The Singles Jukebox

An apt description of our responses.

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[5.33]Jessica Doyle: Sweettune already gave this song to Infinite, and I didn’t like it then either.
[3]

Cassy Gress: Oh my, this is a glorious aerobics song! Bust out the high kicks and the jogging in place; get those leg warmers ready! To English-speaking ears, Snuper has a silly name, but they’re so sincere and ebullient that I can’t pick on them, despite the parts where they let the rapper sing. It even gets a wink of a guitar break. I adore the second half of the chorus, where “love, love, love” repeats in the background behind “neuryeodo gwaenchanha / neujeodo gwaenchanha / neoramyeon gwaenchanha / gidarilge,” a commitment to wait as long as it takes.
[9]

Anthony Easton: Sort of like how “Take on Me” tries for that super slickness but is not quite mannered enough. The edges don’t really show interesting choices.
[3]

Iain Mew: There’s a moment in the bridge when the synths sparkle and crack and Snuper swap raps that sounds like something new and interesting out of obvious influences. The rest conjures A1 in their ‘VR matrix simulator.’
[3]

Madeleine Lee: Finally, Seo In Guk’s cover of “Take On Me” gets the legacy it deserves! Anyway, as inessential as this ultimately is, it’s nice to hear that newer boy groups are still taking up this kind of shiny, synthy perfect-pop thing that Infinite excelled at, and it’s good to know that Sweetune haven’t totally lost their synthy perfect-pop touch.
[5]

Alfred Soto: The legacy of “Take On Me” persists, forgiving attempts to forego its sparkly melodic line and to embrace a chorus that rejects consummation. I yanked my ear towards the guitar and got nothing.
[5]

Leonel Manzanares de la Rosa: Oh, i know this sound; during the late 80’s/early 90’s, every single pop group in Mexico tried this combination of feather-light, spacey synths and jaunty choruses. However, unlike the overwhelming majority of those bands, Snuper could pull this off without getting too cheesy or too treacly. It’s a song that feels like innocence, and there’s even room for a guitar solo, a rap, and a last-chorus key change.
[7]

Micha Cavaseno: Shimmering Italo bounce, and an ’80s tinge that has that “leftover traits from the ’70s” arrangement to the chorus backing vocals. More charming than funny in their head over heels presentation of devotion.
[7]

Patrick St. Michel: All credit to the shimmering ’80s music for propping up a clunky hook (although trying to make “platonic” work deserves a “best effort” ribbon of some sort).
[6]