K-pop is well known for latching onto a specific musical trend (usually a year or two late) and refusing to let go until they’ve drained the sound for all its worth. This is fine if we’re dealing with a fun, malleable trend, but becomes increasingly maddening when the trend is narrow and poorly executed. It’s become clear that hyperpop has become this year’s overriding trend and I’m afraid it’s allowed the industry to indulge in all of its worst tendencies: short songs, little-to-no singing, flimsy/disposable concepts meant for quick memeability rather than timeless appeal.
To be honest, I’ve never been a huge fan of hyperpop and its continued presence in K-pop is only deepening that feeling. Even at its best, I find the genre hard to connect with. I’m a listener who prizes great melody-writing and a fullness of sound (preferably with a resounding lower end), both of which seem to take a backseat here. We’re left with tinny electronics and a bunch of chatter that only occasionally attempts a semblance of melody.
Such is the case with Candy Pink Magic Hole Flip Phone. This title is meant to catch the eye and seem somehow clever, but in reality it’s simply kitschy for kitschy’s sake and that tends to have very little pull. The same can be said about the song as a whole. It’s essentially a repetition of one musical idea (of which the brilliant Why Did You Do It? by Norwegian group Kulturaften already mastered this year. Seriously, the melodies are identical!). Rather than build toward any notable centerpiece, Flip Phone draws a flat line driven by a deliberately aloof series of (mostly) spoken vocals. It’s a two minute sound collage — enjoyable and propulsive, but pure aesthetic through and through. On one hand, it’s hard to resist the surging electronic production. On the other, it’s hard to imagine such a threadbare track retaining its effect over a long period of time.
Hooks
7
Production
8
Longevity
7
Bias
7
RATING
7.25