I wonder what is the metaphysical properties of this song.

Let’s see what we have here!

ZERO by DRIPPIN has recently received much critical praise from the community. So I wondered, what makes my vibe check fail on this release, but my colleagues passed this, with flying colors. Let’s first go into the metaphysics of ZERO. ZERO was described by Woolim as a narrative to the dichotomous confrontation epistemology of the song qua song from its uncertainty principle.

Ontology of ZERO and Critique of Sesquepedalian Performative Songwriting

Now, this is obviously a word salad to those who have no time for philosophy, and I don’t even understand what I’m typing. Woolim argues that the distortion riff of the song’s guitar has reached its musical spectrum limit. This is manifested as the riff is beyond its “optimal” sound. Additionally, the layered overtones of the song’s instrumentation provide a three-dimensional aggression and harmonic duality, combined with the alternative hip-hop trap beat that results to “overwhelming” pressure.

Thus, Woolim says it has been able to manifest the quantum mechanical theorem of Heisenberg and Bohr on the evolution of material physics, on the song itself, while at the same time showing how the song inherently is trying to confront the realities of this confrontation with reality, and metaphysics.

I do not follow DRIPPIN’s lore but what I do know is all of this is basically useless to the community outside DRIPPIN, but useful for DRIPPIN themselves. I need you to understand that what I mean by “passing the vibe check” is when a song is in sync with my current psychological state, to which can be described as looking for a song that “feels psychologically correct and consistent”. Which tells you that I do not tolerate noise music and sesquipedalian tendencies.

Why do I say that DRIPPIN benefits from this song, but the outsiders do not? Well it is because this performative thought experiment from Woolim pushes the envelop of DRIPPIN’s musical window. Meaning, that DRIPPIN is currently undergoing a process of reformation, and experimentation, which tells me the reason why critics like the song even if it is inherently plagued by a winding focal point. It is also a proto-metamodern song, which basically critiques post-modernism and romanticizes the traditional orthodoxy of being, thereby producing a synthesis of “being 90s yet modern” as what The Bias List says.

The problem with ZERO is it does not provide anything to the community outside it. Many songs in history have done so and have changed the way we think because of their inherent philosophy. ZERO, like many fourth wave Korean boy groups have murkied philosophy and commodified it. The use of left-wing, Marxist, progressive songwriting in Korean music unintentionally invited itself to be commodified. Thus, everything feels performative and inherently “high IQ”, as capital attenuates the hierarchy of music once again. People feel classical music is the upper class of music, but that thinking is in itself flawed. This exact phenomena is happening with the fourth generation, and the new music it incentivizes artists to make.

Why ZERO is still fun despite it being useless and me not vibing it?

The premise of ZERO is founded on metamodernism, although it doesn’t quite hit it because of it’s inherent lack of an aprroximately steady focal point. This gives ZERO some advantages to post-modern music, which lack the key to opening oxymorons. You see post-modernism does not allow oxymorons, which makes this song not that, it is above that, thus I have coined proto-metamodernist. I believe in informed naivety, and it is mythologized by individuals surrounding me.

They all acknowledge the song is no different from the plain, and offensively obnoxious fourth generation trope of “anti-drops or noisy shout-a-thons”, as described by KBopped. They still enjoy it because of it’s self-aggrandizing self-innovation, repetitious hooks that are plain but passed their vibe check, and it itself being so serious sincerely.

It definitely is not passing my vibe check in my 18th listen. I can still listen to it though, but I feel empty, it is still fun, but it is at the same time pretentious and overtly machiavellian. It is catchy, but never gets to my psychology. I still listen to it for the sake of listening to something I cannot. Simply the contradiction of the human condition is what drives this song to be offensively inoffensive to my ears.


The idea of the dichotomy of confrontation is basically like you are seeing a person get robbed, and you decide if you want to interfere, but metaanalyze your thought process and you are striked by the egoistic altruism, or genuine humanity but sacrificing your safety. In my dialectical process, I think the song tried to be what it ought to deliver as intended. DRIPPIN’s performance of confusion, to the uncertainty principle saying that momentum and position of a particle cannot both be precisely determined at the same time, is sincere. The critiques are still present the inherent structure of K-Pop just does not allow itself to be taken seriously as the process of making the song obfuscates the premise of my critique, which is performative songwriting itself.

After all that reading, if you survived it, I have to give this song a strong rating since critically it just doesn’t pass at all.

How about you? What do you think? Let me know your thoughts below!

Rap/Sung VocalsA

Rating: B-

Personal Score: 7.25

Producers: NEWTYPE

Songwriters: NEWTYPE