Thursday, September 7th, 2017

E-Girls – Love ☆ Queen

The blurbs don’t quite write themselves from the title.


Alex Clifton: A bright, sparkling J-pop number that is bombastic with its joy. The ending peters out a bit after the rap, but this has the kind of bouncy chorus I love that I’ve been unable to find in most western pop hits this year. After a few listens, it does become a bit generic–I have trouble discerning a particular personality from the group after this one song — but it’s brassy and bubblegummy in all the right ways. 

Alfred Soto: Ah, kick drum — how glorious. “Love ☆ Queen” gets its power from its rhythm, a backgrounded horn section, and the slink of a guitar. A well-timed spoken word section works too.

Iain Mew: It’s not just the near-lift from “Hoot” for the slinkiest bit of the verses that makes this sound like a potential third Girls’ Generation song of the week. Ultimately it’s too bright of a sunburst to convince as that, but some backwards-looking cool is just the thing to make it more than the pummelling of a monster chorus. Certainly it works better than the time co-producers Henrik Nordenback and Christian Fast tried to turn Exo into One Direction.

Maxwell Cavaseno: You get the feeling they were going for ABBA. But with as weak a hook as that, and then followed up with throwaway disco-lite production, they’ve ended up crashing more closer to A*Teens as a destination.

Edward Okulicz: I like this, but I can’t quite shake the thought that it’s a bonus track from a hypothetical S Club Juniors Japan-only album bonus track that has escaped through a time portal.

Ryo Miyauchi: “Love ☆ Queen” isn’t exactly tiring: E-Girls’s main thing is to present the most glamorous weekend escapade they can through flashy dance-pop magic, and this rolling of the red carpet to make you feel like a one-night star is business as usual. But then they do a song like “All Day Long Lady” that lives beyond that weekend mentality to say something more profound than “shake off that stress because, baby, you’re a star,” and you kinda wish they wiped off some of their sparkles to dig into that.

Joshua Minsoo Kim: An early 2010s K-pop b-side produced by people who have had their hand in making mediocre K-pop b-sides. Innocuous, summery disco is fine but this manages to sound both forced and unenthused.

Will Rivitz: I watched Coraline for the first time two days ago. In my opinion (n.b. minor spoilers ahead), the most potent part of the movie is when Coraline’s “other mother” presents her with the button eyes which would keep her in the fantastical world she’s found forever, stuck in the thrall of her “mother” without escape. What makes this moment so powerful is that the glitz and glamour of this seemingly perfect world, wholesome and pure up to this point, are revealed as hollow and lifeless, their artificiality finally poking through to the surface. That’s approximately how I feel about “Love ☆ Queen”; despite a vibrant arrangement and killer funky verses, I can’t escape its Muzak horns and Wii Sports Resort piano. For a song as packed to the gills as it is, it’s inexplicably vacant, flowing pleasantly but unmemorably. There’s so much happening in its choruses that everything whirls around in perfectly smooth contours, no uneven surfaces to grab onto. Like the “other mother,” “Love ☆ Queen” tries its best to be human and vivacious — but there’s just enough off about it that it doesn’t quite get there.

Leonel Manzanares de la Rosa: ME (after Music Composition class): “I really like disco, but given the style’s defining features, it’s so easy to sound boring or generic.” TEACHER: “Some composers usually do stuff like key changes in the bridge or the pre-chorus to make it interesting. You know, you can always mess with the chord progressions. That can practically save any song.” My teacher recently passed away, and boy, she was right. 

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2 Responses to “E-Girls – Love ☆ Queen”

  1. thank you Max I immediately thought of ABBA when I heard this but was sure I was crazy for the comparison

  2. Wii Sports Resort piano, wow that’s it

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