Sunmi – “Gashina” Review

(Music Video)

Sunmi – Gashina/Leaving

Reviewed on December 31, 2017

With “Gashina,” although it is not a weak song per se, I hesitate to praise it as a
stronger song. Overall, while the song certainly excels with its performance
value (such as with its choreography and on-stage appeal) and does have a
powerful, alluring instrumental, I find that—especially if focusing purely on
the music—there are two significant concerns: disappointing climaxes and excessively segmenting the song.

Continue reading “Sunmi – “Gashina” Review”

Wonder Girls – “Why So Lonely” Review

Wonder
Girls – Why So Lonely (Dance Practice)

Wonder Girls – Why
So Lonely

Reviewed
on July 19, 2016

image

“For how “Why So Lonely” differs
from this all, rather than stating that their vocals are inadequate in
diversity or that their vocals sound hollow and lifeless—in other words,
sonically at fault—Wonder Girls does in fact meet both aspects. The slight
issue, then, is purely the degree of such.”

Personal Message:
A few readers may notice a change in
terms of the review outline: a “hooking quote,” if I may use that label. In
other words, rather than the “Keep reading” being introduced at the end of the
first paragraph in the Personal Message section, only a single quote is seen
before the “Keep reading” appears—and specifically, a quote that comes from the
review itself. There are multiple reasons for this change. For the most
influential reason, it is to provide organization. Given that the Personal
Message section tends to begin with updates both personal and blog, it seems
rather absurd that, for those interested in reading a review, will have to read
that first instead of the review itself. Thus, in more blunt terms, very few
would feel inclined to “keep reading” just based on the first Personal Message
paragraph. Currently, the purpose of the shortener—the “Keep reading”—is to not
cause hassles to Tumblr followers; if this were not added, followers would have
to scroll through many seconds to just skip over a review post. (I am still
thankful to a reader for notifying me a year ago of this.) However, because of
that, I have not been fully utilizing the shortener efficiently.

Fast forwarding to what this all
means, I am now using only a single quote (and later I will discuss how I
choose the quote) as I wish to keep reviews more precise in their initial
appearance. Rather than boring readers with reading a paragraph on personal and
blog updates—of which are irrelevant to the review itself—I hope the quote
provides an idea on whether the actual review is of interest. To clarify,
though, I am not getting rid of the Personal Message category; I am solely adding
a “hooking quote” that is then followed by the “Keep reading” label. Overall, I
aim to present a sharper, cleaner entrance to reviews. Feedback as always is
desired.

Now in terms of how I am choosing
which quote is selected, I will focus on ensuring that the quotes are not silly
“click-baits.” For one, the quotes will be sentences  I have wrote in the review itself, but even
then, I will try to avoid using ones that may sound like “Let us see if this
song is good or bad” or “Let us see why this song rates poorly.” Why? Again,
those sentences merely exploit curiosity and thus, readers would then decide to
read the review not for engagement, but instead, because they were simply
searching for clarifications or answers. On the other hand, I plan to have the
hooking quote be moreover discussion based and thought-provoking—and even
controversial. For example, I might use this as the hooking quote: “But, even
if the verses rate well, the choruses drastically reduce the overall song
quality.” Some may now claim this sounds identical to the prior examples, but I
will argue there is a difference. That difference is in how readers now engage with the quote; rather than readers
continuing to read because they desire to know whether a song scored well or
poorly—or simply how a song even scored at all—the former “hooking quote”
hopefully engages reader to critically think of the song itself, not just
merely what I am asserting. In the case of the example, readers might disagree
or agree that the verses rate well, or that the choruses are the main
contributor while the verses are the sections lacking. Nonetheless, it is clear
that there is some engaging versus that of “I want to keep reading since I
wonder what this reviewer is yapping about even if I don’t care for the song
itself.”  

On topic with the review, I wish to
give a huge thank you for a requester for sending this in. In fact, she/he also
added another request for Miss A’s Fei’s solo debut, and I will also be
covering that. (And with the recent controversy a few Chinese K-Pop idols have
gotten into due to patriotism, I am more so motivated to review Fei’s new song
as she is involved in the controversy. I will digress on patriotism in Fei’s
review and hopefully apply a sociological take to patriotism versus a more
superficial one. That said though, I will exclude the political aspect as I
have not nor will venture into that perspective—general background will be
given, however. Again, sociology/literary theories are my main focuses.)

Regarding Wonder Girls’ “Why So
Lonely,” I will leave a disclaimer: biasedly, I very much dislike this song’s
style. However, even so, this review will hopefully provide an example of how
reviews can be biasedly-neutral—though as discussed in past reviews no song
review is ever free from pure biases. The reason I am disclosing this is in
case readers desire to challenge my words, and I strongly encourage that.
However all in all, I remain confident in not being biased since, as readers
will soon see, “Why So Lonely” scores decently. After all, when it comes to
reviews, I care much more about how a song functions
than how it purely sounds—the former
is where, even if a style is greatly dreaded, respect can still very much be
given for the song’s workings. On the other hand, the latter runs into bias
issues; if I judged solely on how I
perceived a song’s sounds, I would be allowed to ignore subtle yet impressive
structures just because I disliked the sound.

Without getting further off-topic,
let us return to Wonder Girls’ return after “I Feel You.” Although the
mentioned song did not hold strongly at all in a past review of it, “Why So Lonely”
renders well—even if its style is one I am personally not fond of.  

_______________________________________________________

Song Score: 6/10
(6.40/10 raw score) – “Slightly above average”


Vocals: 6/10


Sections: 7/10
(6.50/10 raw score)

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

1.     Introduction:
6/10

2.     Verse: 6/10

3.     Pre-Chorus: 7/10

4.     Chorus: 5/10

5.     Rap: 8/10

6.     Conclusion: 7/10


Instrumental: 6/10


Section Distribution: 8/10

Sunmi:
Verse, Chorus, Chorus, Chorus (Total: 4)

Yubin:
Verse, Verse, Rap (Total: 3)

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

Yeeun:
Chorus, Verse, Chorus, Chorus (Total: 4)

Equal Value: 3.25 sections per
member.  


Lyrics: 5/10

Since the time I kissed you,
I thought everything was going to change
But nothing has changed
You haven’t changed
Spending a weekend night with you,
I thought it would be sweet
But nothing has changed
You haven’t changed

I’m speechless
I want to be like couples in the movies
Na na na na na
I want that kind of love

Baby why am I so lonely?
I’m so desperate, but you’re not
Baby no, my heart
I don’t know when you will leave me
(Tell me why)
What are they? Your feelings
What are they? I love you so much
But I hate this suffocating feeling

I’m blinded by love
You should be falling as hard as I am
Only you shine, but only I hurt
It’ll be alright
I try mind control,
but my man is always unpredictable
Out of control, nagging me all the time

I’m speechless
The more I know, the more unsure I get
I don’t know why I feel lonelier
Na na na na na
I feel like I’m locked in a room alone

Baby why am I so lonely?
I’m so desperate, but you’re not
Baby no, my heart
I don’t know when you will leave me
(Tell me why)
What are they? Your feelings
What are they? I love you so much
But I hate this suffocating feeling

I don’t wanna talk about it
I want you to know me without me saying it
That’s my simple wish
It passes by like the wind
You frown as if you’re annoyed
Everything you do is half-hearted
You argue that you’ve done nothing wrong
You say you’ll do better next time
But there is no next time
Before this chance becomes your last,
if you still don’t come to your senses,
I’ll kick you to the curb

Baby why am I so lonely?
I’m so desperate, but you’re not
Baby no, my heart
I don’t know when you will leave me
(Tell me why)
What are they? Your feelings
What are they? I love you so much
But I hate this suffocating feeling
What are they? Your feelings
What are they? I love you  so much
But I hate this suffocating feeling
What are they?

Choreography Score: 6/10 (6.00/10 raw score)

– Syncing: 7/10

– Key Points: 5/10

Overall Score: 6/10
(6.00/10 raw score)

_______________________________________________________

Analysis: Disappointingly,
“Why So Lonely” nearly reaches above average (seven) in its Song Score but
falls short by a marginal decimal: .10. But of course, its current score is
still admirable and should not be quickly dismissed.

Beginning
with the vocals, this song provides a new case. As some readers may know, my
critiques of vocals tend to fall within one of the following: either lacking
variety or lacking a tuneful, crisp and firm sound. For example, Oh
My Girl’s “Windy Day”
lacked in terms of providing diverse
vocals, but on the other hand NCT
127’s “Fire Truck”
lacked in providing stable, enticing
vocals themselves, and it also encountered the problem of insufficient variety.
For how “Why So Lonely” differs from this all, rather than stating that their
vocals are inadequate in diversity or that their vocals sound hollow and
lifeless—in other words, sonically at fault—Wonder Girls does in fact meet both
aspects. The slight issue, then, is purely the degree of such. Indeed, a seven
would have been earned if the ladies had a minor
extra amount of vocal variety and a slightly
more refined sound (vocally, that is).

To
now actually analysis the vocals and to further expand on the prior points, every
section does contain its own exclusive vocal style. The raps—both main and
minor, as to be discussed—provide one form, the verses and pre-choruses provide
a smoother, whispering form—the latter being moreover emphasized, and the more
stable and standard singing form that occurs in the choruses. Point is, there
is indeed a decent amount of diversity when it comes to Wonder Girls’ singing. So,
how is it problematic if, as seen, there is
vocal diversity? Again, the issue is not the lack thereof per se, but it is in
the extent of that diversity. Certainly each sections are noticeably different,
but nonetheless it cannot be overlooked that in a more overarching view, many
sections still sound slightly too identical. Take the choruses and
pre-choruses: while the choruses are more upbeat, the overall whispering style
carries over. Furthermore, this extends to all the sections if we are to look
from a more general view. Combine this along with how said whispering singing
loses its appeal as it becomes monotonous, and the vocals drop to a six versus
remaining that at a seven. Overall, however, it would be false to claim the
vocals are in any form poor or bad; the vocals are in fact decent but merely
lack a slight push that could have earned a higher rating. As for the
instrumental, the same concept applies: it may sound pleasing in of itself and
does provide vital roles for the song be it transitions or supplementing the
ladies’  vocals, but akin to the prior
critiques, it also lacks the slight push to sound a bit more sonically pleasing
and to be more structurally outstanding. (Also for a random side note, an
upcoming review on Stellar’s “Crying” will finally be a review in which I
discuss much more about the
instrumental as it is more relevant in that case.)

Regarding
the sections, many have scored remarkably. In fact, at worst, a five is given
but even then considering the abundant amounts of sixes, sevens, and even an
eight, it is reasonable to claim the sections are excellent in “Why So Lonely.”
Without running through every single section in depth as that would be rather repetitive
in this song’s case, I will instead provide a general cover. The introduction and
verses earn a six due to fulfilling their structural roles well—in other words,
for the former hooking in listeners and the latter seamlessly progressing the
song—but both fall short by a marginal amount in terms of sonic appeal. As for
the sevens earned, both the pre-choruses and the conclusion are praiseworthy. The
pre-choruses’ main striking appeal is in how the two pre-choruses differ from
one another in an effective, cohesive manner. For example, I do not wish to
connote that by differing that the sections are entirely different; this would be, unless if perfectly executed,
detrimental as it would disrupt this song’s flow and organization. Instead, what
occurs are subtle yet influential changes: the second pre-chorus contains a minor
rap while the initial pre-chorus is of standard singing. Factoring in how the
pre-choruses also smoothly help transition the song to the choruses and that
the mentioned changes provide much sonic appeal, and indeed a seven is earned.
For the conclusion, its main strength is in its natural ending the song: it is
neither abrupt nor excessive. It is a rather perfect ending to “Why So Lonely”
if that may be said. As for the rap, here is the analysis: Yubin.

Jokes
aside, she is a phenomenal rapper but that obviously in of itself does not
guaranteed solid raps. For the excelling points, the rap remains diverse as noticed
by the slower first half and faster, more intense second half. Yubin’s flow
remains in constant fluctuation from more rough, hastier lines to short pauses,
and to include the instrumental it likewise follows suit. All of these traits
augment the rap as it now renders as fun, dynamic, and varied in sound. An
extremely impressive section to “Why So Lonely” would have to be this part. And
finally, for the choruses, while rating at average is not necessarily bad, this
section is more disappointing when compared to the rest. Briefly said, the
choruses’ traits counteract one another. For example, the instrumental and
vocals begin to deviate from each other rather than being complementing, as heard
by how the instrumental becomes active when the vocals are not and conversely.
Adding on how the choruses begin to sound excessive due to the longer length
and finally background vocals that further emphasis the slower, plainer singing
and the outcome of all of these aspects is an average chorus. Interestingly, individually
all of these traits would appear to come together in an organized, cohesive manner
but that is unfortunately not the case.

Finally
for the non-musical categories of section distribution and lyrics, the former
is rather self-explanatory. If a member with four sections gave one to Hyerim,
a nine would have been earned. Thus, with just one section being the obstacle, an
eight is given. And overall, the song does provide a fairly equal distribution
when generally listening to it—with its section, specifically. (And of course
to clarify, this is not to say I am giving an eight just due to “generally
listening to it”; I am sharing this moreover as a personal remark. The rating
is based on the numbers.) In terms of the lyrics, a five is given due to two
main reasons: a typical, heartbroken plot and that many lyrics repeat the same
ideas. Predominantly the rap is the section that provides further details to
the plot, but even so it cannot compensate for the repeating, duller choruses,
pre-choruses, and even verses.

Concluding,
Wonder Girls’ latest comeback of “Why So Lonely” rates at slightly above
average for its song, and that is still admirable. Perhaps the best description
of the song is that it is rather balanced—if excluding the lyrics. But indeed,
musically the song is sufficient in its instrumental, vocals, and that its
sections are overall well-constructed. The section distribution among members
also excels. Once again, it is the lyrics if anything that slightly hinders the
song, but if it is considered a hindrance it is absolutely a negligible one. All
in all, especially with personally very much disliking the style to “Why So
Lonely,” the fact that I am still capable of greatly praising it should already
be indicative of its higher quality. (Or perhaps that I am reviewing appropriately
and not off of biases as that would be song reactions
and not reviews.) Either way, in
summary, I personally claim this song is excellent and that for people who do
find its style charming, there are now even more positives to it. And of course
for those in a similar situation as I with not finding its style pleasing, one
should still be able to admire the complex, thorough production that went into
it that allows it to thrive.

_______________________________________________________

To
the requester, thank you so much for the review request and apologies for the lengthy
delay. But indeed, it is finally here and I do hope this review provides new
insights. As always, reviews are not to assert firm stances that a song is a certain rating, but instead, to
provide and initiate discussions. As for other readers, thank you to all for
also reading whether in short or full. I appreciate any time given towards the
blog.

Upcoming
reviews will most likely be on—for certain Miss A’s Fei’s solo (which will be
released on July 21) as that was also requested—either Stellar, GFriend, or
Eric Nam. However, regardless of what is the next review, I expect all of them
to be covered by the end of the month or at least the early start of August.
Besides, “I don’t know when you will leave me” but I do hope you will continue
looking forward for what is to come. Expect, most likely, Stellar’s “Crying” to
be covered.

Wonder Girls – “I Feel You” Review

Wonder Girls – I Feel You (Music Video)

Wonder Girls – I Feel You

Reviewed on August 19, 2015

image

Personal Message: Once again, I am slightly delayed with a review. In truth, offering excuses, I have allocated my writing time towards video time; rather than writing for reviews, for a few days, I have used that time to watch videos, and specifically, ones of Apink. Furthermore, besides nearly squealing and squeezing the “life” out of my stuffed penguin calmly enjoying videos of the group (“Apink Diary Season 2” is excellent), I have also come across a ballad by the ladies that I absolutely adore: “Deja Vu.” Surprisingly, the leader herself, Chorong, wrote the lyrics. Also, to clarify, it is shocking not on the basis of questioning her capabilities, but rather, surprising due to the higher leveled composition skills. The lyrics to “Deja Vu” are thorough in detail, possess an intriguing plot–even if it follows the standard story of love, and lastly, sonically, the lyrics flow well with the song’s melody. And, of course, for the song itself, musically, it is lovely.

Now, while awed by Chorong’s intelligence and talents, a question does linger: how did she develop her lyrics? Perhaps out of creativity, but also, potentially, personal experience. The latter seemingly ignites much discussion or, at least, in a friend’s case, her humorous delusion that she is Chorong’s supposed, lost love. That said, however, if her admiration towards Chorong is embarrassing, I follow suit with adoring Eunji from the group, and more pitifully, after listening to “Deja Vu,” yearning that, one day, a lady will find me lovable, as Chorong does for her real or figurative boy. Pushing aside hopeless, romantic dreams, and, most likely, the most random digression to exist for a review, to truly focus on the current review, an exciting one is in place: Wonder Girls’ “I Feel You.”

On a serious note, with finishing video subtitling and nearly a summer assignment, this review did become delayed. Thus, I do apologize to the requester as, with this song being requested for review, high priority should exist. Optimistically, with a new outline in place (as tested in Apink’s “Remember”), I do hope this review is hastily published, all while maintaining quality, of course. On the subject of Wonder Girls, there is much to discuss: the song, the group, and also, music in a general scope.

In terms of Wonder Girls, admittedly, I do lack familiarity; due to the group residing towards an older generation of K-Pop groups, I simply lack exposure. However, though Wonder Girls’ era has faded, for their trending period, they were exceptionally popular. In fact, if correct, current, highly popular groups, such as Girls’ Generation, Big Bang, and 2NE1, for a few examples, fail to provide an equivalent example of Wonder Girls’ prior popularity (emphasis towards “if correct”). Overall, Wonder Girls are often time considered a very noteworthy, senior K-Pop group, and for many, the ladies are considered the epitome of K-Pop due to their previous, sheer popularity. Now, regardless of my words’ accuracy, certain aspects are in place: I find it an honor to be able to review an older generation group, and though the degree of popularity may be unclear, the group was certainly so.

Focusing on “I Feel You,” I foreshadowed the song to be of modern style; I predicted the ladies to possess a comeback that would replicate the many ongoing ones: a summer themed, upbeat, and cheerier song. Interestingly, the traits are correct, but differently, “I Feel You” is not of modern style, or even the group’s own period’s style: Wonder Girls’ latest comeback adopts a 1980s pop style, if accurate. As a result, although I enjoy the unique concept, I do fear that, with my reviews being calibrated for current K-Pop songs, the rubric may be slightly harsher for “I Feel You.” Nevertheless, for purpose of consistency, I will have to maintain the review outline’s strictness, and joyfully, even with an older style of pop music, “I Feel You” should hold decently.

Abruptly beginning a new topic, as is the trend in my Personal Message category (feel free to skip to the review itself), Wonder Girls’ comeback instills a discussion that, unlike other reviews’ digressions, is not akin to social topics directly, but rather, simply music, though admittedly in a cultural lens. Music is a peculiar, fantastic phenomenon. Music is able to garner attention through its sheer sounds, but furthermore, it is able to discreetly, yet potently, deliver messages, of which relate to social aspects. Considering how the blog has yet to dive into music in a more general, open discussion, this review will do so as, with “I Feel You” specifically, the subject of “music evolution” arises.

With being exposed to older pop during my childhood (will share more later), it is astounding to track how, for the genre of pop (and other genres), changes have occurred, and more accurately, are occurring. In fact, recalling my professor’s words, summarizing his message: a book written of music is, by the time publishing happens, outdated; writing a book regarding music will become irrelevant when it becomes published. Music evolves quickly. Returning to why such is worthy of discussing, two reasons: one, the significance of said music evolving at a speeding rate; and two, how people follow changes in music.

Addressing the first portion, with music continually, gradually changing in styles, sounds, and so forth, it can be confidently assumed that music is not a random, abstract trend that will eventually fade out. Therefore, it can be concluded that music is permanent, and this, to be explained later, has significant connotations. In terms of the latter, while music evolves hastily, people, in contrast, tend to follow more slowly; music may sound entirely different in a few years, but often time, a person will remain in the era of which they prefer. This, as a result, leaves a thought: music is taught, or more generally, socialized into a person. After all, if music was bereft of cultural and social influences, people would equally adapt to trends, but that is not the case as, for example, many still listen to older pop, rap, and other genres.

While this argument may seem incoherent as of now, I will clarify towards the end. But, returning to the idea of music socialization, if that phrase may be used, the concept appears as legitimate. Tracking my personal history with music, I believe I was socialized to love certain genres, specifically pop and ballad (and even EDM). Expanding my socialization process in terms of music, from childhood, Chinese (both Mandarin and Cantonese) ballads were constantly played, whether at home or in the car (there is a Chinese ballad I sincerely love and will share with readers one day, though I can only find an English version as of now). And, of course, to address my enjoyment of pop music, homogenous to Chinese ballads, I was also consistently exposed to pop, though in the lens of America. Listing three major American pop artists I listened to as a child, C.C Catch (if accurate on her artist name), and for very notable, famous ones, Madonna and Michael Jackson, were the pop artists I constantly heard. Expectedly, pop became a favored genre, though now it has shifted to that of Korean Pop versus American Pop (which requires another review to discuss).

Now, arguing why music is socialized and not self-taught (as in personally finding one’s preferences) as a few would claim, during my exposure to Chinese ballads, I, ironically, loathed the songs. As a child, ballads soothed me to sleep, and not out of comfort, but jocularly, boredom. Nevertheless, with my current age, I adore ballads, even with hating the genre when younger. The genre simply grew into a musical preference over time, and for pop, the same applies. On topic, for the ultimate message: if music is universal and permanent, as showcased by the constant evolution of it, and if music preferences are socialized and not merely individually discovered, for an intriguing idea to ruminate over, music can be an effective medium for creating understanding among one another.

Whether as basic as accepting and respecting a person’s own genres, or as complex as embracing songs in foreign languages, music provides a bridge for understanding differences. Despite not personally knowing Mandarin, for example, and comically, even with knowing Cantonese, for ballads in either languages, although comprehension is none to minimal, I still highly adore the songs. Likewise, K-Pop follows suit, and many readers may also feel similarly. Furthermore, in addition to embracing different cultures’ music in a sonic context, music is capable of delivering social messages, implicitly and explicitly, hence why a vast majority Personal Messages in reviews discuss a social topic that, often time, derives from the song in review.

Overall, summarizing the most disorganized digression I have yet to venture into, should people understand and embrace differences in songs, such as via genres or even language, and additionally, if songs provide positive, equitable ideas, as observed in MAMAMOO’s “Um Oh Ah Yeh,” for example, then music may be the catalyst for shifting societies to exactly such: equity. By being able to respect multiple genres and languages of songs, said respect could easily translate to accepting and understanding differences in race, gender, sexual orientation, and so forth.

For the many who invest time into K-Pop but are not Korean, for example, no shame should exist (Girls’ Generation’s review actually discussed the topic of shaming K-Pop). Music is universal; music exists in every culture (ignorantly stated, that is; there may a culture without music, but from gauging many, a form of music often time exists). Thus, for what can be gleaned from this random digression, respect music. Respect different genres (that is, even if a genre is not preferred, outrightly bashing is erroneous), different languages in songs, and such. Doing so is more than accepting sounds, but more critically, is accepting different cultures and customs.

Finally returning to Wonder Girls’ “I Feel You” after the most confusing writing I have composed, addressing the link, I am including the music video for the purpose of audio. Remarking on the music video, although it maintains the theme of 1980s summer pop, it is rather perplexing, and from what I have interpreted, it is solely random visual content that directly reflects the song’s lyrics. Regardless, the audio is what should be of focus. With that, although I feel a 1980s concept, in truth, I do not feel a strong song.

_______________________________________________________

Song Score: 6/10 (6.2/10 raw score) – “Slightly above average”

– Vocals: 6/10 – Before genuinely beginning, foremost, I apologize to both requester and readers for this review’s overwhelming delay. With university arriving incredibly soon, I have been preparing via finishing work, refining personal schedules, and other, miscellaneous details. Thus, reviews have been halted. Once everything is settled, I have plans to quickly review two additional songs, and afterwards, to return the blog to a usual pace. Also, if the blog is seemingly inactive, as stated in the past, if I am not writing, often time for a different activity, I am subtitling videos. Therefore, should readers desire a temporary filler for reviews, I suggest watching a few of my YouTube channel’s videos.  

Pitiful excuses aside, for the vocals in “I Feel You,” generously, a six is the rating. Clarifying the word “generously,” I am referring to the word since, biasedly, a five would seem more suiting. Realistically, however, the vocals are decent. First, the vocals do adopt a distinctive style: whispering and soft. In addition to crafting the song’s 1980s pop theme, in a sonic lens, this delivery style augments the melody, and furthermore, creates a soothing, fluent flow. For example, at the verses, the raspier singing accentuates the ongoing note stretches, and thus, a more enticing tune is in place. In other sections, the singing style also aids the melody: the choruses benefit from contrast of standard singing and the whispered words of “I feel you.”

Now, addressing the other component, for how the vocals’ flow is affected, with the whispering singing demeanor, it becomes exploited to grant a gradual, seamless progression. Elaborating with an example, the verses’ singing begins in a noticeable, raspier style, but with the upcoming sections, the hefty breathing discreetly fades: the pre-choruses, though possessive of the prior sections’ vocals, is moreover short segments than full lines, and for the choruses, the whispering style nearly disappears. As an overall outcome, “I Feel You” ‘s vocals follow a cohesive, organized route, and also, more variety is in place as no section sounds akin to another.

Unfortunately, issues are still in place, hence a six and not a higher score. Returning to the vocal style, while helpful to the melody, simultaneously, it is also impairing. With the pre-choruses, although the sections suit in the realm of vocal progression, mechanically, the sections sound monotonous. The raspier singing that occurs is, unlike the verses, rather linear. Rather than changes in pitches, pacings, and other traits, the singing at the pre-choruses recycle a singular, plain melody. Expectedly, mundanity accumulates. Furthermore, the post-choruses contain an identical issue, though to an even larger degree.

Accounting for the mentioned incidents will prevent a higher score than a six. Nonetheless, with notable,  serene singing in other sections, “slightly above average” still holds.

– Sections: 5/10 (5.14/10 raw score)

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

1. Introduction: 6/10

2. Verse: 5/10  

3. Pre-Chorus: 5/10

4. Chorus: 6/10

5. Post-Chorus: 3/10

6. Rap: 5/10

7. Conclusion (Post-Chorus): 6/10

– Analysis: In terms of the song’s weakest category, its sections prove so. Many of the sections in “I Feel You” are rated as average, and disappointedly, for one, below average. Optimistically, however, a few are slightly above average.

Starting with the introduction and conclusion, both are regarded adequately: sixes, or in actual words, “slightly above average.” Both fulfill traditional roles, and furthermore, carry pleasing tunes. Specifically with the introduction, for setting the song’s concept, the 1980s pop sound to “I Feel You” is instantly showcased via its solo instrumental. Additionally, with such preserving the vocals, anticipation is gained, of which is always vital for an introduction as it is responsible for luring in listeners. Similarly, the conclusion follows suit, though in its own context. “I Feel You” naturally fades out with, akin to the introduction, a solo instrumental, and besides the mentioned instrumental serving as a flawless, precise closure, it allows the song to conclude with its distinctive qualities: old pop music. In the end, for what prevents a higher rating for the two sections, sonically, the occurred instrumental hinders the score. If it were partially more alluring, then, perhaps a seven would hold.

Switching to the verses, although the Vocals category noted admirable singing, sadly, for the remaining component of structure, it falters. The verses may contain pleasing vocals, but with the sections’ format, redundancy is rife. A single melody is reused twice, and as a result, accounting for the lack of deviating factors, and also, utterly captivating singing (the vocals are still decent, but not enough to compensate), the verses quickly lose appeal. Offering a desired outcome, the choruses provide an example: a reused melody, but delightfully, accompanied with minor fluctuations. Like the verses, the choruses replay its melody twice, however, with the second playback, vocal intensity increases, even if marginally, and furthermore, a final, minor note stretch is given. These changes, though exceptionally subtle, are significant enough to prevent the staleness that the verses face. Thus, respectively, the ratings are five and six. If the verses possessed variety throughout its duration, a six would have been plausible, and in regards to both sections, even higher scores would have been earned if the sections were more attractive sonically.

Transitioning to a section that has yet to be discussed at all, for Yubin’s rap, average serves as the rating. Many attributes to the rap are, reiterating the rating, average. The rap’s pacing, tune, and flow, for a few, are relatively stagnant. Specifically with the pacing, the rap in Wonder Girls’ comeback does reside on a slower rate. Obviously, in the context of standard vocals, the rap is seemingly hasty, however, in comparison to many raps, it is, indeed, somewhat sluggish. Though this in itself is not problematic, in this case, it proves hindering to the flow. On that note, the flow of the rap is mediocre, and overall, the reason for a five. The rap’s rhythm and flow remain undynamic; there are no changes throughout the rap. Utilized pitches lurk in similar, if not the same, ranges, and adding the aspect of a leisure pacing, a straightforward, tedious rap is constructed. Should the rap have differed in speed at certain points, or if more lively, melodic vocals were included, then the rap could be improved. As of now, however, it does render as average.

Critiquing the final two sections, the pre-choruses and post-choruses, both are rated five and three, respectively. First, for the pre-choruses, despite its positive attempts, a glaring issue is still present: the sections are insipid, and more so than the singing itself. To prevent repetitiveness, side vocals are utilized, such as through “woo.” Foreshadowed, however, doing so is futile as, ironically, more dullness builds up: in addition to the plain vocals that normally occur, equally plain side vocals now also contribute to the overarching issue. Of course, sadly, few solutions exist as the pre-choruses are based on the whispering vocals, and as explained, the vocals’ style is critical to ensuring a natural progression of the song as a whole. Thus, for a positive remark, the pre-choruses’ standard role is still achieved, though in a highly ineffective manner.

In terms of the post-choruses, a three holds for below average, of which is rather concerning. Justifying the score, both layers of mechanical and structural are lackluster to notable extents: mechanically, the sections sound bereft of tune, and structurally, the sections are abruptly placed and poorly formatted. With the disclosed vocals, the pre-choruses’ vocals carry over, though as stated in the Vocals category, to a larger degree: the whispering is exceptionally distinctive. From such, melody is utterly lost as, essentially, the post-choruses are formatted of basic, whispered phrases and words. Addressing the final piece, the sections are also peculiarly placed. Coming after the choruses, the sudden change in tempo, intensity, and overall style, render the sections are unsuiting. Though unsure on whether this was an older concept for pop music, that will not serve as excuses. Overall, the post-choruses, while certainly observed as their label, do not fulfill their roles. If the sections were completely removed, more benefit than losses may be the outcome, especially when considering a solo instrumental break already occurs for the “post-chorus” role.

Averaging all of the sections, for the conclusive score, five holds. Therefore, the sections in “I Feel You” can be labeled as average, and pitifully, that is observable and understandable.

– Line Distribution: 10/10 – Shamefully, I have not mentioned that, although Wonder Girls made a comeback, not every member returned. There are more than four members in the group–two have chosen to retire. On the positive side, with solely four members, a higher score will, most likely, be obtained.

First, for the group’s rapper, Yubin’s sections include the introduction, two post-choruses, and a rap. Four is her total, and with that value often time resulting in an equal share, no issues exist.

For Yeeun, miraculously, akin to Yubin, four sections is her count: two verses and two post-choruses. A perfect distribution is currently showcased.

Sunmi’s spotlight is at the three choruses and two post-choruses. While five is her total, should the remaining member follow suit, a perfect score is still possible. Nonetheless, a high score will be earned, even if not a ten.

Hyerim, the final member to gauge, possesses four sections, and, retracting the earlier statement, even with not replicating Sunmi’s quantity, a perfect distribution does exist.

Summing all of the members’ sections, 17 is the number, and with that split among the ladies, every member should hold 4.25 sections, and realistically, that is apparent: three members have four sections while one has five. Therefore, a ten will serve as the rating. Though the prior song review of Apink’s “Remember” had a ten as well, this is a rare feat that, astonishingly, both groups have managed to acquire.

– Instrumental: 6/10 – The instrumental to “I Feel You” does render as a six. Though a six is nothing negative in itself, considering “I Feel You” adopts old pop music’s style, and thus, due to the review outline, may be unfairly and strictly graded, the score is highly respectable.

Focusing on the sonic layer, excluding the stagnant post-choruses, the instrumental maintains a soothing, delightful tune, of which can be credited to its electronic keyboard (if accurate). With the mentioned instrument, a catchy, light melody is granted. In terms of other sounds, deeper and soothing beats accompany the electronic keyboard, and with this combination, it proves effective: contrast. Besides differences in pitch, the pacings of the two main sounds differentiate: the beats utilize a faster pace while the electronic keyboard resides on a slower rate. Although these disparities would seemingly create a disorganized mesh of sounds, variety is, instead, the outcome as multiple aspects remain diverse and unique. Rather than a singular rate, for example, a spectrum of slow to fast is unveiled, and for the trait of pitch, both deeper and higher notes are disclosed. Overall, with the sounds themselves remaining pleasing, and additionally, variated, high appeal is gleaned.

Analyzing the structural side to the instrumental, in terms of how vocals are complemented, with the singing equally featuring a calm, smooth style, the instrumental flawlessly suits. Also, with every section, the instrumental accommodates accordingly, though, interestingly, it is merely a coincidence; while all of the sections possess an instrumental that suits, it is not because the instrumental directly adapts to suit the vocals, but rather, the instrumental simply happens to suit. Explaining, and to also showcase why the score is limited at a six, the instrumental is linear. Though sonically the instrumental varies, and thus, is musically intriguing, in an overall scope, the instrumental fails to change. The sounds played at a verse, for example, is incredibly, if not exactly, similar to the sounds played at a chorus. Due to such, over a longer span of time, while the instrumental itself fluctuates with its instruments’ sounds, it renders as plain and undynamic, and therefore, unalluring.

In the end, slightly above average fits as the instrumental’s rating. Sonically and even structurally, “I Feel You” ‘s instrumental is sufficient, but on a more general scale, it does prove dull as it fails to significantly fluctuate throughout the song. Nevertheless, with an older style of pop music, this concept is understandable, and of course, a six is still worth regarding.   

– Lyrics: 4/10 – “I Feel You” holds as an intriguing title, though as is the general trend, its plot can be predicted as one of romance. Perhaps a main character is flirting with a love-interest, and as a result, “feels” them, or conversely, a main character may be in a situation of vague love with said love-interest. Uncovering the sincere plot, the following Korean-to-English lyrics will provide such, even if not 100% accurate on translations:

JYP
And the Wonder Girls
We’re back

What is this spell you cast on me?
I can’t get out of it
I’ve never been like this before
I’ve never been shaken up before, no

(Woo) I’m like this all day, drunk with thoughts of you
(Woo) I’m just waiting to go see you
(Woo woo baby) What do I do?
I don’t think I can live without you, woo baby

(I feel you)
Even when I’m alone, I feel your touch
All day, you touch me
(I feel you)
I’ve fallen for you and I can’t escape
I only think about running to you

I’m falling for you more and more
I’m going crazier and crazier
More and more, what do I do?
Baby

It feels like your touch is still
brushing over me
It seems like your voice is
still whispering in my ear, no

(Woo) I’m like this all day, drunk with thoughts of you
(Woo) I’m just waiting to go see you
(Woo woo baby) What do I do?
I don’t think I can live without you, woo baby

(I feel you)
Even when I’m alone, I feel your touch
All day, you touch me
(I feel you)
I’ve fallen for you and I can’t escape
I only think about running to you

I hear you even when my eyes are closed
I feel your sweet breath
Stop looking at me and turn off the lights
Your look is making me red
My hands and feet feel tickled
My rising temperature quickens my breath
I can’t hold it in anymore
Now please, baby, be mine

(I feel you)
Even when I’m alone, I feel your touch
All day, you touch me
(I feel you)
I’ve fallen for you and I can’t escape
I only think about running to you

I’m falling for you more and more
I’m going crazier and crazier
More and more, what do I do?
Baby

Correctly envisioned, the lyrics do depict a romantic plot. A main character questions a “spell [the love-interest] cast on [them].” Of course, however, the spell is not one of magical fantasy, but rather, figurative language; the main character feels as if she/he is under one as they are constantly “drunk with thoughts of [the love-interest],” and are simply living life to “go see [the love-interest].” Additionally, for other effects of the “spell,” the main character, as is the title of the song, feels the love-interest, even without actual physical contact. Due to their infatuation, the main character relentlessly “[feels] [the love-interest’s] touch.” Other details are also included, though most fall within the idea of endless touching and affectionate feelings.

For a score, a four for slightly below average will hold. While the main character feels a persistent touch, for the lyrics, listeners also feel a similar, persistent, and overly excessive touch: mundanity with lines. Many sections are entirely repeated, and for the sections that do not follow suit, homogenous ideas are still present, such as with the two verses. Therefore, with a duller, basic plot and equally plain, repetitive details accompanying it, a lower score will be earned. If more variety existed for details, or if the plot was more complex than a lover being hypnotized over their attraction, a higher rating would be in place.

– “Critical Corner”: Although the lyrics are not engaging, for a positive point, no pressing social topic derives from them. Resultly, the “Critical Corner” will serve no purpose for Wonder Girls’ “I Feel You” as the lyrics are of pure, simplistic romance.

_______________________________________________________

Choreography Score: X/10 – Technically, a choreography does exist for “I Feel You,” but with it being similar to a band performance, as unveiled with merely shifting around with instruments, I will exclude a rating.

_______________________________________________________

Overall Score: 6/10 (6/10 raw score) – With solely the Song Score, Wonder Girls’ comeback after a hiatus can be considered as slightly above average. Truthfully, if not for the perfect Line Distribution category, the song could have netted a worse score. Biasedly, I render this song moreover as average, though nonetheless, I highly admire the ladies’ take on older pop music. And on that subject, for reviving an older style of music, while a higher numerical score is not earned, I will confidently state Wonder Girls managed to properly conduct such.

As this is the end, necessary words must be given: I am incredibly sorry to readers and requester for the longest delay yet for a review. Due to finishing schoolwork (one hour’s worth of work is left), and also, preparing for college, I have been busy and unable to write. But, that said, I still greatly apologize for the huge delay, and in compensation, two bonus reviews will be granted to return the blog back to a usual pace. August is, so far, the worst month yet for the blog, but like the ladies of Wonder Girls, I am striving for my own, jocular “comeback” through multiple, spontaneous reviews.

With all that stated, thank you very much for reading, and again, to readers and requester, I apologize greatly. For those who continually check the blog, I appreciate it all and cannot express enough gratitude. Bonus reviews will be posted to correct the blog’s current rate, and afterwards, the blog’s standard schedule will be back into place. Leaking the next post, a music video review will occur, and it will be on my favorite male group, though for their sub-unit: ZE:A J. Afterwards, depending on rate, a standard song  or an album review will be next. Once again, thank you for reading, and also, apologies for excessively poorer writing in this review. At the very least, “I’ve fallen for you and I can’t escape, I only think about running to you” with more reviews. Stay tuned for an upcoming music video review.