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Criticism

The longer, the genre would possibly end, and the youngest acts like Aespa and Newjaans imply a path to follow.

By Jon Caramanica

While the K-POP extended its global ambitions in recent years 2000 and early 2010, it also expanded its appetite, adjusting the maximum hungry pop music scene on the planet. He enjoyed specific pop, hip-hop, R&B and dance music, alchemating everything in a maximalist fantasy, creating an aesthetic of absurd excess that has become, for a safe moment, the progressive and popular maximum technique in the world.

Acts such as the organization of entertainment women YG 2NE1 prospered in this environment (with their compatriots of Bigbang Boys), and helped prepare the floor for Global of the genre. It was music, in large part, leader through the manufacturer Teddy Park, which was curious, chaotic and cocksure. Other pop scenes seemed dematerialized in its path.

Blackpink, the organization of women YG of the new generation that debuted in 2016, seemed in a position to use this torch with the good fortune of the singles such as “Whistle”, “DDU-DU-DDU-DU” and “How You Like It”. But at the time of its first full version, “the album”, in 2020, the music of the organization had become more explosive and more fragile than that of its predecessors, and the plan showed its seams.

“Born Pink”, Blackpink’s complete album, is in theory an opportunity to innovate, either for the organization and for the genre itself. And they unearthed Blackpink – Jennie, Jisoo, Lisa, Rosé – at a crossroads: if it is mandatory to continue its upper energy sound collision; If the English market will have to be completely adopted; If you have to dismantle your own home.

The first single, “Pink Venom”, is Blackpink Vintage: that is, pandemonium sewn so strong that he realizes his own internal logic, Caveined and exhausting at the same time. Jisoo’s song is as and austere as ever, and Jennie’s rap is flexible and dotted with a small and wise filmmaker.

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