And all the other boy bands…
[Video][Website]
[5.82]
Madeleine Lee: A lot of the EXO fans I know got really excited about the teasers leading up to this release. They were cinematic and cryptic and crammed with clues and subtext, from the return to the group’s debut-era superpowers concept to visual subtweets at the two EXO-M members who’d just left the group. Then “Call Me Baby” dropped, and it was… not what had been promised, visually or otherwise. (Every time I rewatch the video, a new terrible outfit reveals itself to me. And why is everyone’s hair wet?) All this is to illustrate that EXO’s specialty is in the tease. The mandatory SM formal weirdness is inserted every so often, and at first it sticks out among otherwise decently executed classical boy band moves, like a bad dancer trying to catch up to the music. Then it becomes a moment of anticipation: to return to that chorus, the chord progression and the totally obvious, totally satisfying lead-up to the “call me baby” refrain, which all the overstuffed production in the world can’t ruin. And that’s the other fan complaint about EXO: no matter how much you try to resist, they always get you in the end.
[7]
Micha Cavaseno: Is anyone surprised that Exo devolved into B2K-level mediocrity? The electro-augmented New Jack Swing arrangements are too blunted and lack any sense of real swinging, while the guys sell ideas with a burnt-charcoal crust and a partially frozen core.
[3]
Brad Shoup: I don’t care, I’m still happy that South Korea’s still taking these New Jack swings. Balancing 10 voices is tough, though: Teddy Riley & company end up shorting Sehun for one, who mostly gets a handful of tag. But everyone makes hay with his bit. The quarter-note synth stabs keep thinking they’re the focus, but another Exo shows up and blows up their spot.
[7]
Alfred Soto: The harmonies are insane, machine-tooled like ‘N Sync in 2000, coming at the listener from all sides, with accompanying synth horn blasts. They almost compensate for a fusty production.
[7]
David Sheffieck: The brass isn’t nearly bright or distinctive enough to cut through the production, tragically blending into the synth beats and pulses. But the plucked guitar provides some tension to make up for it, and the way the vocal’s chopped on the hook is borderline inspired — the closest thing to actual energy in a song so packed almost everything else blends into a monolithic gray plateau.
[5]
Will Adams: The squelchy accents tucked in the background add some interesting depth, but with such disregard for even basic dynamic contrast, getting through “Call Me Baby” in one sitting is exhausting.
[3]
Ramzi Awn: Slick like a two-step with a fierce vocal to boot, “Call Me Baby” is pure, NSYNC-17 fun.
[6]
Katherine St Asaph: More like “Case of the Exo,” huh? If you miss 2000, its synth stabs and bass squirts and boy-band excess, this track will suffice.
[6]
Dan MacRae: There’s a level of burst to “Call Me Baby” where you can picture every nuance of the stage choreography without even knowing who Exo are. Bring on the theatrically sexual crotch grabs!
[7]
Iain Mew: There’s something a bit arrogant in addressing how much the girl has changed their life at length and then saying “time’s wasting, girl” and “don’t wait too long.” There’s a little bit about what they’ll do for her, but there doesn’t seem much room for doubt that she is going to call. That suits the mode they’re in — showy vocals all on point, song relentlessly pushing forward and filling every space going — but it makes things a little straightforward.
[6]
Patrick St. Michel: This is tightly put together and catchy enough, the sort of quality K-Pop single that made everyone excited (or interested enough to write a guide to Korean pop) three years ago. It’s good! But also a step below flawless.
[7]