Day: September 29, 2021

I love the idea of Japan’s sprawling, dozens-of-members-strong girl groups, but these large configurations make it difficult to find an entry point in the same way I can with smaller groups. Because of this, I often fall behind on releases by the various 46/48 artists. Then every once and awhile, a song like Sakurazaka46’s Dead End comes along and reminds me how potent this approach can be when firing on all cylinders.

Yesterday when writing about ITZY’s Swipe, I touched on the idea of genuine empowerment versus hollow pandering. I want to offer Dead End as a counterexample to Swipe. I also want to note that the idea of “empowerment” shouldn’t be gendered, as if female idols have to prove something their male counterparts don’t. But, it’s a buzzword these days so it’s best to tackle it head on. Though agency motives are all the same when it comes down to the nitty gritty (ie: money), I can’t help but see Dead End as a natural blast of empowering energy rather than a trendy idea of empowerment designed by agency-heads with dollar signs in their eyes.

Beyond Dead End’s authentic sense of purpose, the song itself is just really strong. As expected from the Sakamichi series, it’s overstuffed — bursting at the seams with blasts of brass, rollicking percussion and wordy melodies. But, I dare you not to get swept up in the towering sound presented here. Every element is lively and in your face, pushing the song to grow bigger and more bounding. The combination of brassy bombast, electric guitar and dynamic (almost samba) drumming craft an absolute beast of an instrumental. The melody is more one-note, but that matches Dead End’s single-minded momentum. These girls will surround you, rip your guts out and dance on the entrails. The fact that they make that such a thrilling experience is a testament to the power of their music.

Hooks	8
Production	10
Longevity	9
Bias	9
RATING	9

It’s been over five years since I last wrote about a single from Japanese trio (now duo) w-inds. They’re an act I check in with from time to time, because at their best they produce fantastic pop material. The guys got their start as pre-teens, debuting all the way back in 2001 with the kind of sugary pop that dominated that era. This makes 2021 their twentieth (!) anniversary. A new album is on the horizon, and Strip is our latest taste. If this song is any indication, we have a lot to look forward to.

In our current pop climate, everybody’s doing disco. The songs that are most effective are those that best capture the energy of the late seventies. Dua Lipa has been able to merge this with modern production, resulting in instant classics like Levitating and Don’t Start Now. I’d argue that Strip has similar success. Though we’ve heard the likes of its funky, bass-driven chorus countless times this year, w-inds bring that extra oomph to round it out.

Though Strip’s hook is incredibly fun, its best moments arrive during its pre-chorus. This segment hits us with a quartet of unexpected power notes, instantly raising interest as the instrumental fills in behind them. The production brings just enough orchestration to deliver a satisfying swell as it transitions seamlessly into the groovy chorus. Strip also pulls off an effective second-verse switch-up. The percussion changes in a way that benefits the track, maintaining energy in an off-kilter way. And as we move toward the finale, the song lets loose. All of its elements collide in a brilliant mix of drama and dancefloor. It’s a tight little thrill, delivering an ultra-satisfying experience in just under three minutes.

Hooks	9
Production	9
Longevity	9
Bias	9
RATING	9

In honor of SHINee’s Key taking charge of his sound on new mini album Bad Love, I’ll be taking a look at each track throughout the week. Check back every day, and make sure to explore my other In-Depth Album Reviews if you’re interested!

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1. Bad Love // 2. Yellow Tape // 3. Hate That… (ft. Taeyeon) // 4. Helium // 5. Saturday Night // 6. Eighteen (End Of My World)

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Yellow Tape

After the synth throwdown of Bad Love, Yellow Tape moves into funkier material that sounds like a full-group SHINee track. In fact, it would have fit quite comfortably on their most recent album. And while I think the song would have benefitted from the diverse tones of the members, Key convincingly drives it forward on his own.

Yellow Tape’s introduction is incredibly atmospheric. We’ve got the rumble of synthwave tied to police sirens, setting the scene for a dramatic arrangement. The verse hits us with a funky beat, bringing a more energetic sound than Bad Love. I’m particularly infatuated with the infusion of rhythm guitar during verse two. I love the blend of rock and dance, and I think Key does too.

From here, Yellow Tape offers a simple hook. The melody is clipped and aggressive, coupled with a catchy “breathe in, breathe out” response that adds great texture to the chorus. There are stronger refrains on the album, but Key tugs on the phrases to generate a satisfying oomph. The siren-like electronics are very effective here, and add to the song’s momentum while giving it a disco sheen. Yellow Tape is Key thriving within his comfort zone, and that will always be thrilling to hear.

Hooks	8
Production	9
Longevity	9
Bias	10
RATING	9

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You can’t always judge a book by its cover, and you can’t always judge a rookie by their debut song. K-pop history is full of strong groups who debuted with subpar material (Girl’s Day and ZE:A say hello), and we may need to add Ciipher to that list. Last spring’s I Like You was an oddly low-key effort, with generic production and an amateurish performance. But with follow-up Blind (콩깍지), the guys have vaulted to a whole new level. While the song is still rough around the edges, its standout drop and addictive energy reinvents Ciipher’s sound in a compelling way.

Like so many K-pop tracks, Blind works in fits and starts. Its verses are its weakest element, dialing back too far on energy. From what they’ve presented so far, Ciipher seem to be a hip-hop focused group, and the song’s rap makes an impact. But, I wish the melodies offered the same jolt.

Thankfully, this is not an issue during the pre-chorus and hook. These segments are fantastic, and easily make Blind a standout effort. The pre-chorus build is enthralling, underlined by robust synth as the percussion gathers steam. It’s not particularly original, but it’s executed very well. This leads into a wonderful guitar riff, powering the simple, chant-along chorus. Usually, I’d be pining for more melody, but Blind’s hook has a gawky playfulness that’s surprisingly satisfying. The song grows even stronger when the vocals are allowed to soar, injecting additional power into the breakneck pace of the instrumental. This is the kind of unabashedly big energy I hope to see from rookies.

Hooks	8
Production	9
Longevity	9
Bias	9
RATING	8.75

In honor of SHINee’s Key taking charge of his sound on new mini album Bad Love, I’ll be taking a look at each track throughout the week. Check back every day, and make sure to explore my other In-Depth Album Reviews if you’re interested!

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1. Bad Love // 2. Yellow Tape // 3. Hate That… (ft. Taeyeon) // 4. Helium // 5. Saturday Night // 6. Eighteen (End Of My World)

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Helium

Back in 2018, Key collaborated with British artist Years & Years on a remix. Of all the tracks on Bad Love, the English-language Helium (헬륨) reminds me most of that alternative electropop sound. It’s a niche not well-covered in K-pop, and Key feels like a natural fit.

Helium is more about texture and atmosphere than melody, and that’s okay. I like how the track plays with breathing as a musical theme. At times, the structure fills and ascends as if blowing up a balloon. It’s the same tension you get when that balloon is about to pop. But before that happens, a few rhythmic exhalations lead us to a moment of musical release. It’s a neat trick, and gives Helium plenty to work with.

Key breaks up the hooks with a fun spoken-word segment, and his English-language performance is something of a revelation. Elsewhere, his voice takes on a breezy tone, light and airy but somehow sinister. The instrumental is a bit more downbeat than expected – a steady creep rather than an ebullient bounce. But, I like the Daft Punk-esque synths that underline each chorus. As with the rest of Helium, there’s a ruggedness to this sound that sets it apart from most K-pop.

Hooks	8
Production	9
Longevity	9
Bias	8
RATING	8.5

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