K-pop mainstay we last covered in 2012, unless you count all our Britney reviews…
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[6.29]
Adaora Ede: What’s this? A current K-pop release that isn’t an amalgamation of five different songs in six different styles? She’s even left out the obligatory rap verse. “Camo” could be 2011 Britney as much as it could be 2003 Britney, which, aptly, the bulk of BoA’s earlier image in the OG days of SM Entertainment was derived from. We’re given a bursting synth bassline and an electro melody and surprisingly, not much else? Admittedly, it’s a bit cold and unfeeling in the way a lot of sleeker electronic music can come off, but I’m enjoying this newly revitalized area of cyberpop that shows it can easily be as orchestral and orotund (see: that upsweep of a chorus and pre-hook) as it is industrial and assembly-line.
[6]
Will Adams: I love a mechanized stomp, and “Camo”‘s falls between the slick confidence of 112’s “Dance With Me” and the wallop of BoA’s own “Eat You Up.” The chorus could have offered more, though; the drawn out “camera fla-a-a-a-ash ooh-ooh” is infectious, but it’s not followed up with anything, and the energy drops as a result.
[6]
Ryo Miyauchi: “Camo” refits the slick fuzz of “Peaches and Cream,” though BoA poses opposite 112’s flirtiness. Her warrior-like steeliness not only draws out the iciness of the machine beat but also her camouflage tactic. She’s not emotionless, just tough and experienced as hell.
[7]
Anjy Ou: A polished throwback track that’s really more about the slick dance moves than anything else. It’s not quite as appealing as “The Shadow” or “Copy and Paste,” possibly because the hook simply takes us back to the verses instead of capitalising on that fantastic pre-chorus. But it’ll do to tide me over until she puts out a new album.
[6]
Leonel Manzanares de la Rosa: BoA’s natural sense of rhythm — her particular knack for beat-riding — is the main attraction. I just wish her vocal matched the punch in those synths and the hook went as far as that extended prechorus promised.
[6]
Julian Axelrod: Everything here feels perfectly in place, but while I like a lot of the production elements (a touch of cowbell here and there, some Ratatat-esque synths on the chorus) I wish it was a little less restrained. This sounds like the kind of club banger Britney Spears isn’t making anymore, and I can’t tell if that’s good or bad.
[6]
Will Rivitz: All I really need in my life is music that sounds like peak Britney, and I’ll be OK.
[7]