Blackpink – “Whistle” Review

Blackpink – Whistle (Music Video)

Blackpink – Whistle

Reviewed
on August 11, 2016

Likewise with the sections, the verses
and raps and choruses also all fall into a generic category: nothing of these
sections standout from usual hip-hop songs. Furthermore, and for why the
ratings are even lower, the sections succeed in delivering the stage of the
song but not the appeal: the sections indicate “Whistle” ‘s hip-hop style, but
the format and sound of these sections are lifeless, mundane, and ultimately
leave no impression on listeners as it all sounds too standard.

Personal Message:
If all goes according to plan,
another review is already being released—specifically this one, to clarify. It
is actually quite astonishing how a different approach to reviewing songs can
greatly hasten up the review rate. From the usual rate of a review per week to
now at least one every few days, I am still surprised that by discussing a song
and not overly breaking down a song that reviews can come out much more easily.
But that said, much more practice is necessary and, for the technical side of
reviews, more changes are to come. And so before focusing on Blackpink’s
“Whistle,” let me share with readers some of my current ideas on how I plan to
clean up the outline even more. (Skip a few paragraphs to where I actually discuss
Blackpink.)

The two changes in mind are rather
drastic: potentially removing the choreography category and the section
distribution. Regarding the first part, I do wish to clarify that I still find
the dances with K-Pop exceptionally important. K-Pop is not just about the song
itself but also the performance involved with it. In fact, as perhaps some
reviews have covered, there are some songs where the audio is not the focus at
all; instead, the choreography is the main piece and the audio is secondary and
thus, dances can be very important to consider. However that said, as of the
late it appears that I oftentimes do skip over the dances. This is both due to
personal decision and technical issues; there are times where I value going
through the song more than the dance itself, but more frequently I run into the
problem of there not being a dance
practice or live performance released yet. Therefore, should the latter occur,
I have to either delay a review for a while, or to simply go on ahead and
exclude the dance. Another factor to also consider, however, is that I no
longer actually discuss the dance. Yes I include a score and a dance practice
or live performance, but I never actually discuss it in the review itself
unless if it was one that genuinely impressed me to the point that I do have words to say. Otherwise,
admittedly, I am much more versed in discussing a song than its dance (though I
would love to one day gain skills on how to gauge a choreography’s strengths
and weaknesses).

Now, should I end up permanently
removing the choreography grading portion to reviews, doing so does not mean
the dances are no longer included. The links will not change; I will use a dance
practice video if possible, and if not then I will use the standard pairing of a
music video and a live performance. The only change, then, that removing the
choreography category would bring is improving the aesthetics of reviews: no
longer will there be empty scores in this category (indicated by *) nor the
oddity of never actually discussing the dance despite giving ratings. Although
I planned to test this in another review, I will give Blackpink’s “Whistle” the
first trial. (In fact one could scroll down quickly and see how the
choreography portion is now gone in this on.) If this does not prove troubling
then it is highly likely this will become the new outline.

As for the much more impacting
change, I have recently greatly pondered over keeping or removing the section
distribution. Ever since the blog began, this category has been around and has
provided a crucial role in songs’ total scores—both fair and unfair. Before
even continuing, though, I will quickly remind readers on why the section distribution
exists. In short (for more detail refer to Sistar’s “I Like That” review): in a group, having only one or
two members covering a vast majority of a song’s duration leads to the lack of
potentially more diverse vocals—both skill and voices. After all, for the
general example I tend to use, if there are two songs that sound exactly identical (some leeway on
“exactly” as there would be different voices) but Song A has nine members
equally singing and Song B has one out of nine members equally singing, it
appears that Song A is deserving of a higher rating. To be able to have so many
vocalists/rappers involved and properly delegated (if that word makes sense)
and to still produce a phenomenal song is more impressive than just a song that,
while a single singer/rapper might be individually excelling, is not obliged to
concern over which member should get which part based on ability, transition,
and so on.

But, even so, I sometimes—and more
so lately—wonder about the opposite viewpoint to this: Why does the
distribution matter if, for example, Group A has nine singers but only one is currently
capable of stunning vocals? Would it not be better to have the best singer
carry the bulk of the song? Because according to my review outline,
statistically speaking, I am indeed saying: “I would rather hear worse singing and overall song
production with an equal distribution than to hear good singing and overall song production with a poorer
distribution.” And, if we are critical with that, admittedly it sounds silly.
Currently, a song has a much higher chance of being rated above average (and
higher) as long as its members have a perfect distribution—song quality in the
realms of vocals, sections, instrumental, and lyrics can be neglected.
Conversely, a song can be refined in the mentioned categories and yet, should
the members have a large disparity, then that song—while sounding amazing
sonically and structurally—could become quite poor in its rating. Perhaps the
ultimate question is whether having an equal distribution can significantly impact a song’s quality and
if having an equal distribution requires much skill and intelligence over
actual song production. To personally answer, I do feel that an average
sounding song getting ranked highly because of an equal share is not fair to a
song that sounds fantastic and yet is ruined by a lower section distribution
score. It, boldly and even arrogantly said, appears to take much more skill and
effort to have solid vocals, structures, and so forth, than to establish an
equal distribution. Weeks could be taken just for an idol to record her/his
appropriate chorus, but to change up which member sings which part can happen
much more hastily and without much struggle.

While Blackpink’s review will not
have the section distribution removed, I plan to test it in the upcoming
reviews and to see if the scores become significantly skewed in some form
without section distribution ratings being applied. (I think all should be fine
considering solo artists already have the section distribution excluded, and
indeed their reviews are very fair as it is about the song itself, not who
sings what.) For perhaps why I am overall hesitant to remove it, doing so would
potentially nullify the ratings of all past reviews. There have been reviewed
songs where the total score is limited by the distribution even if the song
itself was fabulous. On the other end, there have been reviews where a total
score is almost wrongly inflated by a distribution even if the song itself was
rather poor. Certainly past reviews’ content and argument points still remain
viable and likewise the ratings except for the total score, but nonetheless
this is something to consider. But, as I personally believe, even if initially
uncomfortable it is much better for a positive change to occur than to
continually remain in a less desirable state just for the purpose of comfort or
normality. The next review after this will experiment with removing the section
distribution, and I do predict it being better for the blog in the long-run.  

Finally, though, let us focus on the
review. Blackpink has been garnering much attention lately. In fact, this debut
might be the most hyped I personally have experienced. But, it is understandable
on why given the teaser clips of the members singing and dancing. Regardless, for
where I hope this review stands, I hope to provide a more serious, neutral
perspective to Blackpink and not for Blackpink as the wonderful, skilled young ladies
they are (I recall listening to a singing clip of a certain member when she was
fourteen and yet she was outstanding),
but instead for them as artists. All in all, their debut might have been
greatly anticipated and is currently cherished, but even so I do wonder how
much of that is moreover on pure support (which should occur; even if a group’s
songs are not the best, they deserve support) than of a more critical approach.
To already leak the review, “Whistle” might score at average, but this is
largely due to the section distribution compensating (and coincidentally that
was what we discussed earlier). Without it, “Whistle” is—contrary to the many
views—a rather lackluster song.

_______________________________________________________

Song Score: 5/10
5.00/10 raw score) – “Average”


Vocals: 4/10


Sections: 4/10
(4.00/10 raw score)

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

1.     Introduction:
3/10

2.     Verse: 3/10

3.     Rap: 4/10

4.     Pre-Chorus: 6/10

5.     Chorus: 2/10

6.     Bridge: 6/10

7.     Conclusion: 4/10


Instrumental: 3/10


Section Distribution: 8/10

Jisoo:
Introduction, Pre-Chorus, Verse, Pre-Chorus (Total: 4)

Jennie:
Rap, Verse (Total: 2)

Rose:
Verse, Pre-Chorus, Pre-Chorus (Total: 3)

Lisa:
Introduction, Verse, Rap, Conclusion (Total: 4)

All:
Chorus, Chorus, Bridge

Equal Value: 3.25 sections per
member.  


Lyrics: 6/10

Hey boy
Make ‘em whistle like
a missile bomb, bomb
Every time I show up, blow up, uh
Make ’em whistle like
a missile bomb, bomb
Every time I show up, blow up, uh

You’re so beautiful
I can’t forget you
Your eyes still
make my heart flutter, boom, boom
24, 365
I only want to be with you
During the day and at night,
I want you like this, ooh, ooh

Every boy checks me out everyday
They all think they can get me
I don’t want a lot of things
I want your heart
Cut out your heart and show me
Confidently, sometimes chic, chic
So hot, so hot
Make me not know what to do
Softly call out to me
Like a whistle in my ear

Don’t pass me by
If you can’t forget
me either, whoa
My heart for you is fire
My heart is beating so fast
You can hear it closer and closer

Whistle
Uh whistle, whistle, whistle
(Can you hear that)
Whistle, whistle, whistle
Whistle
Uh whistle, whistle, whistle
(Can you hear that)
Whistle, whistle, whistle

Hold up
Don’t say anything
Just whistle to my heart
That sound makes
my heart flutter boom, boom
Thoughts are boring
Feelings are shh–
Every day all day
Only stay by my side, zoom, zoom

Uh I’m always stylin’
I’m chic but in front of you, darlin’
It’s getting hot like a desert island
The more I get to know you, the more my heart rings
Stop hesitating, come over to me
Boy, it’s checkmate now
I win this game
(Uh-huh)
I choose you, I’ll hug you harder
Before someone
takes you away
(Uh)

Don’t pass me by
If you can’t forget
me either, whoa
My heart for you is fire
My heart is beating so fast
You can hear it closer and closer

Whistle
Uh whistle, whistle, whistle
(Can you hear that)
Whistle, whistle, whistle
Whistle
Uh whistle, whistle, whistle
(Can you hear that)
Whistle, whistle, whistle

This beat got me feelin’ like
I hope we won’t just
pass by like the wind
No need for many words
Now just take me
to your side
Ooh

Make ’em whistle like
a missile bomb, bomb
Every time I show up, blow up, uh
Make ’em whistle like
a missile bomb, bomb
Every time I show up, blow up, uh

_______________________________________________________

Analysis: Although
the rating says otherwise, “Whistle” being rendered as average is arguably
excessive. The main, detrimental factors to “Whistle” is its overall generic sound,
lack of cohesion, and lack of depth. With this review, we will go through each
of those points and discuss both positives and negatives. After all, every song
has its strengths and weaknesses no matter what the total score holds as.

With
the first point about its generic sound, although this song does firmly grasp a
hip-hop style and tone, the instrumental, vocals, and sections are somewhat horrendous
at expanding that. An example will be used to clarify that. Focusing on the
instrumental, whiles its slower, echoing and deeper beats deliver the presence
of the song—that it is hip-hop—it fails to do anything beyond that. The
instrumental in of itself is nothing exclusive in either sound or structure. It
is, although I dislike being repetitive, quite generic for an instrumental.
Likewise with the sections, the verses and raps and choruses also all fall into
a generic category: nothing of these sections standout from usual hip-hop
songs. Furthermore, and for why the ratings are even lower, the sections
succeed in delivering the stage of the song but not the appeal: the sections
indicate “Whistle” ‘s hip-hop style, but the format and sound of these sections
are lifeless, mundane, and ultimately leave no impression on listeners as it
all sounds too standard. And this leads to the vocals’ issues: seldom changing
in vocals styles—as noticed by how all the raps sound the same and likewise
verses, choruses, and so on—and seldom fluctuating in intensity so as to provide
some fluidity to the song and to prevent stagnant moments.

Addressing
the second point—the idea that there is a lack of cohesion—I find this perhaps
the most significant of the flaws. Even if the instrumental and vocals are
weaker in “Whistle” and even if the overall song is too generic in sound and
structure, the lack of cohesion is ultimately what breaks the song. To understand
this argument, consider how each of the sections is vastly distinct from the
other. The verse, rap, pre-chorus, and chorus—and even the introduction and
conclusion to add—are easily distinguished. On the surface, this would appear
to be good—and absolutely in a vast majority of situations that is true. After
all, songs that tend to have overly similar sections tend to be very
repetitive, and that is seldom a benefit. But, with “Whisper,” the differences
between sections are excessive to the point that said differences become
hindrances.

The
reason for that is the song loses its cohesion; the song is no longer able to flow from section to section, but rather
it jumps from section to section.
This is why, for example, the pre-choruses are extremely enticing on their own
rather than being considered enticing in the song in whole. Indeed, the
pre-choruses are impressive and the structure and singing of them are
brilliant, but the disappointing aspect is that their appeal come not so much
from building up to them but instead, from contrasting them from the more
stagnant, dry sections. This is what I mean when I claim there is no cohesion:
the sections have to conflict with one another rather than work with one
another, and that none link to the other. There is no seamless flow from the
rap to pre-choruses or from the pre-choruses to the choruses. It is, after all,
rather difficult to see how a smooth, melodic pre-chorus leads to a chorus that
moreover chants and relentlessly repeats “whistle.”  

Lastly,
for the final point, the song lacks depth. In addition to how “Whistle” fails
to deviate away from the ubiquitous pop hip-hop genre mix and how the song
fails to bind itself together, the song is overly simple. Now certainly simplicity
in of itself is not a flaw, but the downfall of being overly simplistic is the lack of taking risks—the lack of depth.
The bridge, for example, fulfills the traditional idea of a bridge, but nothing
more. For the vocals, lacking depth is also problematic. The rap vocals could
have been more intense and dynamic, but instead the rapping remains as linear
and static in pacing, intensity, and so forth. Even the singing at the
pre-choruses, while decent currently, do not provide more complexity besides
tuneful singing that escalates the song.

Overall,
if “Whistle” expanded on the current vocals so as to provide more appeal and if
the song modified its format in a way so that it provided a new, creative and
unique take to hip-hop and pop, and finally if it was able to connect its
sections so that all were aiding and supplementing each other, the song could
have been a promising debut. As it stands, though, unfortunately it—at its best—is
another average debut, but more critically one might even go as far as to claim
it is disappointing review. If the section distribution was removed, then a
less desirable total score would be in place and this is something to bear in
mind.

Nevertheless,
even if “Whistle” is a weaker debut song, I find it extreme to call this debut
a disaster or completely disappointing. Likewise, I also find it unreasonable to
claim “Whistle” is the best debut in K-Pop history. If anything, this debut—while
very much anticipated—is average and more so towards the lower range of average
(slightly below average or below average). However, in the end, as this is a
debut Blackpink does have room for growth and to eventually find their concept.
(And to note, it is also unfair to leave them the burden of being called “2NE1
clones”—their labelmate senior group of which is extremely popular—when
Blackpink are still attempting to find their concept in the first place.) This
very notion—the idea that the group will continually improve—is why one should
not dismiss the group even if “Whistle” is poorer than many other songs. But,
to sum up this review, “Whistle” leaves much to be desired but with Blackpink
being a new group, our desires for better and more will very likely be met in
the future.

_______________________________________________________

As
always, thank you to all for reading whether in full or short. Any attention is
greatly appreciated. For ending notes, it should be reminded that my reviews
are not to objectively label songs. Doing so is impossible as music always
carries biases due to cultural differences and such, but nonetheless I hope I
provide a more critical view to the song than those who are arguing its quality
based on emotions or preferences. Again, how a song rates is never indicative of
a group’s skills and capabilities, and even then reviews are not to bash groups
at all. As said earlier, even if a newly debut group releases a poorer song,
being supportive is essential in this sensitive period as only through support
will people even receive songs that are improvements. And without doubts, I
have yet to find a group that has not
improved from their debut.

In
terms of the upcoming reviews, I plan to catch up on July songs but also there
are many recent songs I wish to also review. Also, given that female groups
have been receiving most of the attention, I plan to cover Taemin’s “Goodbye”
(which, for a note, very much surprised me; its execution of a specific style
is amazing to say the least) and Monsta X’s “Stuck.” Before that, however, a
Korean hip-hop artist might be reviewed ahead of time: Basick’s “Nice.” Until
then, remember that “Your eyes still make my heart flutter, boom, boom.” Look
forward to whichever review is next, and for reviews to continually become more
concise and frequent.

AKMU – “Re-Bye” Review

AKMU
– Re-Bye (Dance Practice)

AKMU
– Re-Bye (Live Performance)

AKMU (Akdong Musician) – Re-Bye

Reviewed
on June 5, 2016

Personal Message:
To the requester, huge apologies for
the significant delays. I did plan to finish this in May, but I would have had
to rush and that is never acceptable when it comes to reviews. Doing so would
be disrespectful to both you and AKMU as I should be sincerely writing reviews
with care, focus, and thoroughness. As a result, however, this review has been
moved over to June, and more specifically, a few days into June. Now due to the
delay and attempting to bring the blog back on track, I will attempt to keep
this review entirely focused on the musical side—though there would not be a
social digression in this instance. That will occur in the next review if I
follow through with plans. But on topic, to already address the links, I will
be linking the dance practice as is usual protocol. The audio in the dance
practice is the official, studio one and thus is technically the only one
necessary to include. But, as seen, it is not the only one: I have also
included a live performance. Unlike many if not every other song reviewed,
“Re-Bye” is worth watching in an actual live performance setting as doing so
further enhances the delivery of the song. In other words, for a lack of a
better phrase, this song is very much “stage-based”; although “Re-Bye” can hold
its own as just the audio or standard choreography, it flourishes best when
seen in an actual performance akin to that of theatre plays.

Although I cannot comment on many of
AKMU’s past songs, I will say the duo siblings’ latest comeback is strongly
orientated towards a theatre, acting style. Especially when accounting the
instrumental, vocal style, song style, choreography, and stage costumes, it
almost feels as if “Re-Bye” and “How People Move”—the other title song—are
musical plays.

Now to be slightly off-topic, I
admit: the only other song I directly recognize from AKMU is “Melted”—though I
have heard their latest album in full. (And of which is decent, for those
curious on my personal take.) Nevertheless, “Melted” is an incredibly moving,
provocative song and music video. I may one day review it, but to answer the
“big question”: yes, I did bawl my eyes out when watching the music video and
listening to the song. Whether I review it or not, I do urge readers to give
the music video (and song) a view. In essence, one could argue “Melted” is overall
a critique on many societies’ ethics—or better yet, the lack thereof. Furthermore,
subtle hints are made towards social issues, be it how youth are entirely
disregarded (and another reason out of many for why I am working towards
becoming teacher), racism, hegemonic masculinity, and more. However,
optimistically, in contrast to many other mediums that leave one feeling
depressed with how certain societies function, the music video does offer some
“solutions”: acts of kindness; acts of compassion; acts of care; acts of love.

Cliché? Certainly the message can
be. Does the music video have a point, though? In many ways, yes. This indeed
is why on many occasions I devote an equal amount of time into discussing
relevant social topics as reviews themselves; social topics that are elicited
by K-Pop songs do in fact matter given how we are dealing with pop
culture—mediums that will and do affect people’s behaviors and thinking. After
all, if anything is to be gleaned from “Melted,” it is to act with the traits
above: traits of being a human—a person who cares and is compassionate for
others despite differences in gender, religion, race, sexual orientation, and
so forth. Being ethical, in short, is how we should act. Now of course the
latter phrase is already controversial: what is ethical? Even after a course with that topic, in truth, I still
do not even know. What I do know, though, is that it matters less on what is “ethical” and more on why something is “ethical” or not. But,
let us not digress onto the topic of ethics or else this review will never
finish. (If a future review somehow can relate into this such as, for a very
simple example, in a music video a group is boiling lobster—yes, you read that
correctly—then I could showcase how ethics does in fact play out with very
seemingly minor acts. Hopefully this does not make readers too paranoid yet
about lobster consumption. Again, the topic of ethics is for the far future of
reviews. I intend to stick with sociological-based discussions.)

On topic with “Re-Bye,” this song is
AKMU’s latest comeback. The siblings are well known for their sharp vocals and
live singing abilities, and with “Re-Bye,” there should not be any exceptions.
Or so we think. Let us see how their latest song holds. Will there be a need
for a re-“Re-Bye”?

_______________________________________________________

Song Score: 7/10
(7.20/10 raw score) – “Above average”


Vocals: 7/10


Sections: 6/10
(5.83/10 raw score)

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

1.     Introduction:
6/10

2.     Verse: 5/10

3.     Pre-Chorus: 6/10

4.     Chorus: 7/10

5.     Rap: 5/10

6.     Conclusion: 6/10


Instrumental: 7/10


Section Distribution: 10/10

Soohyun:
Introduction, Verse, Pre-Chorus, Chorus, Verse, Pre-Chorus, Chorus (Total: 7)

Chanhyuk:
Verse, Pre-Chorus, Chorus, Verse, Rap, Pre-Chorus, Chorus (Total: 7)

Equal Value: 7 sections per member.  


Lyrics: 6/10

Re-e-e bye
Shake your hand without regrets
Re-bye
Re-e-e bye
Then is then, now is now
Re-bye
(Re-bye, bye bye)

I’m used to foot steps that come and go
There’s nothing more shameful
than not being used to the farewells
I’m used to the eyes that are seeing me
All the girls around me
think I’m not trustworthy
But it’s okay
I have nothing to be ashamed of

Oh there’s no need to tear
Only the thick fog will remain
Where’s the rest of things from the melted
times that are sent by tears

Re-e-e bye
Shake your hand without regrets
Re-bye
Re-e-e bye
Then is then, now is now
Re-bye
If you turn around, it’s the end
Re-e-e bye

I’m used to foot steps that come and go
There’s nothing more shameful
than not being used to the farewells

It’s now hard to see attachment
It’s now hard to find a real partner
Let me go, I can’t stay calm
(Stop it)
I’m already pissed off
A person who shares a lot
is called an idiot in this era
The only thing that remained in my hands
is a loss
Saying goodbye precisely,
close the door of my mind
The room is dark
If somebody catches your mind, it’s game over
There’s no other way
Fool yourself
It’s me by here
It’s suspicious, I smell something

Oh there’s no need to tear
Only the thick fog will remain
Where’s the rest of things from the melted
times that are sent by tears

Re-e-e bye
Shake your hand without regrets
Re-bye
Re-e-e bye
Then is then, now is now
Re-bye
If you turn around, it’s the end
Re-e-e bye

Choreography Score: 7/10 (6.50/10 raw score)

– Syncing: 7/10

– Key Points: 6/10

Overall Score: 7/10
(7.00/10 raw score)

_______________________________________________________

Analysis: Quickly
glancing at the ratings will unveil a rather balanced song—numerically, that
is. Indeed, “Re-Bye” is a song that fares well overall, although there still
are weak points as to be discussed. However, before that, let us focus on the
strengths of the song. For one, if the rating is not blatant enough, “Re-Bye”
greatly benefits from a perfect section distribution. Both have seven sections,
and with that being the absolute equal share possible and not, for example,
“6.5,” a ten is deserved. However admittedly this is not an utterly impressive
aspect considering there are only two members in the duo and thus, an equal
share is very much expected. Nonetheless, a perfect
share is always worth praising such as in this case. And on the topic of
non-sonic aspects, regarding the lyrics to “Re-Bye,” a six is in place.
Although the plot itself is alluring with being mysterious and likewise the
details, there are still some gaping issues. Usual problems as seen in many
other songs occur here: excessive repetition at the pre-choruses and choruses.
Furthermore, the choruses lack much depth in comparison to other sections, even
if one were to play around with the idea that “Re-e-e bye” in of itself is a
“re-bye.” Nonetheless, with complex rap lyrics and that the overall plot is not
just about a breakup but instead, ideas of what relationships even are in the
first place, the lyrics still hold up a decent rating.

Finally
focusing on the song’s sound, “Re-Bye” greatly thrives in its vocals,
instrumental and sections—though the latter is weaker as we will get to. Regarding
the vocals and instrumental, perhaps the strongest aspect to both collectively
and individually is the chemistry that occurs. Before discussing how individual
aspects play out, we will focus on the collective perspective. First, both
vocals and instrumental accommodate one another appropriately. As mentioned
earlier with “Re-Bye” ‘s theatre-like style, this arguably best explains my
point. While some songs opt for an instrumental that follows the vocals—such as
the instrumental solely providing the vocals a background and transitions—in
“Re-Bye,” that is the case. Instead, both work simultaneously; the vocals help
direct the instrumental while homogeneously the instrumental helps direct the
vocals. For example, the second verse’s vocals follow a rhythm that is
typically unseen in standard singing. Why is that? That rhythm that appears is
moreover one that is reflected in the instrumental itself. Thus, in this
instance, one could claim the instrumental guides the vocals versus the other
way around—as is the norm. Overall, with many of these moments occurring
throughout “Re-Bye,” it provides a delightful yet effective change from the
usual roles of instrumental and vocals and thus both glean some boost to their
ratings for this.

Now
on the individual level, both categories also handle well. The vocals, even
despite lacking what is oftentimes considered as strong vocals—high notes,
vocal beltings, note holds, and so forth—challenges those said standards. After
all, as mentioned on numerous occasions, it is about delivery versus the vocals in of themselves. Therefore, even if
AKMU are not showcasing those listed types of singing, that does not exclude
them from being able to obtain a higher rating. On topic, for what makes the
vocals individually enticing in “Re-Bye,” one exclusive trait the duo brings is
just that: duo singing—or dual singing, perhaps better said. In other words,
with Chanhyuk and Soohyun alternating lines consistently and constantly, this
contributes to more complex and attractive harmonies, smooth transitions, and
ultimately that it brings a more dynamic and unique take to “Re-Bye.” And of
course, for basic aspects such as how well the two control their tunes and how
diverse the song vocally is, all are a satisfactory standard.

Regarding
the instrumental, much of the same praise towards the vocals individually does
in fact translate over. But, in summary: the instrumental sounds phenomenal on
its own, and indeed it strongly supplements while likewise aids in leading the
vocals—a rarer act, as discussed earlier. Now for the last category to discuss,
the sections are admittedly weaker in juxtaposition to others. Nonetheless, all
are still decent and in the end, the sections average out with a six. To dive
slightly into the sections themselves, both introduction and conclusion are of
the usual: both fulfill their roles of hooking and ending, but both are not utterly captivating in sound. With the
pre-chorus and chorus, these parts best highlight what was discussed above with
the instrumental and vocals, hence the higher ratings. The two sections that are
more disappointing are the verses and rap. Both, bluntly said, are dull; the
verses provide nothing more than merely continuing the song, and the rap comes
off as plain in its instrumental, flow, pacing—even if some standard singing is
included at the second half. Now of course this is not to say they are poor sections—far from that. But,
neither stands out in any manner. Average is the rating.

And
to conclude this review, for the choreography, the syncing remains sharp. From
the hand waves to the kicks, the dancing relates to both beats, flow, and so
on. What, however, remains lackluster are the key points: excessively simple.
To clarify, as disclaimed in past reviews, simplicity—whether in songs or
choreography—is not inherently bad at all. Again, delivery is what matters. In “Re-Bye”
‘s specific case, the dance is moreover bland even if the syncing is moreover
precise and, more significantly, even if the key points suit the theatre-like
style that I keep reiterating.

All
in all, “Re-Bye” concludes at above average be it for the song itself or once
calculating in the dance. Do I agree? Wholeheartedly said: yes. AKMU’s singing
and performances are always pleasing, and “Re-Bye” continues the trend. With
the song, the repetitive lyrics along with the duller verses and rap can muddle
down the song, but given its stronger vocals, instrumental, and sections
distribution and overall its incredible chemistry between Soohyun and Chanhyuk,
indeed it is a song that holds up well.

_______________________________________________________

As
always, thank you to all for reading. To the requester, once again I greatly
apologize. Emphasis: greatly
apologize. It truly is inexcusable for me to take more than a week to get to
this request. For that, I am sincerely sorry and will definitely reduce delay
times in the future. Even if one were to be understanding with ideas that I was
busy and so forth, I will deny those ideas as—although some time was invested
to subtitling Fiestar videos—it was overall me deciding to ignore reviews for a
while. What was I doing? Admittedly trying out a new video game was what
occurred (and of which I may review considering it is somewhat relevant to the
blog as it is one of the trending video games in the Korean gaming community
from my knowledge). Obviously, that was me putting my selfish needs ahead, and as
always, I do want to be transparent with readers. All that said, though, the
review is finally done and I hope it was very much worth the wait. Thank you
for the request and for being patient.

In
terms of upcoming reviews, for certain Fiestar’s “Apple Pie” is next. Musically
it may have been personally the most conflicting song I have yet to deal with
(I went from favoring to disliking the song back and forth for many days), and
there was an incident involving Cao Lu that I do want to touch upon—even if
Fiestar fans would wish for me to stuff this in a pie and to forget it. Also,
in addition to that review, besides potentially a bonus video game review, I am
likewise considering to do a small give away involving—not surprisingly—video games.
(If it occurs, thanks should go towards my friend for her willingness to not
just share the game but also for the giveaway codes.) Time will tell how it
goes, but judging from the past I am aware that some readers here, like many in
these days, are fond of video games and thus may enjoy the giveaway. It will
not, however, be a simple giveaway as I will do my best to restrict it towards
readers and not, for example, a random gamer who stumbled her way into the
giveaway post and who has no care for my reviews, let alone K-Pop. I also have
ideas to help deter people from falsely claiming multiple codes under the
disguise of multiple identities—but again, this is moreover for the random
gamer who finds her way here and not the usual readers here of whom I entirely
trust.  

All
in all, look forward to Fiestar’s “Apple Pie” and a provoking social discussion
to come with it that involves Cao Lu, and for readers who are video gamers to
look forward to potentially a game review and video game codes giveaway. But of
course, since “then is then, now is now,” I cannot confirm anything but Fiestar’s
review. Keep checking back.

iKON’s Music Video – “Airplane” Review

iKON – Airplane (Music Video)

Reviewed on November 28, 2015

Personal
Message:
First
off, to the requester, I do apologize for greatly delaying this review and for
not reviewing the song itself. I have been incredibly busy with university and
have only recently had the time to write this as I am on a short break, and
given the prior reviews of CNBlue and a Korean game, this review has been pushed back.
Nevertheless, thank you to the requester for sending this in. During this 4-day
break, I will attempt to catch up on reviews, and furthermore, with university
work and subtitling more Fiestar videos. After this review, I plan to wrap up
November with GOT7’s latest song, “If You Do,” and Hong Jinyoung’s “Cheer Up,”
a trot song. With the latter song, I very much do wish to review it as it is
trot, a genre that has been moreover miniscule and pushed aside as
“traditional” and of “the past.” But, with “Cheer Up,” though a slightly more
modern take is approached, it is all without compromising the trot genre itself.
Thus, I am very excited to review and share it as, personally, it induces
nostalgia (as shared before, trot and ballad were common genres in my childhood,
though specifically Chinese songs), but additionally, the song is very
beautifully composed and its lyrics possess an invaluable reminder to everyone.
The music video also further complements the song’s beauty. More will be
discussed in that review.

Returning to iKON, the group that is
supposed to have been discussed from the start, “Airplane” will be reviewed for
its music video. Given that I have not done a music video review in a while, I
do expect this to end up as a mediocre review, but I will attempt to maintain
quality. With “Airplane,” it is definitely an interesting music video, and even
after several sessions of watching, the complexity of the plot remains. In
terms of iKON themselves, they have been garnering much attention (and for more
than just music; I will address this later). There are seven members in iKON,
and if accurate, they are focused on hip-hop for the group’s genre (judging
from their current released songs). In fact, iKON has yet to officially debut,
but will certainly do so once their first performance occurs (it might have
already occurred; readers should correct me).

Since I will not be reviewing a song
directly from the group, I will hastily leave opinions regarding iKON in a
musical context. Truthfully, I have yet to hear an outstanding song from iKON;
at most, “My Type” is decent, but even with that song, none have proven to be outstandingly
impressive. If “Airplane” were to be reviewed, I would anticipate a lower
rating, or at best, a five. Positively, however, for what is appreciated with
the men’s songs, many—if not all—tend to be based on rhythm, rapping, flow, and
so forth. There are no exciting points for their songs, but rather, the listed
aspects are what are emphasized to attract listeners: pure music and not
manipulating “catchy” sounds. That said, iKON’s style of music is not what
deters me. In fact, that style is what attracted me to “My Type” in the first
place. Instead, it is the quality of their songs that are unappealing, examples
being the vocals, how certain sections in songs sound, and so on.

For what I wish to clarify, the
style of a song never influences review ratings—this being the genre, how
upbeat or calm a song is, and other similar details. As TWICE’s “Like Ooh-Ahh” addresses, the only biases that are
placed in reviews are the ones that dictate what is deemed “good” or “bad,”
such as with determining “good vocals” apart from “bad vocals.” These specific biases
are unavoidable in reviews and even music in general. In contrast, biases
toward music styles are certainly unacceptable for rating songs, and thus, I do
ensure that I rate based on quality and not likeability (if this is a word). Ailee’s “Insane” provides an example: “Insane”
scored quite well, but personally, while I admire the quality of the song, I
dislike its style as it simply is not my preference. Clearly, however, I did
not include that biased view as “Insane” scored well. Similarly with iKON, with
my earlier words, I do not wish to bash their style of music or even their
talents. What I am critiquing are the songs they have released, and this is significantly
different from critiquing their vocal skills or their music style.

Switching to another topic (feel
free to skip to the review now), as foreshadowed earlier, iKON has received
attention for more than music: they were involved in a bullying incident (I
will cover what happened). This was many months ago, and thus, there may be
readers who feel defensive at my mentioning of this; bringing up this topic is
seemingly mundane and seems to serve no purpose other than to degrade iKON. In
reply, I disagree: defensiveness should not occur, as to be explained, and
their news is certainly not something to quickly abandon. After all, discomfort
is generally a sign that discussing is in fact necessary. Before analyzing the situation
to uncover why it is a serious topic to ruminate over, especially once
accounting the general public’s reaction, I will first address the
defensiveness readers may have. Discussing iKON’s bullying news is not to
degrade any member or the group in whole. Unlike the past where, admittedly, I
have wrongly humiliated and shamed an idol in a Blog Opinion post, I will not
be replicating that mistake. Rather, I hope iKON’s incident will provide a
moment for reflection, education, and personal growth. In fact, what occurred
is less concerning than what resulted out of it—that is where I desire to focus
attention towards, as to be explained later.

To now showcase what did occur with
iKON so that readers understand, I will leave two sources versus attempting to
summarize the situation: the video, and a news article. Regardless of how one feels after
watching, there is a key point to remember: no one outside of iKON or their
company will ever know the truth to what did in fact occur. For all that is
known, iKON may very much love each other and are close and that, unluckily,
the camera was rolling when the group was at their most tired, stressed state
of mind. Likewise, however, this might have indeed revealed what truly occurs
in the group. No one knows. Realistically, iKON is probably a mixture of the
two points, as are any other artist group, and more generally, human being.
Even very loving, affectionate groups, whether it is Fiestar, Teen Top, or other
groups, have moments of arguments and fights. Again, in the most pessimistic
view possible, for all that is known, groups that are openly caring and loving
on camera may in fact very much despise one another. Now given that groups are
teams where every member shares a common goal of working hard to become popular
and to produce good music, it is likely that, even at worst, members do very
much sincerely care for one another—even if that just means seeing each other
as co-workers.

Overall, for the main point: it is
wrong to suddenly assume iKON are bullies toward specific members, or that B.I.
is horrendous person. Homogeneously, though, it is also wrong to suddenly
dismiss this entire incident and to claim that this was acceptable behavior.
Being accountable is what is important. This is similar to what occurred with TMZ and EXID: it is easy to label those TMZ
staff members as racist and atrocious, but what needs to be recalled is that
they are all humans—most likely even good humans, as hard as that may be to
accept. They may be limited in view with race, but to suddenly assume that
those staff members are all horrible people who wish the death of minoritized
groups is equally limiting in view (and this falls into the binary issue with
race regarding “racist and non-racist binaries”; an older review discusses this binary idea). Now of
course this does not mean being passive and compliant to everyone’s view—I very
much do and did challenge what TMZ said, for example—but it is about
understanding various viewpoints and still seeing others as equal beings and
not “less-than-human.” Thus, relating to iKON, this Personal Message digression
is not to bash them, but rather, to challenge what occurred and to, hopefully,
glean ideas and perspectives that aid in personal growth. Thankfully, iKON’s
situation is not in the realm of racism, though that is not to say bullying is
a minor topic in itself. For a final reminder to those who may feel defensive,
what matters is acknowledging mistakes that the group committed, and that both
iKON and fans should grow and learn from said mistakes.

Finally examining the scenario
itself, what did occur can be seen as unacceptable. Reiterating the prior
paragraphs, this is not to claim that iKON members are bad people (as binaries
never do exist, after all). Nevertheless, the hitting was certainly
unnecessary, as are any physical hits, and more so since it was far from being
playful, as observed by facial expressions and the force of the punches. On
this note, there is not much else to be said. Hitting is simply never
warranted, nor is inflicting pain to others even in an emotional way. After
all, the world would arguably be a lot better if people abided to that idea.
Specifically with the scene, there are many issues: the hitting in the first
place, as covered; secondly, however, the encouragement of hitting. It would
have been preferable if members did intervene, and not necessarily in a direct
way. The first hit should have been alarming enough and should have motivated
one member to step in with a remark of how that punch was too hard, and so on.
Every member can be held responsible, not just B.I.

Transitioning to the more troubling
aspect to this incident, as said, what occurred is not what greatly disturbed
me (but it still very much did; no one should ever be hit—unless if it is
playful and safe, such as with how MAMAMOO’s Solar shoves Moonbyul though then again Solar
shoves hard
). What is most bothering is the defensiveness that arisen
(as covered), but more specifically, a certain type of response: “Boys will be
boys” and “Boys are naturally aggressive; it’s in their nature to be rough,
they can’t help it.” In addition to evading a further discussion regarding
iKON’s behavior and holding them accountable, these related comments stretch
into a deeper, critical social layer: gender. Answering directly, “boy
excuses,” the term I will use, are never valid for anything—iKON related or
not. “Boy excuses” are, harshly stated, incredibly pathetic and too lacking to
ever be used.

When it comes to “boy excuses,” the
phrases carry an extremely false idea: that males are naturally aggressive;
that males are naturally leaders; that males are naturally whatever else.
Perhaps for other animals there may be a sense of “natural” male superiority,
but to translate that idea onto the human race, it is insulting. “Boy excuses”
downgrade the human race by assuming that human beings are nothing more than
wild animals that will always follow “natural instincts.” Optimistically, human
beings are far more sophisticated, and unequivocally, are not in the same
category as “natural creatures.” Until penguins walk around with smartphones,
develop a form of linguistic communications (if that is the right term; I am
referencing language, writing—ways to communicate), and casually listen and
share K-Pop with other penguins which all, by the way, would be actually amazing; I have a silly
wish that penguins will one day be domesticated pets, let alone have human-like
capabilities
, then perhaps I will retract the claim of humans not
being “natural creatures.” Humans are in many ways above natural, and that is
not inherently bad nor should it strike as impossible to ever deviate from
“natural.” This position means that humans have the ability to shape our very
own existences so that, for example, everyone regardless of who they are can at
least live a happy life. But, likewise, it also means that an opposite route
can be taken: creating situations where only certain people benefit at the
expenses of other people. “Boy excuses” fall in the latter; using these phrases
merely perpetuate the idea that humans are “natural” creatures who lack
intelligence, and that males are excused to be aggressive without punishment.

On topic, the idea of males being
“natural” at whatever it may be are not natural ideas—humans are not “natural”
minus biology (of which is essentially solely our bodies; in fact, “race” is
not biological but rather socially constructed, as a review will one day
discuss). Humans are socialized creatures, and as a result, these notions of
“boys excuse phrases” are merely ideas that have been taught and spread.
Dissecting the idea of boys being naturally aggressive for example, if this is
true, then every male should in fact be aggressive, no matter the
circumstances. However, this is far from true, as the following example will
show: a boy who was raised without ever being exposed to violence at all.
Obviously, in the actual world this is near impossible to do without entirely
sheltering the boy; violence is constantly displayed, and specifically, boys
are relentlessly socialized to be aggressive, as seen by superhero shows and
“boy activities” of rough-housing and so forth. Ignoring this aspect, though,
if it was possible to raise a boy from birth to death in a utopian-like world
of no violence, he would never showcase violence as there was never violence to
learn from. This is analogous to how a person who is never exposed to Korean at
all from birth to death will never speak or understand Korean. To her/him, the
Korean language simply does not exist. Likewise, for the hypothesized boy who
grew up with no violence in any form or degree, he will never be violent as the
concept of violence is nonexistent. Returning to the “naturally aggressive”
idea, however, if that is true, then the hypothesized boy should in fact be
violent, but as seen, that cannot be possible as the idea of violence has been
eradicated.

Clarifying, the minutiae of the last
example are not what I care about. I am confident that a dedicated person could
disprove my scenario and prove that, miraculously, someone could somehow know
Korean without ever experiencing anything related to Korean culture and
language from birth to death. That is not the point: the point is it is the
raising of the boy (and anyone) that produces behavior. A majority of societies
teach boys to tackle each other, to not cry, to be tough, and conversely, girls
are taught to be clean, neat, obedient, sweet, and so forth. No “natural” order
is involved; “nurture” order is the one involved. These specific teachings per
gender is what creates the seemingly “natural,” but as unveiled, teachings are
not natural but rather social ideas. Even other common “natural” ideas can be
debunked, such as with human sex drive (on this topic, a future review will
discuss sexualizing versus sexual expression). Since this topic is brought up,
I will also use it to explain why naturalism (if that is the term) is false—in
certain cases. With the human sex drive, it itself is absolutely natural. There
is no doubt that sex is a natural desire for women and men, and that this
natural concept includes every sexual orientation and not just heterosexuality.
However, there is a question to be asked: How much of said desire is natural?
That question is what requires deeper analysis.

Desiring sex is natural, but what is
not natural is, for example, excusing heterosexual boys to act as savages who
must have sex and sexualize females or else they would die. Again, certainly
heterosexual boys do desire sex with females as that is scientifically natural,
but the degree of such is simply the desire to have sex. This “natural” desire
should not extend to the point of justifying rape and objectifying females, or
to the point of how heterosexual boys are “naturally incapable” of being just
friends with females. This aspect to the natural human sex drive has been
socially constructed; the idea that heterosexual boys have to sexualize females
or are naturally inclined to see females friends as “more than” are ideas that
have been socialized into boys.

Peering into media unhealthy
portrayal of women (this is what I mean by sexualizing versus sexual
expression; sexual expression is certainly acceptable for both males and
females, but sexualizing is absolutely not, and in media, this is the culprit
behind socializing heterosexual boys to be overly sexually-driven) and what
boys police and say to one another are clear instances of how heterosexual boys
are in fact taught to be overly sexual when, naturally, the human sex desire
should not even be to these extents. Leaving a final point, there is also a
disparity that cannot be overlooked: Why are heterosexual females,
non-heterosexual males and females, or even “feminine” heterosexual males, not
seen as equally sex-driven? If “boys being naturally sex-driven” is true,
especially with non-heterosexual males and heterosexual “feminine” males, this
“natural” concept should indeed affect every single male, but it does not.
Unless if one is a male who follows toxic masculinity (“hegemonic masculinity” is
the proper term and less
passive-aggressive
; prior to learning this from my amazing sociology
professor, this is what I have been trying to reference in past reviews), then
absurdly, “natural” fails to be applied though “natural” implies all are
affected.

Overall, humans are definitely
natural—in certain aspects, that is. It is true that humans have a natural sex
drive, it is also true that humans have sex differences in male and female and
even intersex, and that humans have other biological natural desires, like
eating and thirst. What are not natural are ideas that stem beyond these
biological differences, be it gender (sex and gender are not the same; sex is
biological and gender is social), race, and more. Current perpetuations of
“natural” all serve to normalize what are in fact socially constructed ideas,
such as with “females are naturally nurturing,” or that “boys are naturally
aggressive,” and other examples. Unfortunately, a lot of this “naturalizing” does
in fact serve a negative role. In the case of excusing boys for their acts
because they are boys, male privilege (this is one form of male privilege, as
are other thousands) is supported and is now “naturalized,” even though male
privilege is a socially constructed concept that benefits males over female.
Essentially, sexism is being “naturalized” when one says “boys will be boys” or
“boys are naturally aggressive,” and that is an exceptionally scare-inducing
thought. After all, consider what would be the situation if iKON were a female
group. To say the least, their actions would not be excused as “girls will be
girls,” and sadly, their career would be stunted—all because people have accepted
sexism as “normal,” as “natural.”

In the end, bringing back iKON, in
addition to the general layer of acknowledging their mistakes, it is worth
noting that excusing the men’s acts as “boys being boys,” or any other act and
similar phrase, are not acceptable. Using “boy excuse phrases” merely
perpetuate a false idea of naturalism, and it supports male privilege in that
it excuses boys from acts that they should not be excused from at all. Gender
as natural should, in general, not be assumed; a contradiction already exists
in that idea (“gender as natural” is saying “socialized is natural”). Thus, for
a final takeaway, remember that “natural” is never an excuse for human
behavior, especially in the realm of gender and “race” (though “race” is
socialized and not biologically true, it is still “real” in the sense of being
socially real and in its consequences, hence why I do continue to use the
term).

Digression aside, and perhaps the
longest one I have wrote in a while, in terms of iKON, I do hope they come out
with an apology or an explanation for their prior behavior. Despite that,
however, iKON are all very hardworking and skilled men, and “Airplane” ‘s music
video showcases that. I may need an “Airplane” trip before the review, however.

_________________

Plot
Score: 6/10

Given how lengthy the digression is,
I do feel that it would have been better to review the song itself and not the
music video as, to confess, I doubt I will write much. My video reviewing
skills are mediocre unless if including a social analysis. I will attempt my
best, and to compensate, I will review the song itself as a bonus. No
explanations will be given, but the numerical values will be for those who are curious
(such as the requester) in a bonus review post.


Analysis
: Though I
do tend to include a personal summary of how I interpret a music video’s plot,
I will exclude it for this review and onwards. This is to allow readers to
develop personal interpretations without any extraneous influences. Nonetheless,
I will leave a disclaimer of how this rating is still based on a personal take
of the video, and that I do have two main views for this music video’s plot:
the first is related to romance; the second is related to “life,” though that
is horribly said as everything relates to “life.”

Elaborating, the first version is
how romantic feelings disrupt the three close friends’ relationships with each
other. The two men both begin to have romantic feelings toward the woman and
from such, conflict begins to occur between everyone until, ultimately, the
woman decides to fly away and ends the three’s friendship so that no one is
hurt. A better solution
might just be that they all decide to be just friends since males and females
are not “naturally inclined to be more than friends” as discussed, though I am
sure readers have heard enough of this
. The second interpretation is
similar to the first, except that it is not based on romance, but rather, that
the lady has to move away for unknown reasons. One of the men (Bobby) knows of
this while the other (B.I.) does not. This leads to misunderstandings as B.I.
begins to feel jealous towards Bobby, and may even assume that the two have
romantic feelings when, in reality, it is Bobby being additionally kind knowing
that the three will no longer be together as one of them is moving away.

No “right” interpretation exists as
every is valid. My first take is based on the lyrics and interpreting certain
gestures as flirting, and my second take is based on how Bobby appears to be
reflecting and sad, most likely due to knowing their friend was moving away,
and that certain gestures were regular friendly ones and not flirting. No
matter the view, “Airplane” receives a six for its plot.

Focusing on the story, what occurs
is not quite appealing. There are no plot twists or any events that render
striking, but nevertheless, for the plot itself of being about three friends
and their relationship, that does hold as enticing and unique. With the song’s
lyrics, it would be expected that the plot revolves around a couple who are
parting ways, not three close friends that are now splitting for whatever
reasons. Addressing the positives to the plot score, the included details are
praiseworthy: various, subtle, and complex.

For example, the second scene
discloses the closeness of the three friends, but the plot still remains vague—in
a positive manner. The lady, from one perspective, appears to be romantically
interested in Bobby, though he does not reciprocate those feelings. However,
none of what occurs necessarily implies romantic interests; this could all
simply be showing how close the three friends are. Thus, the plot is left open
for various interpretations, and that is always beneficial for increasing a
plot’s appeal. Another scene is also worth scrutinizing. The woman (I do wish
she had a known character name; it feels, for a lack of words, rather rude to
just refer to her as “the woman/lady”) points out to an airplane, but shortly after,
this causes Bobby to dishearteningly look out towards the distance. From here,
the plot still holds as exceptionally complex. Bobby may be reminded of her
inevitable departure, but if that is true, B.I for some reason was not equally informed.
Furthermore, to add onto the confusion of the three’s relationship, B.I and her
seem to share their own sort of secret, and hinted by their “fistbump.”

In the end, with the music video’s
detailed scenes increasing the depth and complexity of “Airplane” ‘s plot, the
rating remains at a six. The plot itself is not inherently appealing, but once
factoring the level of details and how said details are delivered, the plot
scores decently.

_________________

Structural
Score: 6/10

For the Structural Score, of which
can be considered as the aesthetics to the music video, a six is also given.

Covering the basics, the music video
is alluring in those categories. Multiple backgrounds are used, such as a
rooftop, an airport, or even a bedroom. This, expectedly, helps keep the music
video varied, and thus, enticing as every second discloses a new location.
Adding on, the time of the day also changes. Because of this added aspect,
besides adding in more visual content, this does construct “Airplane” ‘s tone
of being calm and realistic, and similarly, the diverse scenarios also further
complement the video’s overarching tone. “Airplane” in essence is depicting the
normal, casual life of three close friends. Even the alternating of group and
plot does not obstruct that main tone; when iKON in whole arrives, it all still
relates to the notion of airplanes and of serenity. Therefore, for an outcome, “Airplane”
retains high visual appeal, even despite not using active editing or ostentatious
colors. Simplistic is certainly beautiful, and that is what “Airplane”
emphasizes.

_________________

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

_________________

Concluding, iKON’s music video of “Airplane”
does score as a six, a slightly above average video. To the requester and
readers, I have also reviewed
“Airplane” as a song
, though no explanations are given. Looking over this music
video review, it can be deemed moreover a discussion on iKON’s bullying
incident than an actual review, but I do hope the bonus review of the song
slightly compensates for the less thorough analysis here.

As always, thank you very much for
reading this review. To the requester, huge apologies for the delays, and also
apologies for not genuinely reviewing the song itself. Due to time, I simply
cannot review both in full, and thus, I do hope the current two reviews are
still satisfying. Also, thank you for the request. I greatly appreciate it.
Since November will be ending in a few days, I doubt I will be able to release
a review in time. Positively, though, many reviews are in store, and with
December being a whole month of no classes, I will be able to catch up on many
songs. GOT7 and Hong Jinyoung are most likely to be the artists reviewed next,
though I may opt to review EXID’s “Hot Pink” as it has been trending (the
ladies deserve it) and would provide an interesting review. Despite whichever
comes first, I am determined to review all of the artists’ latest songs.

Stay tuned for one of those reviews.
I will work hard to return the blog on track “because I don’t wanna let you go
like this.” Keep checking back for, most likely, Hong Jinyoung’s “Cheer Up” or
EXID’s “Hot Pink.”

iKON – “Airplane” Bonus Review

iKON – Airplane (Music Video)

iKON – Airplane

Reviewed
on November 28, 2015

image

Personal Message:
As the music video review will
discuss (as of this sentence, it is nearly finished; in fact, after posting
this bonus review, I plan to also finish the actual review), to the requester
who did wish for the song review in addition to the music video, I will attempt
to fulfill such. Due to time constraints, I have no time to explain my ratings,
but I nevertheless will leave them for those who are curious. Again, this is a
pure bonus review and is to complement the music video review, of which will be
linked: iKON’s “Airplane” music video review

_______________________________________________________

Song Score: 6/10
(6.0/10 raw score) – “Slightly above average”


Vocals: 5/10


Sections: 5/10
(4.83/10 raw score)

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

1.     Introduction:
5/10

2.     Rap: 5/10

3.     Pre-Chorus: 3/10

4.     Chorus: 5/10

5.     Bridge: 6/10

6.     Conclusion (Chorus): 5/10


Line Distribution: 8/10

Jinhwan:
Introduction 1, Chorus 1, Chorus 2, Bridge (Total: 4)

Yunhyung:
Bridge 1, Conclusion 1 (Total: 2)

Bobby:
Pre-Chorus 1, Rap 2, Pre-Chorus 2 (Total: 3)

B.I:
Rap 1, Pre-Chorus 1, Chorus 1, Pre-Chorus 2 (Total: 3)

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

Junhoe:
Chorus 1, Chorus 2, Conclusion 1 (Total: 3)

Chanwoo:
Rap 2 (Total: 1)

Equal Value: 2.57 sections per member.  


Instrumental: 6/10


Lyrics: 6/10

Stop for a moment

If we keep this up,
we won’t ever see each other again after
the airplane leaves
“I’ll be good, you be good too”
If you say that and leave, you think I’ll be fine?
Stop pretending to be calm,
there are tears in your eyes
I see a sadness like you’ve lost the world
Stay one more day, unpack
Let’s go watch a movie later,
I’m crying right now, please

La li la di dada la li da
I hate the sky for wrapping around you
La li la di dada la li da
I hate the moon for revealing you
La li la di dada la li da
Because I don’t wanna let you go like this
This is the saddest melody in the world

Hey Mr. Airplane
Stop for a moment, it’s raining
The wind is blowing, it’ll be dangerous if you go now
Hey Mr. Airplane
Stop for a moment, there’s a lot of time
There’s tomorrow too so let her come off
or let me get on
Just one more day, just one more hour,
just one more minute, just wanna say one thing
Hey Mr. Airplane
Stop for a moment

You left behind a light smile
Left with a smiling face
Pretending to firmly believe in our promise
I should’ve done everything to make you stay
Then I wouldn’t be living in regret, girl
I’m gonna miss your presence for all my life
Just fall into a deep sleep in my arms
I’m looking up at the cruelly beautiful evening sky
Tears are coming ‘cause it’s the last time
I’m seeing you, please

La li la di dada la li da
I hate the sky for wrapping around you
La li la di dada la li da
I hate the moon for revealing you
La li la di dada la li da
Because I don’t wanna let you go like this
This is the saddest melody in the world

Hey Mr. Airplane
Stop for a moment, it’s raining
The wind is blowing, it’ll be dangerous if you go now
Hey Mr. Airplane
Stop for a moment, there’s a lot of time
There’s tomorrow too so let her come off
or let me get on
Just one more day, just one more hour,
just one more minute, just wanna say one thing
Hey Mr. Airplane
Stop for a moment

Do you have to go today? Can’t you go tomorrow?
I don’t wanna let you go, when will you be back?
I’m scared of getting far away from you
What if we naturally break up? Just one more day,
just one more hour, just one more minute

Stop for a moment, it’s raining
The wind is blowing, it’ll be dangerous if you go now
Hey Mr. Airplane
Stop for a moment, there’s a lot of time
There’s tomorrow too so let her come off
or let me get on
Just one more day, just one more hour,
just one more minute, just wanna say one thing
Hey Mr. Airplane
Stop for a moment

Choreography Score: X/10

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

_______________________________________________________

Analysis:

_______________________________________________________

Truthfully,
I am dumbfounded; in the music video review of “Airplane,” I admittedly claimed
that iKON’s songs are, at their best, average (five, numerically). Once actual
analysis took place, however, as disclosed, “Airplane” does manage to glean a
six. Personally, their style of music is not preferred, hence perhaps why I did
predict a lower rating. Impartially reviewing the song, though, it led to a
completely different outcome than expected. Overall, for the requester, though no
explanations are given, I do hope this partially satisfies your curiosity
regarding how “Airplane” does rate musically.