Oh, snap! Kpop is tipping over into Scottish words.
This isn’t Glabingo’s first single, but this is the first time that we are really feeling what he’s put out there. The production has a nice groove to it and the chorus is catchy. What really makes it work are the vocals. While he has a somewhat young, tenor tone (he’s only 17), he manages to come with a good amount of confidence and doesn’t make it seem like he’s begging for this girl’s attention. There are some good, just below the surface harmonies that help fill out the sound and he uses the backtracking to his advantage to make his own tone sound heavier.
Bonny isn’t perfect in terms of structure–there are some couplets that don’t rhyme and a little disconnect between the English and Korean lines–but it’s still a good song. Part of the reason for that is because whatever structural problem we have with the lyrics can be somewhat explained by the fact that the lines still make sense when put together. The issue with the lyrics seems to be that the phrases don’t quite mean what the writers thinks they do. You can see where the confusion would come in with word-for-word translations (part of the reason we try to avoid those) and figure out what he’s going for anyway.
The other reason we’re feeling this is because it represents a somewhat rare concept in Kpop songs from male artists, the autonomous female. Usually you get the guys asking the woman they love to look at only them and to not pay attention to other guys even when they themselves can’t get up the courage to talk to her outside of a dream. This song has a guy pining for time with his lady but understanding not only that she has a life outside of him but that other guys are going to find her attractive and he’s just going to have to get used to that.