Monday, February 3rd, 2020

SF9 – Good Guy

Duh.


[Video]
[7.33]

Ryo Miyauchi: SF9 get prettied up and check out their best angles to the tune of slick garage-house. “Good Guy” feels a lot more self-composed than their last affair with UKG, and yet there’s a sense that the boys still have no chance at winning their shot at love. They do an impressive job at masking the fact they’re slipping with that titular refrain that flatters both them and their object of desire who’s out of their league. It’s a losing game, though, if they have to push the matter so relentlessly in order to convince. Still, they try, and their refusal to fold despite their odds make for exciting drama.
[7]

Joshua Minsoo Kim: The music tells the story: listen to how the chorus’s post-dubstep thwacks function like piano house chords, how every utterance of “good” and “bad” gets refracted as similar sounding vocal edits. You can sense a dialectic between loving sentiment and impatient brashness; these guys are stuck, vacillating between wanting this lover and thinking they’re better off without them. “Good Guy” ends without feeling complete, but the lack of resolve feels appropriate.
[6]

Brad Shoup: Exquisite arranging, from the Terius Nash-style staccato warp of the intro, to a pre-chorus that sets boyish voices against a spoken tenor only to spread the field further on the refrain. At some point we’ll stop requiring these guys to rap but that’s quibbling.
[8]

Tim de Reuse: Buoyed by a good sense of momentum and the K-poppiest chord progression ever, but let down somewhat by its reluctance to commit to a hard-hitting chorus, prioritizing feathery vocal harmonies over the impact of the instrumental. All the parts that might’ve really caught the attention (the candy-sweet piano, the bro-step bassline) are left a bit too far in the background.
[6]

Edward Okulicz: Frantic and pulsating, “Good Guy” wraps up most of the last 20 years of boy band pop, EDM, R&B and gives something for everyone. Nothing revolutionary in any of it, not the vworps of dubstep nor the gender-role reversal of the good guy and the bad girl, but everything hits, singularly and collectively.
[8]

Alfred Soto: Dubstep beats, house piano keyboards, sweet verses and staccato chorus: I’m exhausted and euphoric by the minute mark. Exhaustion through euphoria has to my ears been K-pop’s most lasting contribution. Should our civilization end tomorrow, alien anthropologists will study “Good Guy.”
[9]

Reader average: [8] (4 votes)

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