They ate our hearts, they a-a-ate our hearts (some of them, at least)…
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[5.12]
Jessica Doyle: So apparently SM decided to take the shot of Joy and Irene sitting close together in “Bad Boy” and make an entire concept out of it. My disliking the “Monster” MV’s repeated shots of Irene and Seulgi as goth Barbies arranged in sapphic poses may be influencing my reception of the song, where the loud post-chorus honking stands out more than either of Irene’s or Seulgi’s contributions. (I’m thinking specifically now of the energy and personality in their “Oh gosh” back-and-forth in “Peek-a-boo,” and how “Monster” lacks any similar touches.) The whole package feels simultaneously weighted down and undernourished. Honestly, as good a track record as Red Velvet has, now is not the time to wish publicly for the full group’s return — that call should be made by Wendy and her doctors first, SM second, and everyone else a very, very distant third. And SM, for all the critiques that could be made of its treatment of its labor, has done an admirable job of staying silent as to Wendy’s return and not raising expectations. But if we’re going to fill the gap with an Irene/Seulgi subunit, let’s make it a subunit worthy of interest in its own right, not just a listless series of close-ups.
[4]
Iain Mew: All the points for the discombobulating joy of being reminded of Cher Lloyd’s “Dub on the Track” in 2020.
[8]
Will Adams: “Monster” is right. As exciting as it is to encounter dubstep wubs in 2020, they’re part of a bloated, hulking arrangement that isn’t backed up by Irene and Seulgi’s hooks (little monster? Is this meant to play to the Gaga crowd or just go 50% on your mission statement song?). Between the blaring drop and hulking beats, it sounds like I’m being chased by Siren Head.
[4]
Wayne Weizhen Zhang: I know that this isn’t a Lady Gaga stan song, but I would be lying if I said that hearing Irene & Seulgi say “I’m a little monster” over and over didn’t bring me some joy. Even without that digression though, “Monster” is a sturdy pop song, confident in its delivery and generous in its homoeroticism.
[6]
Joshua Minsoo Kim: I’m reminded of Ga-in’s “Paradise Lost” if only because this reeks of a grandiosity and seriousness that render everything bloodless. The drama is all too calculated, with the staccato piano chords and the witch cackle of a vocal sample being the most offensive elements — they’re too overt in their utility and messaging. The wobbles are dated but they’re the only thing here making the commanding tone palpable.
[3]
Jacob Sujin Kuppermann: Surface-level goth pop schlock — it doesn’t do anything interesting with the horror movie vibes, but Irene and Seulgi’s back and forths are fun and the overclocked faux dubstep of the beat is just corny enough to work.
[6]
Joshua Lu: The problem isn’t necessarily the dubstep; rather, it’s the way the song leans so hard into the dubstep and the other harsh sonics that makes “Monster” difficult to digest. It relishes in the grit and filth to the point of histrionics, while Irene and Seulgi’s deliveries remain weightless and bright. This discrepancy could work, but there are points where it sounds like they’re straining to match the instrumental’s edginess, like the second verse, and they get swallowed up instead. Oh well, it wouldn’t be a Red Velvet release if the best songs weren’t relegated to album tracks.
[4]
Alex Clifton: It’s fun, it’s sexy, it’s a little askew — all hallmarks of regular Red Velvet stuff. It’s also less addictive than I was hoping for, but have these girls ever released a really bad boy song?
[6]