MiSaMo is a subunit of kpop supergroup TWICE, who really needs no introduction from me. It’s composed of the group’s three Japanese members, Mina Myoi, Sana Minatozaki, and Momo Hirai, and since they’re singing in Japanese too, MiSaMo occupies an interesting position as both a Jpop group and a Kpop group.

Here are my credentials: So, if you don’t know, I’m a huge fan of TWICE, who I covered at length years ago. They were one of the first kpop groups I fell in love with during my journey into the genre, and they’ve occupied a special place in my heart since. I don’t know as much about MiSaMo’s music, though, and thought that them making a comeback would be a good time to cover them. Let’s get into it!

Single #1: Marshmallow

Marshmallow starts off with Mina, dressed head to toe in sparkles, saying, “Hai, sir. I’m on my way to the office. Morning coffee time now.” Add to it that the three members are working in the (apparently very tightly run) Marshmallow Department, and you have a recipe for something both hilarious and full of quiet commentary. It got more than a few chuckles out of me with its dedication, I admit it, but I also found myself smiling at its gentle insistence to take a break and give yourself a treat once in a while.

The song itself is light on its feet, the kind of tappy, smooth jazz that goes in one ear and out another. It’s not a bad song; it’s actually quite good, reminding me a bit of TWICE’s song Doughnut. It’s just not something I’d seek out to listen to without the music video as an accompaniment.

EP #1: Masterpiece

Do Not Touch was the one MiSaMo song I’d heard even a bit of before this deep dive, so I knew a bit of what it would sound like, but just like Marshmallow, I wasn’t expecting the commentary that came with it. I love the many references to famous works of art in this video (The Birth Of Venus, The Swing, etc) and the positioning of Mina, Momo, and Sana in frames, museums, and churches turns Do Not Touch into more of a statement than it might first appear. It’s no secret that parasocial relationships are huge in kpop, and such a clear statement for distance (“You can watch me, if you love me, but you can’t touch me.”) is both interesting and unusual.

Maybe it’s just me, or just the type of song, but I think MiSaMo sound more confident singing here than in Korean. As for the track itself, it’s what I’d call a runway song. Besides the obvious confidence driving it, it’s got a minimal beat and no huge standout vocal moments (no shade), which makes it feel more like a performance than a song. It kind of needs the video to work, and though it’s a good video, I wish that balance was a bit more in favor of the song.

From the EP, though I enjoyed the classical sample in Funny Valentine and the rock edge of It’s Not Easy For You. My hidden gem was easily Behind The Curtain, which bursts out of the gate with a brassy hook and a showstopping Jazz Age flair reminiscent of IU’s The Red Shoes.

Single #2: New Look

The title “New Look” immediately conjurs images of Grace Kelly and Christian Dior for me, which is mostly due to a late professor of mine whose lecture on 20th Century Fashion remains ingrained in my head years later. (Shoutout to her, wherever she is). Clearly the significance of the name isn’t lost on TWICE either, because not only does the chorus shout out 60s supermodel Twiggy, but the clothing choices, color blocking, and set design are very much inspired by the same time. I love the flighty, bubbly beat, and how sunny it makes you feel as the audience, and I especially enjoyed the pre-chorus. Yet again I wished the chorus had a bit more heft to it, but I was still bopping along, make no mistake.

EP #2: Haute Couture

The triumphant brass that opens Identity doesn’t waste a second. By the time Mina, Momo, and Sana take over for the first verse, the song is skipping along with the speed (and subtlety) of a bullet train. In theory, the song should work for me, but something about it just…doesn’t. Usually I’m better at pinpointing my specific issue with a track, but here my thoughts are much more nebulous. All I can say is though there are several strong parts, something doesn’t gel for me.

From the EP, I enjoyed the vogue-worthy Runway, the cabaret influences in Baby I’m Good, and the great vocals in Jealousy. As for the three solos included here,my favorite was probably Sana’s synthy Mirage.

Album #1: PLAY

Confetti leaves haute couture and sprawling museums behind for a Broadway-worthy jazziness and a delightful sense of showmanship. All three of the members are at their best here, confident, colorful, and delighting in the fun, with just the right edge of wackiness to ground the whole thing that feels very Orange Caramel. The pre-chorus is absolutely still the best part, though I think that here finally they have a chorus that pulls the whole thing together. And that dance break? 10/10. This style is nigh-on perfect for MiSaMo, and I’m hopeful that it’ll mean great things for them going forward.

From the album, I enjoyed the peppy beat of Not A Goodbye, the dramatic orchestra in Deep Eden, and the piano trills of Catch My Eye (my hidden gem). My favorite of the three solos was probably Mina’s smooth Turning Tables.

Verdict: TL;DR

I’m glad I did this! This was a really interesting review, going in knowing the idols quite well and next to nothing about the music. Sana especially has always been one of my favorite members of TWICE, and it was fun to see a different side of all three members. Even though their Korean is near-perfect, the linguist in me loves seeing someone perform in their native language. While editing, as per usual, I watched some behind the scenes content, which in this case meant MiSaMo’s appearance on SNSD Hyoyeon’s interview show and their mini-documentary on TWICE Japan’s channel.

My Top 5 songs were Confetti, Behind The Curtain, Not A Goodbye, New Look, and Bouquet, with Catch My Eye as an honorable mention. MiSaMo gets an 8 out of 10 from me. (I know, I know, pitchforks, torches, the whole thing). I think my biggest issue with their output is the amount of potential not being used. The members of TWICE are some of the most talented idols out there, and I don’t say that lightly. But more often than not I feel like MiSaMo’s music doesn’t make good on it, favoring style over substance. And I can’t deny that the style is impeccable—I love the inspiration from famous art and designer fashion and the Broadway and golden age jazz influences—-but I wish there was more weight behind it.

Next time, we’re onto a soloist! Tschüss!