Monday, March 2nd, 2020

Everglow – Dun Dun

Not a Law & Order reference.

Alex Clifton: It’s a far stronger track than “Adios,” although that wasn’t much of a challenge in the first place. It’s a bit basic, but the swagger of this does make me want to wear stilettos and tromp on the face of my enemies. Isn’t that what we all long for in girl-group songs?

Brad Shoup: Everything’s so big and thudding and fun: it’s got that double-harmonic thing that — in flute form — flavored a lot of early-2000s pop rap. At the end the melody and Everglow get to vamp together, and it’s my favorite part.

Ryo Miyauchi: The titular hook is a delight, like an assassin’s catchphrase before her kill disguised as an innocent nursery rhyme. I wish the rest of “Dun Dun” felt as bratty as the playground taunt it’s born to be. The idols try their best lashing out their words, but paired with the brass hits, the performance plays too straightly to girl-crush tropes despite their best efforts to establish more character.

Kylo Nocom: It’s perfect from the intro to the first drop, but afterwards all of “Dun Dun” contains no significant surprises. Given the refusal to drop out the instrumentation for the hook on the second go-around, Everglow realize they’ve run out of ideas and consciously try to hide this fact. If they really wanted to impress, that bleating in the outro would’ve been given more time, but what’s done is done.

Joshua Lu: The opening riff is an incredible hook, and Everglow toys with it well throughout the song, like how it becomes the plain-spoken titular hook, or how the song closes off with a reinterpretation. The song noticeably sags whenever the riff isn’t present, like during that pre-chorus that drags on too long, but those moments are thankfully sparse.

Kalani Leblanc: The condition of K-Pop post-Produce 101 series is claustrophobic and oversaturated with faces, as everybody and their cousins on those shows have debuted in groups since then. Post-PD101 groups must find ways to be distinct against the crowd attempting the same — when there are only so many times girl-crush or soft-boy concepts can be done. I guess Everglow’s attempt at that is getting by with being tankie-girl crushes? The aggressive thumping beats — which is literally all of their songs — with the smirky deliveries, paired with the iconography of the video, is how I got to that conclusion. “Dun Dun” itself is catchy in the way only a K-pop song could accomplish, but entirely forgetful.

Iris Xie: The Charli XCX-style vocal of the starting ad lib sets expectations far too high for the subsequent pre-chorus, which is monotonous and kills its own momentum. “Dun Dun” recovers somewhat at its chorus — the quiet “You’re so done” and how it explodes into the EDM-banger of the second “You’re so done” is everything I expect from the mastery of specific energy-activating tropes of K-pop, but Mia’s pre-chorus continues to nullify “Dun Dun’s” speed at every bar. I do like how the producer weaves different trap synths and pseudo-Bollywood melody cliches that help break up the monotony, because these additions of varying layers in the arrangement are a major factor in how Everglow stands out sonically. I want more K-pop producers to vary their background synth arrangements for different sections of their songs. Unfortunately, “Dun Dun” strains under a rigidity that doesn’t allow Everglow to fully embody their “baddie girl” energy, which results in a missed opportunity of using that girdled structure to provide reinforcement for more wild moments. Yes, Everglow, go forth and conquer with a song usually made for a K-pop boy group — but not with BTS’s “Fire” version 1.3.02.

Alfred Soto: An exhausting revue-review of two decades of perk: I imagine Red Velvet covering “Spice Up Your Life.”

Reader average: [5.5] (2 votes)

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