September was a busy month for comebacks, featuring highly-anticipated comebacks from K-pop veterans and those still somewhat new to the scene. This month especially saw those acts — old and new — bringing brash and bold visuals and sounds to the scene (another word).
Here are some highlights from this month that we did not have the opportunity to review.
BoyNextDoor — “Dangerous”
Boynextdoor have already made a name for themselves with their quirky-meets-down-to-earth signature sound. With their latest comeback, “Dangerous,” the boys lean even further into the offbeat musical stylings and visuals from their last title track, “Earth, Wind & Fire,” only now opting for an even more rap-heavy base that’s at times hard to pin down as having one full, cohesive melody. “Dangerous” also defies expectations, embracing the classic narrative of teenage rebellion but in a far more innocent way than expected (the six-piece group sing of rebelling against their parents by staying out late to hang out and goof around with one another).
Although at times musically grating and melodically disjointed, “Dangerous” redeems itself with eccentric imagery to express the fun Boynextdoor references themselves having while they defy their parents’ (comedically shown sleeping soundly throughout the MV) rules and create their own (like a new curfew of 4 A.M.). Instead of merely depicting the members roaming around town in standard shots, the MV also uses visual elements like layered, scrapbook-like imagery, quick cuts, rewinding and twisting shots, and sequences made to look like a variety of mediums, including TikToks, karaoke screens, and even nostalgic memes. Overall, the MV and track work hand-in-hand to poke fun at both themselves, and in the case of the MV, the very mediums it seeks to imitate.
Onew — “Beat Drum”
Following a long hiatus from solo and group promotions with Shinee, Onew is finally back — now, with an edgier sound and look on his latest comeback, “Beat Drum.” The visuals in Onew’s MVs have historically been striking, especially in terms of both color palette and inventive, kooky background characters (as with “Dice“). While “Beat Drum” isn’t a total evolution of these signature motifs, it does showcase a whole new side to Onew and his typical visual style. The MV is filled with subtle special effects and stark warm- and cool-toned color choices (oranges, blues, and grays, in particular) that fill the entire screen and alter every few shots to enhance the track’s moodiness.
In a change from Onew’s ballad-heavy discography, “Beat Drum” surprisingly (although unsurprisingly, given its name) also features a hip hop beat, and even rapping from the artist. While the melody and hook of the track aren’t as strong or catchy as in some of Onew’s other releases, “Beat Drum” still earns points for allowing him to step outside his comfort zone and showcase a skillset listeners and fans haven’t seen before. The track’s heavy hip hop influences also push the MV to focus more on choreography than seen in Onew’s prior releases, pushing him into more new territory, even as a veteran artist.
Hwasa — “NA”
It’s been a minute since Hwasa’s last solo release, but it’s always exciting to see how she transfers her bombastic sound and style into a new comeback and MV. “NA,” which is used to refer to “me” in Korean, is already classic Hwasa fashion, letting listeners know that this new comeback is, of course, all about her.
On “NA,” Hwasa turns down her potential suitors, warning them that they must treat her nicely and not too casually. Even as she demands the treatment she deserves, she ultimately proclaims that all she needs is herself, in all her glory (“Me myself and na, myself and na, myself and na”). The MV for “NA” takes Hwasa’s declaration of self-love and worth a step further, with its Parisian backdrop, opulent wardrobe, and cinematic choreography shots featuring dazzling formations thanks to Hwasa’s extensive crew of background dancers. While there are a few moments that feel out of place amongst MV’s generally lavish feel — namely, Hwasa grabbing her own behind during the chorus — “NA” has all of the charisma and striking visuals it needs to still stand as a compelling watch.
And it’s a good thing, because musically, the track is bold but largely disjointed. “NA” goes in a few worthwhile directions, as with the verses and some of the pre-chorus, but most of the rest of the song falters and comes across as weak. While vocally strong, the pre-chorus leans into elements of 2010s EDM-pop, leaving the track feeling dated and out of place. When “NA” reaches its chorus — which sounds almost like a PSY track (understandably, given Hwasa as a newer addition to the singer’s record label) — it also misses, leaning on monotone catchphrases that offer nothing but a semblance of a hook and melody to grasp onto.
Fifty Fifty — “SOS”
Following the contract terminations of three out of four members and total uncertainty about their future, Fifty Fifty have returned with their official comeback as a five-member group, including original member, Keena, and four new members: Chanelle Moon, Yewon, Hana, and Athena. While essentially an entirely new group member-wise, Fifty Fifty’s “SOS” is practically a return to their signature easy-breezy, catchy sound that listeners are familiar with from prior tracks like “Cupid” and “Higher.” The track is nothing new or entirely original, but it is an objectively slick pop song, although nearly to a fault. Thanks to the new formation’s plush vocal blend, “SOS” is easily melodic and dreamy, at least mid-listen. However, after the song ends, it’s less memorable, hardly standing out amongst a slew of pop music that, in today’s age of algorithms and streaming especially, blends together into one generic, upbeat sound.
On the other hand, the video introduces a somewhat newer, more evolved Fifty Fifty. “SOS” portrays the group in an ethereal wash of light throughout the MV, as the members don whimsical jewel-toned dresses and appear together across several lush, dreamlike scapes. They bump into ducks, escape hedge mazes, and run through misty forests, as if they’re sirens singing a calm cry for help (“can you hear my SOS?”). The end of the MV, however, sees the members return to their “regular,” less mythological selves, as their outfits transform from poofy, high-fashion dresses into everyday wear. In this sense, even though they’re a “new” Fifty Fifty, the group still feels as familiar as ever. The choreography featured in the MV is also a return to “classic” Fifty Fifty, featuring stark and sweet movements, especially when the members spell out “SOS” with their hands in a satisfying five-member formation.
(YouTube [1][2][3][4]. Lyrics via Genius [1][2]. Images via KOZ Entertainment/HYBE Labels.)
