Wait, I really enjoyed this song. I was not expecting this song from Miyeon at all! It kind of reminds me of “old idle” music, ugh, going to be looping this till her ep DROPS. I felt Coldes’ part was super short, but I guess he also has a feature in the music video?
Eismann on
Holy shit. The song is great, i love that western inspired sound. But the real star is that MV. What an absolute masterpiece. Nearly as gorgeous as Miyeon.
Dramatic-Smile-1693 on
Wow. This GAGGED me.
by_the_window on
The song is great, the mv is GORGEOUS! (some Oh My God vibes with the masked figures?)
I love this direction for Miyeon, showing everyone the range of her talent, that she’s not just good at “pretty” songs! Really excited for the rest of the album
radhumandummy on
Anyway, I like it. It’s somewhat stylistically in the same vein with Seulgi’s Dead Man Runnin’.
badafternoon on
pasting my comment from r/kpop:
ohhhh this is so good i have so much to say!! this song is gonna be a must-play at the karaoke for me next…
My absolute favourite part of the MV is how the scenes are consistently framed like a diorama! Many “outdoors” scenes and settings are conspicuously shown to be in a closed room, like the lightbulb swinging above the desert. And you feel extra boxed into that room whenever you can see the rectangular frame from the view of an outside spectator. At the end of the MV, you see that Miyeon too is sitting in a chair, watching this diorama/stage of herself.
When Miyeon is in the room with the veiled dancers, she’s psychotically ecstatic, the dancers support her and encircle her chaotically as if worshipping her ever whim. There’s a certain “purity” or innocence to those scenes. Beige walls, beige veils, an initially white dress that is later blood stained.
Also, love how during the “funeral”, she wears mourning clothes and a veil that is… glamourous and embedded with jewel teardrops. Could also refer to the “value” of her “tears” over the man’s death, aka it feels priceless having killed him. The funeral candles blend in with the colourful party lights as she celebrates. We also see a Miyeon in the background peering into the diorama (more on this in a sec)!!
I also LOVE the juxtaposition of flesh/shell. The man is shown multiple times from the outside/dioramic perspective to be “empty” like a scarecrow (in the opening shot with the guitar, and when he falls in the end). But, when Miyeon imagines killing him, he is a sausage, he is cooked meat, he is a severed arm. A different dichotomy is with his actual death: through the dioramic view, Miyeon opens the (coffin-shaped) gun case, stabs the meat, hammers a car trunk closed. But when we see the man actually die, it is because she poisons him. In the end, he falls from her finger guns aimed at him, and they don’t even fire; there is no violence.
Ultimately, I think there are two settings: inside Miyeon’s mind, and the “real world”. She first appears in the room of dancers (mind) wearing the clothes and carrying the yogurt drink from when she was a passenger in his car (real world), which is the real world time when she has a shift in her state of mind. In the car, she’s seeing red in the rearview mirror, and even when she’s later the driver of the car, she’s looking back. I think something is “plaguing” their relationship that she can’t get off her mind, whether real (we see a very short scene of them fighting with him grabbing and shaking her) or just in her mind or both, which drives her to kill him.
I also think the car represents their relationship. Initially, he’s the driver, but after she takes control, she’s the driver of their relationship… but for that to happen, he’s now in the trunk. In fact, she had (or at least believed in taking that route) to hammer him into there, by bashing the car. The car is later a funeral hearse/party car, where she stands triumphant. She can only feel victorious and celebratory when he is dead.
This is a disordered ramble and I’ve already watched this a bunch, but will definitely rewatch in the morning when fully awake…
PedroPBO2 on
Absolutely incredible. The vocals?? The visuals?? The instrumental! Miyeon and the production team were firing on all cylinders for this. I love it to bits.
FakeLegoTrees on
This amount of lyric interpolation for Folsom Prison Blues would earn a writing credit for Johnny Cash if this was a Western release
8 Comments
Wait, I really enjoyed this song. I was not expecting this song from Miyeon at all! It kind of reminds me of “old idle” music, ugh, going to be looping this till her ep DROPS. I felt Coldes’ part was super short, but I guess he also has a feature in the music video?
Holy shit. The song is great, i love that western inspired sound. But the real star is that MV. What an absolute masterpiece. Nearly as gorgeous as Miyeon.
Wow. This GAGGED me.
The song is great, the mv is GORGEOUS! (some Oh My God vibes with the masked figures?)
I love this direction for Miyeon, showing everyone the range of her talent, that she’s not just good at “pretty” songs! Really excited for the rest of the album
Anyway, I like it. It’s somewhat stylistically in the same vein with Seulgi’s Dead Man Runnin’.
pasting my comment from r/kpop:
ohhhh this is so good i have so much to say!! this song is gonna be a must-play at the karaoke for me next…
My absolute favourite part of the MV is how the scenes are consistently framed like a diorama! Many “outdoors” scenes and settings are conspicuously shown to be in a closed room, like the lightbulb swinging above the desert. And you feel extra boxed into that room whenever you can see the rectangular frame from the view of an outside spectator. At the end of the MV, you see that Miyeon too is sitting in a chair, watching this diorama/stage of herself.
When Miyeon is in the room with the veiled dancers, she’s psychotically ecstatic, the dancers support her and encircle her chaotically as if worshipping her ever whim. There’s a certain “purity” or innocence to those scenes. Beige walls, beige veils, an initially white dress that is later blood stained.
Also, love how during the “funeral”, she wears mourning clothes and a veil that is… glamourous and embedded with jewel teardrops. Could also refer to the “value” of her “tears” over the man’s death, aka it feels priceless having killed him. The funeral candles blend in with the colourful party lights as she celebrates. We also see a Miyeon in the background peering into the diorama (more on this in a sec)!!
I also LOVE the juxtaposition of flesh/shell. The man is shown multiple times from the outside/dioramic perspective to be “empty” like a scarecrow (in the opening shot with the guitar, and when he falls in the end). But, when Miyeon imagines killing him, he is a sausage, he is cooked meat, he is a severed arm. A different dichotomy is with his actual death: through the dioramic view, Miyeon opens the (coffin-shaped) gun case, stabs the meat, hammers a car trunk closed. But when we see the man actually die, it is because she poisons him. In the end, he falls from her finger guns aimed at him, and they don’t even fire; there is no violence.
Ultimately, I think there are two settings: inside Miyeon’s mind, and the “real world”. She first appears in the room of dancers (mind) wearing the clothes and carrying the yogurt drink from when she was a passenger in his car (real world), which is the real world time when she has a shift in her state of mind. In the car, she’s seeing red in the rearview mirror, and even when she’s later the driver of the car, she’s looking back. I think something is “plaguing” their relationship that she can’t get off her mind, whether real (we see a very short scene of them fighting with him grabbing and shaking her) or just in her mind or both, which drives her to kill him.
I also think the car represents their relationship. Initially, he’s the driver, but after she takes control, she’s the driver of their relationship… but for that to happen, he’s now in the trunk. In fact, she had (or at least believed in taking that route) to hammer him into there, by bashing the car. The car is later a funeral hearse/party car, where she stands triumphant. She can only feel victorious and celebratory when he is dead.
This is a disordered ramble and I’ve already watched this a bunch, but will definitely rewatch in the morning when fully awake…
Absolutely incredible. The vocals?? The visuals?? The instrumental! Miyeon and the production team were firing on all cylinders for this. I love it to bits.
This amount of lyric interpolation for Folsom Prison Blues would earn a writing credit for Johnny Cash if this was a Western release