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Not counting the rap break, there are four basic parts:
--Hook of electro robocandy. Emerging from the static and fuzz of the dancers as they awaken their electronic legs, this hook is the great musical moment of the year. Thoroughly catchy, as if to announce "We're here, we're alive again. Take that! We just knock 'em out and knock 'em down." Of course, I'm sure it was recorded pre-controversy, no statement in mind.
--Verse. Instead of following with more electrocandy, the singing is light, r&b-ish, popping along with the beats at the start, switching into nondescript, creamy sighs in the verse's second half, as if to move us into more "grown-up" Miss A or BEG territory.
--Chorus. Meets the challenge of the previous two parts, bouncy and creamy at once, a bit of a pang as the melody reaches up and makes its point, but not overstrenuous. So, very nice, typically T-ara in that it waves its hand rather than screaming in drama. A low-key seduction rather than the irresistibility that the opening hook had promised. But I was wanting irresistibility!
--2nd Half Of Chorus? Rising in an Asian melody, keening and assertive, though still light. This part is good in itself but it seems tacked-on, breaks the previous warm mood. I can see how it's a transition back to the catchiness of the hook, but I don't think a transition was needed. Or anyway, I don't see that this is the needed transition.
The break is strange, the rap vocals treated, fuzzed-up. Fits the concept "heavily electronic" but seems extraneous to the rest of the music (as opposed to every other T-ara rap ever, which always, no matter what, felt generated by the rest, even when it was there to up-end the rest). Also, at least in the vid, it's newcomer Areum on the rap. Nice to give her the spotlight, but really, this should be Eunjung's spot. She's the most forceful and talented vocalist in the group, rap or singing; and they've got to stop fucking around and give her the mic time</editorial comment>.
( Organic versus dissipatory )
--Hook of electro robocandy. Emerging from the static and fuzz of the dancers as they awaken their electronic legs, this hook is the great musical moment of the year. Thoroughly catchy, as if to announce "We're here, we're alive again. Take that! We just knock 'em out and knock 'em down." Of course, I'm sure it was recorded pre-controversy, no statement in mind.
--Verse. Instead of following with more electrocandy, the singing is light, r&b-ish, popping along with the beats at the start, switching into nondescript, creamy sighs in the verse's second half, as if to move us into more "grown-up" Miss A or BEG territory.
--Chorus. Meets the challenge of the previous two parts, bouncy and creamy at once, a bit of a pang as the melody reaches up and makes its point, but not overstrenuous. So, very nice, typically T-ara in that it waves its hand rather than screaming in drama. A low-key seduction rather than the irresistibility that the opening hook had promised. But I was wanting irresistibility!
--2nd Half Of Chorus? Rising in an Asian melody, keening and assertive, though still light. This part is good in itself but it seems tacked-on, breaks the previous warm mood. I can see how it's a transition back to the catchiness of the hook, but I don't think a transition was needed. Or anyway, I don't see that this is the needed transition.
The break is strange, the rap vocals treated, fuzzed-up. Fits the concept "heavily electronic" but seems extraneous to the rest of the music (as opposed to every other T-ara rap ever, which always, no matter what, felt generated by the rest, even when it was there to up-end the rest). Also, at least in the vid, it's newcomer Areum on the rap. Nice to give her the spotlight, but really, this should be Eunjung's spot. She's the most forceful and talented vocalist in the group, rap or singing; and they've got to stop fucking around and give her the mic time</editorial comment>.
( Organic versus dissipatory )
