Hyorin and jooyoung dating.
Hyorin and jooyoung dating. Nov 21, - Basically Jooyoung and zoot!Hyorin are dating but he out here fucking regular!Hyorin who is in a relationship with the. Hyorin and Jooyoung - "Erase" Review Hyorin x Jooyoung - Erase For future reviews, with finally searching up the date for Valentine's Day. SISTAR's Hyorin and Joo Young thanked fans for their win on SBS MTV music program 'The Show' with "Erase"!Joo Young tweeted on the 25th.
Perhaps I am being overly critical, but, as I have been keen on gauging reactions, it does appear to be that female groups are moreover criticized than male groups. Before defensiveness locks into place, let me shed a simple yet realistic comparison: Now, I will discuss the general reactions I have gauged.
Interestingly, though the diction I utilized varied, I described both the male and female idol as the same, yet surprisingly, the general results yield utter opposites. This is my message: Overall, as a final point, this, unfortunately, stretches beyond K-Pop; in societies where males are indeed favored, females face the challenge of needing to not succeed a basic standard, but rather, an excessive one due to their gender.
So while, if anything, this reminds readers to not be heavily critical of female idols, this should be expanded into life in general. Do not overly scrutinize a female be it her appearance, how she acts, and more, due to her being a female.
For a differing example, let us utilize females and gaming. Dexterity is the reason, not gender and in fact, the best player on my team is a female. Even the sheer opposite of assuming versus underestimating occurs.
Make-up skills, for example, are often automatically assumed for a female when, once again, gender does not grant those talents. Unusual, absurdly high standards or false assumptions are always set for females, and that sole idea is what everyone should consider, and more importantly, challenge via not contributing and by confronting and halting those who do offer those microaggressions.
Hopefully readers take into heart that and, regardless of whether similar comments have been made or not in the past, remaining critical and changing current behaviors to not be discriminative should be the goal. In essence, it fits into ballad, but overall, other genres are slightly branched into. The vocals, structure, instrumental, and even the choreography, for examples, are all exceptionally promising and to a high caliber.
But, of course, she is not alone; Jooyoung is accounted for, and thankfully, his vocals hold equally well. Both of them offer versatility for their singing: Sonically, their voices fit according to one another.
Throughout the song, sections that utilize alternation become fluent and natural; little contrast exists when they exchange turns singing, and thus, the vocals become collaborative versus combative. Neither one of them necessarily take the lead, but rather, both of them are equally simultaneously singing. No singer undermines the other, both are heard and thus, due to each of their individual, highly stunning vocal skills, the song overall becomes greatly enhanced.
Individually, Hyorin and Jooyoung are high tier, adept singers, and this song proves such on the mechanical level. In terms of being a duo-based song, hearing their excellent chemistry prevail further boosts the score.
A higher score will be given. Now, the method in which the introduction executes remains charming in itself.
The standard role of setting the stage is met, and with the extra factor of the introduction properly connecting the vocals to instrumental, a noteworthy score will be given. Minimal unison singing does occur, however. The second verse remains fully identical. Many aspects of the verses can be deemed as excellent. Firstly, addressing the sonic perspective, the vocals and instrumental continue to establish their excellence. Addressing Hyorin, her line remains equally soothing and melodic, and in contrast to Jooyoung, a higher pitch range is gleaned.
With the three main components of the instrumental together, a welcomed outcome occurs; the snaps and piano continue to be tuneful, but the newly introduced bass provides a supportive foundation for both the vocals and the snaps and piano.
Even by itself, the bass is prominent and offers its own niche to the song. Transitioning over to the structure, the verses follow incredible alternation. With multiple aspects remaining stunning, such as the structure itself or mechanically the vocals and instrumental, a higher score will be given.
Afterwards, both are simultaneously singing. Focusing on the slightly weaker side of the pre-choruses, the structure lacks some depth; Jooyoung takes one line followed by Hyorin who also possesses one line, and though there is unison singing for the third line, structurally, nothing holds as compelling.
The individual lines had no distinctive property, and unfortunately, the unison singing was simply them singing at, coincidentally, the same time. In terms of what does grant the pre-choruses its stronger points, the vocals still remain charming and, likewise, the instrumental can still be rendered as captivating. Above average will be the rating. Vocally, Hyorin and Jooyoung are exceptionally melodic along with having traces of prominent, stronger singing.
The instrumental, similar to the vocals, become amplified to accommodate the intenser singing; the beat snaps along with the bass act as a foundation, and the piano melody further enriches the already tuneful vocals of the duo. A unique yet strange phenomenon occurs: This paradoxical aspect to their singing is perhaps what yields the section its high score.
With this constant change, appeal is blatantly kept high. Overall, with the song coming as one unified and purely captivating section, a very high score is expected. The final line, however, features Hyorin.
While in the overall perspective the vocals are still superior, during this section, the vocals do falter when juxtaposed to the other sections. Power is the main focus for vocals, but unfortunately, it is overly prioritized. With the previous section, the choruses, taking a stronger, prominent stance, having another section duplicating such gives an unnecessary repetition.
As a result, with this redundancy, the impacting vocals that occur lose their presence, and thus, a bleaker section is left.
Hyorin & Jooyoung – Erase (지워)
Nevertheless, despite having a sense of repetition, the vocals and instrumental still hold well. Desirable traits still exist for them, such as being melodic and having proper alternating lines. With the slight overlapping quality from the previous section being the main yet miniscule issue, the post-choruses still hold at above average.
Alternating lines become the style until the end where both simultaneously sing. Being the bridge, a standard climactic point is created. Higher notes and power are the main assets to this section. High note holds are entrusted with Jooyoung while Hyorin handles the general singing lines. Although the instrumental and vocals themselves remain mechanically strong, there are minimal compelling, striking factors.
Adamantly, the instrumental predominantly sounds as it does during the other sections, and though the note holds can be rendered as impressive, it is a standard note hold that does not showcase extreme cases of skill, intensity, nor melody.
On the positive side, the bridge does contain an interesting line structure; towards the middle, the alternating style becomes manipulated to aid the section. Hyorin would sing one word, and unlike previous sections where Jooyoung would replicate the prior line identically, in the bridge section, Jooyoung would follow up the word in a much higher note in addition to possessing more power. Mechanically, the instrumental and vocals, while still delightful, remain unvaried from other sections, but thankfully, the alternation that does occur is vastly different, and thus, an appealing and welcoming layering function becomes granted.
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AtrocityCL's K-Pop Review Blog — Hyorin and Jooyoung - "Erase" Review
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Sistar’s Hyorin Reveals her Dating Style
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