Katseye are not a K-pop group, but of all the global acts backed by K-pop agencies they’re by far the buzziest so I continue to write about their work regardless of my own criteria for this blog. Love or hate their songs, they’re guaranteed to garner a strong reaction. Alongside new single Pinky Up, Katseye are about to conquer a huge stage at Coachella minus member Manon, who remains on hiatus and has been rumored to leave the group.
This behind-the-scenes drama has little bearing on Pinky Up, which mixes early-2010s Eurodance tropes with the group’s trademark engagement bait approach. Up until the first chorus, the track unveils a satisfying — if generic — take on dance music. I appreciate the vocal melodies and sense of build. But in this case, what we’re building to is a car crash. Rather than attempt anything interesting for its hook, Pinky Up repeats its title in monotone over a chintzy club beat. It’s a real comedown from the verse, meant to grow into some iconic catchphrase but too threadbare to amount to much of anything. At least Gnarly utilized a few more words (as dubious as those words were…).
Ultimately, Pinky Up is less a song than it is an excuse for fans to yell “slay, girl, slay!” (or whatever it is they yell these days to celebrate percieved badassery). Taking the video’s many pauses out of the runtime, Pinky Up lasts just over two minutes. This is largely comprised of the melodic verses, but without a beating heart at its core even the best moments come across as scraps from a better (unrealized) product. It’s the memeification of pop music, designed for quick consumption and an even shorter shelf life.
Hooks
5
Production
7
Longevity
6
Bias
7
RATING
6.25