Three Times It Pulls the Floor Out, Then Puts It Back

In three lines

• ROSÉ's 'new trick' came out at 8am KST today. A one-track digital single.
• It's the song for Apple's 'Shot on iPhone' campaign, and the video was shot on an iPhone 18 Pro. Dave Meyers directed.
• Three times in the song the low end vanishes completely — at 0:13.5, 0:49 and 2:30.

The Facts First

Item	Detail
Song	'new trick' (digital single, 1 track)
Release	18 September, 8am KST
Label	THEBLACKLABEL
Production	ROSÉ · Amy Allen · Andrew Wells
Mix / Master	Serban Ghenea · Chris Gehringer
Video	3:01 · directed by Dave Meyers · shot on iPhone 18 Pro

A Short on the official channel reads "drops 9.17 @ 7pm EST" — though in mid-September the US East Coast is on daylight time, so it's really EDT. That moment is 8am KST on 18 September. The US store lists the release date as 17 September, so the Korean and American dates sit a day apart.

That's the last of the numbers. Now, the music.

The two names on the production credit come from different places. Amy Allen worked on 'APT.' in 2024; Andrew Wells collaborated on 'stay a little longer' from the album 'rosie'. Bundling them together as "the APT. team" would be wrong.

At 0:13.5 the Floor Disappears

I measured all 3 minutes and 1 second in 0.25-second windows.

The opening builds slowly from −21.5dB to −16dB across the first 13.25 seconds. Then from 0:13.50 to 0:15.00 — about 1.7 seconds — the 20~150Hz band is cut to 0.0~0.1%. At 0:14.50 it reads −29.4dB. That's 14dB below the body of the track.

Then at 0:15.25 the low end returns at 67.3%, and at 0:16.00 it peaks at 88.4%.

The same trick comes back at 0:49, shorter and harder. From −30.9dB at 0:50.00 to −14.4dB at 0:50.75, low end 73.9% — the very next 0.25-second window. 16.5dB back in a single frame.

The third time is at 2:30.25, where a 12.75-second bridge opens. Across it the low end averages 2.95% (peaking at 18.6%); against roughly 53% in the body of the track, the bass and kick are effectively gone. It bottoms out at −28.6dB at 2:38.00. Then at 2:44.25 the low end returns at 70.2% and the level is back to −15.8dB within half a second.

Pull it out, put it back — three times. Only the length changes: 1.7 seconds, 0.25 seconds, 14 seconds.

The Low End Is What Drives This Song

Across the body of the track (0:15~2:58) the average band split runs 49.4% for 20~150Hz, 28.8% for 500~3000Hz and 1.3% for 6000~11000Hz. The median for the top band is 0.81%. The median spectral centroid sits at 658Hz.

Some coverage has attached the phrase "raw garage punk" to it. The piercing top end that phrase suggests barely shows up in the measurements. Apple Music tags it as Pop; English Wikipedia calls it "grungy, high-energy production". Outlets disagree, so pinning the genre to one word isn't the right move. One thing is certain, though — what drives this song is not the top end but the bottom.

From 1:00 to 2:30 the body sits at a median RMS of −15.7dB with the 5th-to-95th percentile spanning −18.4 to −14.3dB. Ninety seconds inside a 4.1dB window. The crest factor is 10.5dB — pressed down hard.

So the dynamics here aren't made with volume. Ninety seconds are held flat, and instead the floor gets pulled and replaced three times.

On the Subway You'll Only Hear Half of It

When the low end carries this much of a track, playback gear changes the result. On a small laptop speaker or a noisy subway, 20~150Hz is the first thing to go — and then the gap at 0:13.5 barely differs from the rest.

Use earphones, or a speaker with some bass. The design of this song is the ground disappearing for 1.7 seconds at 0:13.5 and coming back at 0:15.25.