Twice albums have become so omnipresent that even a normal hiatus feels endless. It's only been a few months since the group made their return with Better, but it seems as if they've been gone for years. Apparently, we can look forward to a new Korean comeback in June. Until then, we have the Japanese Kura Kura, which takes disco imagery and wraps it in a more typical K/J-pop sound.
Twice's Japanese discography has blossomed into something special, starting with 2019's aptly-titled Breakthrough. Their cutesier songs seem to have been passed down to rookies NiziU, allowing Twice to tackle more nuanced material. Kura Kura skirts the line between these two styles, marrying a bubblegum melody to propulsive percussion. It's not the disco slamdown I was hoping for, but fits nicely alongside most of the songs on their most recent Japanese full-length.
In comparison to its sprightly chorus, Kura Kura's verses are a disappointment. I've never been a fan of dance songs that pull back so much during these segments. The minimal electro pulse does the track no favors, stalling energy without supplying a dynamic melody to make up for the dip in tempo. Kura Kura's hook is stronger, but still fails to capture the feverish joy a dance song like this should inspire. In fact, the track opens with its strongest element – a catchy refrain that will later become a stomping post-chorus. Twice sound divine here, recalling the sugar-sweet bliss that characterized much of Girls' Generation's discography. Alas, this only makes me long for an entire song filled with this bright, uplifting sound.
P1Harmony made a solid debut last October, but waited six months before returning with their first comeback. Judging from their new album, the group seems to have settled on hip-hop as their overarching sound. I think it's a good fit for their talents – especially if they can draw from various elements and eras of the genre.
It probably won't surprise anyone to hear that my favorite hip-hop songs put their beat front and center, opting for full-bodied groove over skittering trap hi-hats. That's likely a product of my age more than anything. And when I say that Scared's slamming percussion reminds me of J-Kwon's 2004 mega-hit Tipsy, that will draw an even more specific backdrop. This is meant as a compliment, of course. I love the production on Scared (겁나니). An insistent breakbeat drives its instrumental, complimented by cacophonous rhythms that deepen the groove. It's hard to sit still when listening to a song like this.
At first, I thought Scared's chorus was a bit of a letdown. The chant seemed too simplistic. But after a few listens, it's amazing how much bite that hook has. It's made even stronger by a descending vocal flourish that adds extra flavor to the track. Scared focuses more on rap than melody, making the vocal moments stand out. But as with any great hip-hop track, the rap verses are the highlight. It's fun to hear idol rappers given a chance to shine over playful percussion, rather than be relegated to some stale post-chorus trap breakdown. P1Harmony would be wise to maintain this addictive style on future comebacks.
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