![]() The snapping was also pulled off really well throughout the song and it was a fun new sound that I don’t hear often or as prominently featured. It’s less full but it still has some interesting instrumentals and that snapping that keep it dynamic enough. I actually really like how they pull back for the first half of the chorus. That was the thing I was hesitantly waiting for but they pulled the song off without a hitch. Love to hear Leedo singing more and I am glad to see that their producing team realized you can slot in a rap section without killing the energy and throwing in a random splash of trap. Even so, the song is executed with enough panache to compensate, and before you know it we’re swept into another standout moment. I wish that Black Mirror opted to build during this segment rather than pull back, delivering a more compelling hook than the whistle-like riff we get. This drop into a slinky, stripped-back rhythm is becoming increasingly formulaic in K-pop, and its charms have started to wear thin. My biggest gripe stems from the first half of its chorus. However, there are a few choices that keep it from feeling quite as euphoric. In this way, Black Mirror is cut from similar cloth as JO1’s mighty Born to be Wild. Its clipped pre-chorus brings a healthy dose of drive to the track, while the second half of its chorus takes advantage of the instrumental’s disco influences. Black Mirror’s melody is at its best when leaning into this structure. Bright synths and rhythm guitar join the fray, crafting a brisk setting that’s light on its feet and energizing. Right from the start, its chugging bass guitar forms a meaty backbone. Black Mirror’s video teasers hinted at Michael Jackson-esque imagery, but the song is more in keeping with modern dance music trends. This track sees ONEUS revisiting the funk sounds of last year’s BBUSYEO over a more fleshed-out structure. ![]() That flourish turned out to be the beginning of a reinvention, hinting at the buoyant, upbeat Black Mirror. But at the very end of No Diggity‘s music video, fans were treated to a teaser of funky bass. While the album was super strong, its title track jettisoned much of the group’s usual charm for a harder blast of boy group posturing. ONEUS’s Devil proved to be a polarizing comeback.
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