verses of all-time.

3. Pre-Chorus: 8/10 – Hyemi and Sera take the first one while Sungah and Kyungri take the second. Again, I’ll cover the first combo since the second pair practically do the same.

Heading into the pre-chorus, Hyemi kicks things off with a very fluent English line of “I’m burning for love love, junbidwaesseo”. This allowed an even smoother transition to the pre-chorus, and it adds to the song’s mood. Passing that, she sings another line in a similar format as above, except it’s purely in Korean. Hyemi’s lines were on the lower pitch side, but that’s great for building up hype and creating a sexy atmosphere. Sera follows up with the same, lower pitch style. However, she modifies things with her final line. For her last line of “neon useumeul juneun danbi gata~”, she adds some extra power for “ta”. It’s enough to give the song the needed intensity boost to transition it to the chorus, so a smooth flow into the chorus thanks to Sera.

Overall, not the most fancy pre-chorus but it definitely showcases their adeptness at singing different notes and styles. They showed off the lower notes here with Sera providing some nice power at the end.

4. Chorus: 8/10 – Wow there are a lot of choruses. I’ll be covering only one, thankfully. Pretty much, Hyemi takes the first one. Hyuna takes the next, followed by Sera. The final conclusion involves quite a few members, but I’ll cover that one separately. 

For the chorus, Nine Muses puts forth high power/intensity. They’re singing with a higher pitch in addition to lots of power, so quite a lot of vocal work here. The instrumental coincides well with the chorus; the vocals and instrumental complement each other quite well. The main point of the chorus is overall the intensity; they’re putting forth a lot of that. Towards, the end, there are some great chunking of the lyrics to help relax the song for a smooth transition to the next piece. On top of that, there is a strong note hold done to further aid that transition. 

Overall, I’ll be honest, not the strongest chorus I’ve heard, but it holds very well, nevertheless. The strength lies in how the song built up, and how now it finally gets to release all that hype. The instrumental plays a key role and there is still a melody going.  

5. Rap: 9/10 – Although the two raps are different, they’re closely related enough for me to not make a different score. Anyhow, hot-shot Euaerin takes the first one while smart, sexy, husky-voiced Eunji takes the second.

Euaerin is killing it with her rap. How murderous can she be? Who knows but her rap was very, very nice. She had a very solid flow and pace going. Words were definitely sliding off smoothly. On top of that, it still matched up with the melody and instrumental. Lots of power and speed for her rapping. Extremely well executed and knowing Euaerin, this is to be expected. She’s a solid rapper by far and she proves it here.

Eunji’s part was solid as well; the use of her deeper voice suited her rap well, especially with the pause in the middle with “Hot Spotlight feels right”. Anyhow, she had lots of flow. Nothing was abrupt or choppy, it was quite fluent and she definitely incorporated the melody and instrumental.

Very solid rapping work done by these two stunning ladies.  

6. Bridge: 8/10 – Hyemi and Hyuna form a duo for this part.

Firstly, the transition to the bridge was somewhat rough. Coming from the high powers of the chorus’ vocals, swapping to the calmer singing in the bridge was pretty rough. At least the instrumental transitioned well.

Moving past that, Hyemi sang in a slower, weaker style in comparison to the chorus. Her lines were well executed and they definitely “relaxed” the song down quite a bit. Hyuna then steps in and does the same for one line. Now at the final line, she has chopped lyrics of “no way, no way, no way…ok?” This was very well synced with the instrumental; the soundtrack followed the same flow and pacing and at the end, went completely quiet at “ok?”. Hyuna sings this part very well and still maintains the melody. This part was used as a way to fully relax the song for building up to the conclusion. 

Overall, a decent bridge. Nothing too strong, and in fact the transition to the bridge wasn’t the smoothest. Hyemi and Hyuna were able to calm the song down in preparation for a final, climatic chorus and that they managed to do. 

7. Conclusion (Chorus): 8/10 – So this is quite an interesting ending. So before we get further, the ladies handling the final chorus are Kyungri, Hyemi, Hyuna, and Sera.

Keep in mind, before the final chorus, there was another chorus beforehand. Although lyrically, it’s different, it follows the same structure and melody. So already, there’s a repetitive dullness feel attached to the conclusion. On top of that, the final chorus plays out exactly as the other choruses in the song; the only difference is there is a noticeable added power. That gives a solid, final climatic effect. In fact, the switch between singers is very interesting and further gives off that final, top-peak of energy effect. However, the biggest issue is how repetitive this part feels. A chorus, and then a final chorus with 4 members singing it. 

Now moving past that, on the positive side, once Sera finishes her final words, the piano melody solely plays out. The key instrumental plays one final time and finally the song fully comes to a stop. 

Overall, while the final, climatic effect is great, this section comes off as rather dull and repetitive. Thankfully, though, the graceful piano ending helps quite a bit but this isn’t the strongest ending at all. 

– Line Distribution: 8/10 – As seen in other groups, sharing lines among 9 members is a daunting task. However, as seen in “Glue”, Nine Muses was perfect with that. For “Wild”, let’s glance at how lines were shared.

Kyungri had her own verse at the start, and appears throughout the song, so she’s covered.

Hyemi had plenty of lines and appears in multiple sections, such as the bridge, a chorus, and more.

Minha only appears once, and that’s for only two lines at the second verse, so she is lacking a bit.

Lee Sem is in a similar case. She appears in the second verse with only two lines as well. Not looking too well here.

Sera had a fair share of lines. She appears near the beginning and makes a completely return towards the end of the song.

Euaerin had her own rap section in which she excelled vastly at, so she definitely had her time.

Eunji had her own rap time, and definitely had a “Hot Spotlight” that certainly “feels right”. Alright maybe that was overkill, sorry.

Sungah appears at the second pre-chorus for about two lines, so like Minha and Lee Sem, she didn’t have too much time.

So overall, the support vocalists are a bit absent for this song; it’s understandable, though, since “Wild” is quite vocally demanding. Nevertheless, having their support on the lesser side will bring this score down to an 8/10. In the future, they thankfully managed to correct this with a perfect 10/10 for “Glue”, but for “Wild”, not quite.

– Instrumentals: 8/10 – The instrumental for this song is very different; in a good way. It utilizes both electronic and classy instruments. There’s the very prominent piano melody as well as the special electronic “screeching” noise. Overall, the soundtrack provided a lot for transitions and it accompanied the ladies’ vocals very well. On its own, however, not the most solid, but nevertheless, a very graceful and catchy instrumental that fits perfectly for “Wild”.

– Meaning: 8/10 – “Wild”. Where does this lead to, especially with a very sexy MV? I expected some racier lyrics, but let’s see if that’s the case through these not-100%-translated lyrics:

Drunk by the captivating scent tonight,
I am excited by the thought of you tonight
I am looking alright today,
I am anticipating something special might happen

I’m burning for love love, I am ready,
You are quite a sweet counterpart
You are a much needed rain which gives me laughter
For a moment in my dull life

You have become the only exit in my heart,
I become refreshed every day because of you
Two is stronger than one,
We have to stay together

I am slowly falling for you
more more and more
I fell for your trap
and I am floundering for you
Oh! my baby come on closer
You’re getting more drunk on me
You continuously cannot let go
In order for us to become one

Under the captivating moonlight, tonight
I am resting on your shoulder. Tonight

I am a little excited right now,
I am anticipating about what will happen if our lips brush

I’m burning for love, love do you know,
try to get more drunk in the perfect moment.
You’re going to melt for me more
and you will keep me inside you so you can dream

Getting saturated and slowly infiltrating,
This is my secret and
Feeling I wanted from you,
The thing that shines us uh!
Hot spotlight feels right,
moment by moment, u makin’ me high!
Our relationship is getting deeper now,
you cannot escape me you’re, you’re mine

You have become the only exit in my heart,
I become refreshed every day because of you
Two is stronger than one,
we have to stay together

The days I have passed without you,
the days I always wasted
I cannot progress further alone
No way, no way, no way… ok?

You become the long lamplight in the dark,
The light shining inside my heart
We make each other more special,
We have to stay together at all times

You have become the only exit in my heart,
I become refreshed every day because of you
Two is stronger than one,
we have to stay together

So…we have some interesting lyrics. In summary, a person (gentleman/lady) is talking about how their partner is their “only exit” for their heart and that they should stay together, since their love is so strong and they’re quite passionate for each other.

I guess I would label these lyrics as a love story, but not so much a story as is a moment. Anyhow, the big question of “is this about a couple getting ‘Wild’ at night?” It could be, like in literature, implying is all we can do. Either way, passionate love is what these lyrics focus in which is a nice change to the usual stories in lyrics. “Wild” focuses on a moment, versus a story, and I like that change up. 

There are interesting details, but nothing too deep in meaning. Anyhow, solid lyrics about a “Wild”, romantic, deeply-in-love moment.


Choreography Score: 8/10 – I’m doing my best to stay unbiased, so I’ll lean towards an 8. 

For the choreography, this dance is very impressive. Throughout the entire song, they’re constantly in sync with the music which is always pleasant to witness. Transitioning members around go flawlessly and spotlight positioning is excellent with the other members becoming the support dancers. There are some great key dance points as well.

What does hold it back, though, is there’s nothing too unique with the moves; while they sync very well, it feels as if the choreography doesn’t reflect the power in the song. The syncs well with the music, but not with the intensity if that makes any more sense. The choreography feels quite “plain” when juxtaposing the song to it. There isn’t any fix for that to be honest (just how the song runs and the dance to mesh with it), but overall, a really solid dance full of grace, sexiness, and charisma. 


Overall Score: 8/10 (8/10 raw score) – I’m really confused on how this song hit an 8/10 instead of a 9. 

Perhaps the choreography should’ve been a 9/10, but it just lacked the slightly needed “spice” to make it more interesting. 

Anyways, “Wild” is still a fantastic song and I still hold it on top for my own personal list of best songs of all-time. It’s quite a shame that Nine Muses lost 3 members. Compare this review to “Glue” and you’ll notice how much they’ve improved; it’s insane to see that much growth. But anyways, “Wild” still holds its own and it’s still an excellent song. The vocals are outstanding here and it has a very unique instrumental. The choreography is also excellent; lots of syncing between the music and moves. 

The issue in this song would overall lie towards the repetitive nature at the end, and that the choreography needs to have a unique twist added to make it stand out even more.

It’s still worth checking out, though. Definitely an excellent song and dance still.

Well the end has come once again, and I would like to say, thank you very much for reading. Making these reviews are quite fun, and I hope you enjoy them as much I do. So thank you.

My future review is most likely “Rum Pum Pum Pum” by f(x), so stay tuned for that.

It’s quite late now, but this is what I get for having my earlier entry getting discarded. Anyhow, “You have become the only exit in my heart, I become refreshed every day because of you” I hope you keep reading this blog, after all, “Two is stronger than one, we have to stay together" 

Nine Muses – “Glue” Review

Nine Muses – “Glue” Dance Practice

Nine Muses – Glue

Reviewed on July 21, 2014

Personal Message: Before we even get started, I am sorry for being late on schedule. Last night I DID start this…and got only a few sentences before I decided, “Alright, time to do it tomorrow”. I was rendering/processing a few YouTube videos (to be uploaded later!) and that just made typing extremely slow and lethargic. 

In other news, “Touch My Body” by Sistar will be reviewed quite soon. And actually, I do take back a few of my harsher words from my initial post about the song. It’s quite catchy, BUT, it is rather disorganized in some parts.

But forget those ladies. Why? It is time to focus on the nine most amazing ladies: the cute, smart, beautiful, and downright hilariously sweet idols of, Nine Muses!

Personally, this is my favorite K-Pop group. I’ve come to love their songs and I have also gotten quite attached to every member. My biggest role model is also…er, used to be in the group, Sera. Her inspiration to me has done so much. In fact, without her, this blog wouldn’t have even existed. Thank you, Sera, for being the best role model I could ever ask for. (Although let’s not forget teachers, because from my experience, they also gave me a lot and I value them very much.)

Anyhow, I’m not gonna get too personal with that. Before we do start, though, let me address the roster change:

I’m not gonna lie, when I saw the article: “SERA LEAVING NINE MUSES” my heart stopped. I didn’t cry on the bright side. Or at least, I don’t think it’s considered crying until tears fall, right? On the serious side, I was really torn. That day I wasn’t happy at all and I did resort to listening to some sadder, ballad songs. I was most afraid of never hearing from her again, and that to me was painful since I really do admire her. Thankfully, she still makes YouTube videos and does the occasional Twitter post, so she can still remain a prominent role model.

Now before Sera left, Lee Sem and Eunji left around December time, I think? I was also really crushed, since that was when I started getting attached to every member and loved their interactions. Quite devastating during that period, too. 

So in summary, THREE out of 9 members have left. Lee Sem, Eunji, and now Sera are gone. 

What does this mean? Here are my opinions:

1. Firstly, although Sera was kicked off the official leadership position, the members still looked up to her as if she was the leader. But, she’s gone now. Although we will never know exactly if that matters, Euaerin once addressed that she appreciated what Sera did for the group, despite being an “unofficial” leader. Since she’s absent, the group might have some struggle in terms of this.

2. Besides losing their “leader”, in terms of the playing field, they lost a solid MAIN vocalist. This will indeed hurt the group. Sera provided a lot of power, high notes, and great skills with singing. Losing a key singer such as her is damaging. Nevertheless, Kyungri, Hyuna, and Hyemi are quite solid singers. Overall, I don’t think it’s going to hurt too much, but this just means those 3 ladies have a lot more weight on their shoulders. 

3. Let’s talk about Lee Sem leaving. To be honest, in terms of the singing field, not too important. She did provide some nice support lines, but Minha and Sungah are still there and they do an excellent job of support. As such, Lee Sem’s departure didn’t impair the group. However! Ignoring the playing field, any member leaving an already established group will hurt. Lee Sem was a talkative member during variety shows or interviews, so she will be missed. Also, I personally think she’s one of the more beautiful, “bare” members (no makeup, etc). Plus she was still nevertheless a good singer. 

4. Eunji. Oh how much it aches to see her leave, although she’s doing quite well these days. She’s been attending college once again to major in filming (Directing, in specific. Or I think so anyways). Quite perfect she is, super sexy and super smart. Now that is sexy. Intelligence will always be 80% of sexiness. A beautiful flower pot is well worthless if there’s no flower. Side note, I’ve found Eunji to be tied with Sojin (from Girl’s Day) for “sexiest idol” in my opinion. Firstly, Eunji has abs. I’m sorry but, when I saw her during some of their “Wild” performances, well she definitely had me going wild by showing those off. Dang. Secondly, and what really gets me, is her voice. Something about it just drags me in. Perhaps it’s the lower pitch and huskiness. Her voice just gives me goosebumps. So sexy. 

Well, time to regain composure. Sorry about that. Anyways, of course it hurts losing Eunji, but what about in terms of music?

She was the second rapper (excluding early on when Lee Sem still rapped) for Nine Muses along with Euaerin. Her rapping was definitely solid, her low voice was definitely a huge asset and it gave a nice contrast to Euaerin’s higher voice. Losing Eunji will hurt, but not so much. Why? Euaerin is honestly a top-shot rapper. She is incredible at rapping. So much flow, rhythm, melody, power, etc. Having Euaerin as their sole rapper is excellent since she’s a beast when it comes to that. 

So in short:

Losing Lee Sem hurts, but it’s fine since Minha and Sungah are still there to give support. Losing Eunji hurts as well, but Euaerin can now truly shine with solo rapping. What injures the group the most, though, is losing Sera. A solid, main vocalist is lost.

All in all, losing the three ladies is heartbreaking, but nevertheless, I support their decisions and hope their future is bright. Instead of drowning in sadness, let’s take a breath of air and be thankful for what they have given.

NOW, it is time for the review. I am so sorry for that super long blabbering. I’ve always thought “Glue” was a great “finale” song (Slightly ironic since it kind of was their “last” song as the Nine Muses we’ve come to love). It seemed like it. Every member was highlighted, the song is great, the dance is phenomenal, it’s a really great, well balanced song. In fact, this song is probably my all-time favorite. Perhaps tied with “Number 9” as my favorite? 

 Anyhow, let’s see if this song has become the “Glue” that keeps fans coming back to the group…


Song Total Score: 9/10 (9/10 raw score) – Average score of the sub-categories, separate so Choreography Score doesn’t affect it.

– Vocals: 9/10 – As expected from Nine Muses. They have proven to be extremely solid singers. The main vocalists carry their weight with singing while the support vocalists provide the needed aid. The rappers have great skills as well and sound very nice.

Overall, a solid score here. The vocals here are exceptionally great and I hope it continues that way despite losing a few members. 

– Song Structure: 9/10 (8.625/10 raw score) – Going to have scores for “Verse score”, “Pre-Chorus score”, “Chorus score”, etc.)

The song goes in this structure and order:

Introduction, Verse, Pre-Chorus, Chorus, Verse, Rap, Pre-Chorus, Chorus, Verse 2, Rap, Bridge (Chorus), Conclusion (Chorus)

So for “Song Structure”, I’m going to go through each section (Verse, Chorus, etc) and give a score per section. After that, the average is the “Song Structure” score.

A really interesting structure. I feel quite embarrassed for not exactly noticing, despite how this is the most played song on my phone. Anyways, there are “two” types of choruses in terms of lyrics structure. However, they pretty much follow the same melody so I’m counting it as one chorus. Verse 2 is interesting, it’s a change from the usual verse and it almost feels like a bridge, but I’ll leave it as Verse 2 since the true bridge arrives later, and actually, this is the first bridge I’ve seen that is using its chorus. Typically a bridge has its own thing, but this one recycles the chorus.  

1. Introduction: 8/10 – Alright finally we’re getting on with the review!

Unlike most songs that instantly have singing, “Glue” opts to play off its amazing instrumental. The beats start kicking in, the very start had a strange sound, but it transitioned into the beats and instrumental quite nicely. Also, we hear an interesting robotic voice murmuring around, but it’s not prominent enough to be annoying and in fact, later, this robotic voice comes into use. So overall, a very solid introduction that does set up the song properly. 

2. Verse: 9/10 – The first verse is done by Kyungri and Hyemi. The second verse is done by Hyemi and Sungah.

For the first verse, I’m so glad they had Kyungri do the initial singing. For some reason, she does a great job with being the first to open doors. Kyungri. She gives off a nice melody and what’s nice here is there is a small sync with the beat. Her lines were chunked to follow that beat pattern as much as possible. Next, Hyemi follows up with singing in a higher note. She builds the melody further and has a solid high note with “apawa” and her final word of “neo~” was a note hold. That allowed an exceptionally smooth flow into the next part.

For the second verse, it is quite similar except Hyemi does Kyungri’s role and Sungah does Hyemi’s previous role. Hyemi wasn’t too high note to replicate Kyungri’s verse and Sungah went in a higher note to emulate Hyemi’s first verse. Furthermore, Sungah did her own note hold to help transition the upcoming section.

Greatly done by the solid singers of Nine Muses. A solid verse for the song. 

3. Pre-Chorus: 8/10 – Another solid part. 

For this Minha and Lee Sem do the first pre-chorus. The second has Minha but instead of Lee Sem, it’s Sera.

Anyhow, Minha does an excellent job. There’s a great melody here, and build up is starting to occur. She’s doing great with the melody and maintaining a solid flow. She also hits a nice, high note with “maldeut”. Another really unique thing here is the clap that syncs perfectly with the beat. After Minha’s done, Lee Sem transitions in and has nice chunks that sync well with the instrumental (and choreography) and ends in a higher note hold of “mositni~” which allows a flawless transition to the chorus along with providing some more energy.

Overall super solid, and although it is the pre-chorus, what I love about this song is it doesn’t exploit intensity/energy level; the pre-chorus didn’t get all hyped up in preparation for the chorus but rather, it played off building a nice, solid melody for the song as a whole. Sera’s part replicated Lee Sem’s part so I won’t cover that one. Well done.

4. Chorus: 9/10 – Kyungri and Sera take the first once while Lee Sem and Kyungri again, take the second. 

The chorus is very interesting and the vocals are amazing here. Kyungri starts it off and gives a very nice, stable, melodic flow. Utilizing her skills here to build up the song through quicker pacing and a nice melody is what she does. Next, Sera comes in does the same with fastening the pace while maintaining a very nice, sweet melody. To end the chorus, Sera has a great high note hold with “natana~” to decrease the energy/intensity for a smooth transition. Now, an interesting thing is the robotic voice comes back and while the instrumental is passive, adds an extra line of “I just don’t know what to do…” In my opinion, it’s slightly an overkill since the transition was already smooth. Thankfully, this wasn’t out of place and since the robot voice was introduced earlier, it fit in perfectly. 

The second chorus follows the same format except Lee Sem does Kyungri’s part and Kyungri takes Sera’s previous role. Also, the lyrics are different, but the melody is practically, if not, the same, as before.

What I love about the chorus in this song is, it doesn’t work on intensity. In other songs I have reviewed, you’ll notice the trend of how the chorus picks up intensity and is typically the most energetic moment of a song. This isn’t the case with “Glue” and is perhaps why I love it so much; the vocals AND instrumental are at work here. The chemistry between the two along with superior vocal skills is at work. The melody and flow is the strength here, not how intense it gets. Very respectable chorus. 

5. Rap: 9/10 – There are two raps in this song, but the structure is very close to one another, therefore, I’m counting just one rap. 

Firstly, the dynamic duo of Euaerin and Eunji work together to bring a nice show. 

For the first rap, the transition into it was amazing; Sungah lured the song into the hands of Eunji thanks to her note hold. Eunji starts off with her nice, low voice and brings the proper intensity. It fit perfectly and she had a very fun flow of “chaja/chacha”. Very well done for her part. Now Eunji, Euaerin comes in. A perfect transition of singers as well. Euaerin rocks the song; she brings in amazing, stunning flow. The melody is solid and she brings quite some fierceness/power into her rap. 

For the second rap, Euaerin starts it off this time. A perfect switch to another rap since it came right after Hyuna’s note hold. And just, wow. It is breathtaking. Euaerin’s flow is incredible here; words are just coming in. The pacing is perfect and the melody is great. The flow and rhythm was on the faster side but it was perfect since it came right after Hyuna’s intenser part. A perfect match up and Euaerin was just so powerful yet maintained excellent flow. Eunji picks it up after her, and brings the intensity down by a slightly slower pace (and lower voice) but she still maintained great flow herself and she sets up a perfect transition to Sera through her final line of “Get out of my brand new empire”.

Overall, amazing, amazing rapping here. Euaerin’s rapping blows people away, but let’s not forget Eunji. She had her own shine here and having the two work together provided fantastic synergy. This is incredible rapping. Nicely executed by these two ladies. 

6. Verse 2: 8/10 – As stated earlier, a very unique part. Honestly, I almost believed this was the bridge. It’s quite similar in that it relaxes the song’s intensity but then builds it back up.

Anyhow, Sungah and Hyuna work together for this.

There are excellent note holds from both Sungah and Hyuna. Sungah had her endings of “…ya” to use. Her second line is a bit on the softer side, but that’s a perfect switch for Hyuna’s turn. Hyuna provides a really smooth part, and at the end, she an incredible and lengthy note hold. Greatly done to transition back into the rap.

Overall, a really strange part. It definitely suits in the end, since this part allows more variety and it provides a “break” for the song. Having the rap right after this makes sense though, since it allows the rapping intensity to be at the middle side, which then makes an easy transition to the softer bridge part.

7. Bridge (Chorus): 9/10 – This part is quite different. This bridge reuses  the chorus instead of having its own structure. In addition, it’s only the first half of the chorus that’s truly the bridge, so I’ll be mainly judging that.

For the bridge, it comes right after the rap, but it’s perfect. The rap wasn’t as intense as the singing sections, and the instrumental perfectly died down during this time. Sera is the one doing the bridge. A perfect decision. Sera showcases her softer vocals at the start. The melody is perfectly made and at the end of the bridge, she shows off her powerful singing side with “…jjilleo~, neon~" by having very strong note holds. This also bumps the intensity back up and allows Hyuna to follow through with finishing the second half of the chorus.

This part is so pleasing to hear, Sera does a great job, and the transitions to and after are excellent. Also, a bridge using its chorus section is really special. Overall, very solid for a bridge and the instrumental does its part in dying out but also coming back when Hyuna’s part occurs.

8. Conclusion (Chorus): 9/10 – Now this is an extraordinary ending to a beautiful song. 

Kyungri and Hyemi (and Sera) are the ones concluding this musical piece.

When Kyungri begins singing, she isn’t the only one. Sera does a two-part with the end and layers her voice with very high notes and note holds. This provides a great, final peak of high intensity. When Hyemi starts singing, Sera’s two-part is absent which is good. This allows the song to start dying out. Hyemi does a final, short note hold but that isn’t the end. The robotic voice comes once more and once that’s over, so are the instrumentals.

So overall, an incredible finish. The chorus is used but the addition of Sera layering her voice gives a final high level of energy but "Glue” ensures that there isn’t any chopped off ending through using Hyemi as the final singer along with the robotic voice which died down properly along with the instrumental. A perfect wrap up.

– Line Distribution: 10/10 – What I love about this song is how well the lines are distributed. 

All NINE members had their fair share. A hard feat to acquire, but they do it. Furthermore, everyone’s line works best to their strength; Sungah and Minha were support, Lee Sem was also support but she also had her chorus section. Euaerin and Eunji had, not one, but two fantastic rap  sections. Kyungri and Hyemi had their moments. Hyuna had a great solo lengthy note hold along with other parts. Sera had her fair share along with a graceful bridge part.

Perfectly well done here. Couldn’t be any better.

– Instrumentals: 9/10 – The instrumental here provided so much work for the song. It allowed transitions to happen easily, it augmented the melody and vocals, and it synced very well to the intensity level. 

The instrumental by itself is also really nice; it’s very classy and has a nice beat, but it’s not prominent enough to be distracting. Overall, it’s well balanced as the song is in general. One of my favorite instrumental for sure. 

– Meaning: 8/10 – Already from the title, “Glue”, what song is that? Well, it’s a perfect title once we peer at the lyrics in English, which as usual, aren’t 100% accurate but are quite close:

I’m filled up with you again,
I’m so sick of the same days
It hurts so much, it hurts again,
it won’t heal

It’s about time I got over you,
it almost works but my thoughts are to blame
My head is so bad,
it almost works but I can’t forget you yet

Without being noticed but once in a while,
you flow quietly in my heart,
you pierce my heart
You stay still in my head
but you appear again
as tears

I just don’t know what to do

My hidden memories burn up
and fall down again
It painfully spreads
and you come once again

Why do you keep coming to me?
I’ll forget you eventually
I’ve endured by thinking that
but why did you come to me again?
I can’t do this anymore,
just take the memories with you
You’re bad news to me,
no more, I’m not your doll

It’s time to quit doing this,
it almost works but my heart is the problem
My habits are bad,
it almost works but I still look for you

The images of you
that pass through my memories
are always looking at me
I press down each memory i my heart
but I miss you
and you appear again

I’m the same fool, I’m a fool like you
I can’t remember why we broke up
I’m the same fool, I’m the same

Please just keep still in my memories
My unfinished love, please disappear
I make several promises a day
But like a fool, I take you out from my heart again
I guess I’m crazy, I’m sick of me being like this
I look at myself in the mirror
and I see a strange vampire
Get out of my brand new empire

Without being noticed but once in a while,
you flow quietly in my heart,
you pierce my heart
You stay still in my head
but you appear again
as tears

The images of you
that pass through my memories
are always looking at me
I press down each memory i my heart
but I miss you
and you appear again

I just don’t know what to do

In summary, a heartbreak story about a woman or man trying to recover from the pain. She or he attempts to “press down each memory” and such in order to ease the pain, but, it isn’t that easy. 

The lyrics describe how the pain and memories of a past love are like “Glue”; they stick around and slip into their thoughts unconsciously.

Overall, the lyrics are quite sad and there are a lot of meaningful details.

Solid lyrics for sure.


Choreography Score: 9/10 – If you haven’t already, take a look at the dance practice video linked above. 

This dance is probably one of my favorite dances in general. There are so many syncs with the music. Examples are the hand snaps, the claps, and how they move to the rhythm. Incredible synchronicity here. 

Furthermore, the dance isn’t in just one form; there are different dances for EVERY song piece. Key points are repeated, but no format is truly repeated. 

The transitions are also really well done, it’s an amazing dance to see. Very graceful. I’m honestly having a hard time deciding between 9 or 10. I guess I’ll lean to a 9 since it’s not COMPLETELY perfect.

The flaw?

The first rap section had…an interesting part. I honestly didn’t notice it until the tenth time I watched the dance. Yes, the part where Minha and Sungah have their bottoms touched. That didn’t fit in with the sad tone at all. Perhaps it was just “fan service” and to get the boys screaming. Who knows but that was completely out of place.


Overall Score: 9/10 (9/10 raw score) – Well that brings us to a solid 9/10. 

Well deserved. While this song is my favorite, in both terms of dance and music, it isn’t the best. “Singing Got Better” by Ailee is the best song I’ve heard so far. Check out that review if you want to know more.

Anyhow, I’m really glad I made this review. It revived my love for the song. It was back in December 2013 when I found out about the song. Nine Muses was discovered…in November 2013 I think? Anyhow, I love these ladies. At least the 9Muses we’ve known went out in a nice finish. 

Although they’re down to 6 (with future members coming I expect, although staying 6 would be amazing, too) I still believe they’ll come strong with a new song. They were on the rise, but I believe they can get back on that track despite the obstacles. 

Anyways, thank you for reading this. This review took…2.5 hours? Quite a long time. But this was one of my fun I’ve had with reviewing. Words cannot describe how much these ladies mean to me; I appreciate the music and work they’ve done as well as providing me inspiration and positivity. 

For now, thank you once again for reading. It means a lot to me. Well, I hope you enjoyed this review. Hopefully it was entertaining and full of ideas. I’m also hoping you disagree and have your own thoughts. As usual, I hope I “flow quietly in [your] heart” and that you keep reading. Sistar is the next, upcoming review!