Breaking up is never easy, I know…

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Micha Cavaseno: There’s never going to be a “goodbye single” for a group that isn’t overwrought, huh? “Draw Me” is at least romantically windswept and plays with memory and departure in a way that’s significant for the song’s audience. Fans might not share this as something exciting for people connecting to Wonder Girls for the first time, but it still has value by making them feel.
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Thomas Inskeep: Pretty, and produced with a lot of air in the room — I like the “live” sound of the snare, and the way it seems as if all four Wonder Girls are singing around the same microphone. I just wish their farewell single wasn’t such a downer.
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Iain Mew: It’s dull, has a horrible drum sound and drags on, but at least it’s less outright depressing than 2NE1’s farewell.
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Will Adams: A bit odd for a farewell single to shoot for a Sunday afternoon rain mood, no?
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Ramzi Awn: Made for a slow dance in a love story, “Draw Me” uses its Cibo Matto sweetness to great effect. The spare beat leaves room for an assortment of ephemeral references, and most of all, the Wonder Girls’ understated understanding of melody.
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Alfred Soto: The rimshots and guitar parts evoke “Under the Bridge,” which would serve as a splendid K-pop model. But at its best K-pop subverts British or American notions of pop form: an acceleration here, a down tempo there. In “Draw Me” the second verse’s talk-singing is that spanner. 
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Katherine St Asaph: The K-pop “I Guess I Get It“! Wonder Girls are the second major K-pop group this year to be summarily, wearily disbanded after their crossover attempts didn’t cross over, which is brutal, but at least we have one last good song.
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Adaora Ede: Is this WG’s “Million Reasons”? Never quite expected one of the most sonically out-there (OK, except the Akon thing) Kpop girl groups of the past decade to depart with Marshall’s dressing room folk pop. “Draw Me” is a slack representation of their legacy, and at some points it feels like a toned-down continuation of “Why So Lonely,” made from a jigsaw puzzle of a John Mayer song, just so they could finally have a stock pop-rock jam to toss into their Greatest Hits album. I’ve rarely questioned the authenticity of their band ventures (even when Sunmi’s bass wasn’t plugged in a couple times during “I Feel You”), but here, I find myself asking: why? Why this, why now? Nothing about this trots along, nothing about this reaches the crescendo, Limmie and Yubin pull the forgettable trade-off verses, Yeeun and Sunmi’s parts are slightly sultry, slightly weary. The ends feel a little frayed, but something about the chorus on the middle eight reminds me what I came for.
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