AOA (Ace Of Angels) is considered one of the more important groups of the 2nd generation, and, despite a scandal that marred that legacy somewhat, they still made a great impact on the k-pop world. They began with eight members: Jimin, Youkyoung, Yuna, Kwon Mina, Seolhyun, Choa, Chanmi, Hyejeong, and Seolhyun, but currently have only the last three, as the others have left throughout the years. They’re both a dance group and a band, alternating between the concepts, which I didn’t know about until now.

Here are my credentials: I confess I know more “around” AOA than I know “about” them, by which I mean that I of course have heard about their bullying scandal and the scandal on the scandal (although I won’t be going into detail here, so please do some research on it), I’ve heard a couple songs of theirs, and watched them on Queendom. But, I want to learn more about them, so let’s get started.

Single #1: Elvis

Elvis was AOA’s entrance into the world of k-pop, and what an entrance it was, with literal angels in the MV crashing to Earth covered in gold, in a plethora of brass and confident jazz,  which leans into funk at a few points. The track feels a bit disjointed with the raps besides Jimin’s in the bridge. I do really like the Showgirls energy in the chorus, and the overall sense of grandeur it has. From the single, I also enjoyed the drama of Temptation.

Single #2: Get Out

Get Out has a poppier, lighter sound than Elvis does, straddling an odd line between the cutesiness of SNSD and the sex appeal of mature girl groups like 9Muses. I’m not entirely sure how I feel about this one, but it’s definitely more classically “k-pop” with the doo-wop sound, movie references, and fun delivery.

Confused introduces itself as a ballad, but soon disproves the notion that it’ll be at all boring, adding a jazzier, funkier sound with a heavy amount of sass, and the ever-present guitar underneath gives it a driving sound. It then returns to the ballad sound for its ridge, before finishing with the jazzy sound again. Though it’s catchy, this one just didn’t grab me for some reason, and though I know this is the point, I wish they were playing their instruments in this one too.

From the single, I really liked the plucky guitar of My Song, and the warmth in their voices was great too.

Single #3: Miniskirt

Miniskirt is the track that most people know from AOA, and for good reason. It’s considered a classic (hell, I even put it on my classics list), opting for a minimalistic piano and percussion background under its R & B, and a bold sex appeal that was very unusual for the time. Though it may seem like it doesn’t have enough to grab a viewer, it’s one of those tracks that becomes catchier the more you listen to it, similar to iKon’s Love Scenario. The post-chorus vocalizing especially really distinguishes it from other, similar songs of its time. I admit, however, that though I really do like the song, the sexualization in the music video is way too much. It’s just constant and to the point where it becomes uncomfortable to watch, so I hope that this is a one off.

EP #1: Short Hair

Short Hair, like Get Out, returns to the more playful, poppy sound, marrying it with doo-wop, surf rock, and some classic 60’s influences, which all-together make for a track that’s an excellent pick-me-up after a rough day. I can absolutely see dancing to it in my living room in a beautiful dress. It’s probably my favorite so far, possibly because it feels like a song made more for women than for men, especially because of its lyrics about becoming someone new and gaining confidence in your appearance.

From the EP, Short Hair, I enjoyed the straight doo-wop of Joa Yo and the bold, loud brass section in You Know That (my hidden gem).

EP #2: Like A Cat

Like A Cat, fittingly, follows a bunch of cat burglars, and leans into the whole “sexy spy in a catsuit” idea, which I’m certainly not going to argue with. It has a similar slowed-down tempo as Miniskirt, but builds on what it started with faster verses, short rap breaks (which I shockingly like) and a great vocalized post-chorus. It never stops moving, and manages to have a great amount of fun while doing it, which is essential with such a ridiculous concept. I admit that I cheered when they got away with their crime, just because it was so enjoyable to watch. And in the days after, as I typed this up, I found myself listening to it even more, and it slowly became a favorite of mine.

From the EP, Like A Cat, I enjoyed the more ballady aspects of Girls’ Heart that slowly become a pulsing dance track, and the light strings mixed with the building tension in Tears Falling.

EP #3: Heart Attack

While Miniskirt may be what’s most associated with AOA now, for a while their biggest hit was Heart Attack. Almost offensively peppy from the outset, it’s another of their classic k-pop sounding tracks, but innovates on the formula a bit with a distorted EDM beat and a powerful energy that really gives it the energy of a huge game. It’s not one of my favorites, but I can see why it was so popular, and I’m not going to throw a tantrum if it comes up on my shuffle.

From the EP, Heart Attack, I enjoyed the summery synths of Luv Me, the driving beat and road-trip energy of One Thing (my hidden gem), and the smooth R & B of Chocolate.

EP #4: Good Luck

Good Luck is a summer track if ever there was one, with its warmhearted surf rock guitar, crashing wave sound effects, and tropical influences. But, because this is AOA, we’ve got to introduce a brassy hook and a driving beat, and a record-scratch effect for good measure. I like this one, especially the ad-libs through the choruses, though I don’t think there’s a lot about it that hasn’t been done better in their other titles. But does that mean I won’t be dancing along when it plays? Hell no.

From the EP, Good Luck, I enjoyed the breathy city pop of 10 Seconds, and the return of the super-dramatic lyrics in Crazy Boy. By far though, my hidden gem was the funk-infused surf-rocky Cherry Pop, with its great ad-libs and even greater energy.

Album #1: Angel’s Knock

Excuse Me, going for a vintage detective aesthetic, takes from disco, synth, and a good dose of funk for its genre, pairing these with a sardonic tone and some very video-game like sound effects. This song is a bit too on the cutesy aegyo side for me, so I like it more in theory than practice, but I think that’s more of a me problem than an issue with the song. My favorite part would have to be the post-choruses.

Bing Bing takes us back to the 1920’s with its delightfully jazzy, sparkly production, and it has a great build-up to its chorus with a smoothly executed payoff. I can’t decide how I feel about the post-chorus simultaneous chanting and vocalizing; does it work really well or undercut both? I think that something about it doesn’t feel cohesive, but I’m not sure what.

From the album, Angel’s Knock, I enjoyed the fritzy energy of Three Out, the understated hook of Can’t Sleep, the fast-paced choruses of Help Me, and the harmonizing in the nostalgic With Elvis.

EP #5: Bingle Bangle

Bingle Bangle had my attention right away with its video game aesthetics and unique whistling hook…and then lost it. As good as its introduction is, it doesn’t build off of it enough for me, letting what could’ve been super interesting go to waste, and just meandering around. I could see that hook, in a stronger song, being the cherry on top, so to speak, but here it’s not given the chance.

From the EP, Bingle Bangle, I enjoyed the interesting instrumental of Ladi Dadi (which reminded me of T-ara’s famous Roly Poly), and the strong, hand clapping driven beat of Parfait.

EP #6: New Moon

Come See Me was the only other song of AOA’s that I’d sat down and listened to before this deep dive and sadly, it’s their last release. But what a way to end. In true AOA fashion, it feels like a performance, oozing with confidence and charisma. I saw one YouTube comment calling it “an understated kind of sexy” and I totally agree; it suits them, and I wish they could’ve grown into it more. The post-chorus is again my favorite part, though the key change in the last chorus after the bridge’s buildup is a close second.

From the EP, New Moon, I enjoyed the minimalist pulsing beat of Sorry (which I had actually heard before on Queendom), and the rockier elements of Magic Spell.

Verdict: TL;DR

I’m glad I did this. I’m sad to see that AOA is not promoting any longer, since they’re all clearly so talented and had a lot of potential that I feel wasn’t used. I learned a lot about them on Queendom and from watching behind-the-scenes content, and they seemed like a solid, close team. I hope that despite what happened, they can do what they want with their careers and that some of them still keep in touch.

My Top 5 songs are Like A Cat, Short Hair, Cherry Pop, Come See Me, and Ladi Dadi, with You Know That as an honorable mention. AOA gets an 8.25 out of 10 from me. When their songs hit the mark, they really hit, and their retro style and sense of humor are a perfect match for my preferences. But when they don’t, they’re so close to making another hit that it drives me crazy. Also, even though I know that it’s part of the point, the over-sexualization in their earlier work is incredibly uncomfortable to watch, which isn’t their fault at all, but does make me give their company an extreme side-eye. However, when I’m getting ready for a night out and need to just have some fun dancing in front of my mirror, I can’t really do much better than them.

Next time, we’ll be doing another soloist round-up, this time of boy groups. Tschüss!