Day: October 1, 2021

Now in their second year after debut, E’Last have maintained a symphonic sound that hearkens back to earlier generations of K-pop boy groups. I love them for this, but I’ve yet to fall head-over-heels in love with any of their songs. The drama and bombast is much-appreciated, but the songwriting tends to meander more than I’d like. It’s the difference between a stone cold classic like VIXX’s Error and this new single Dark Dream (악연).

Now, don’t get me wrong. I like E’Last’s music a lot. It’s just that everything’s been so close to knock-your-socks-off excellence that the tiny gap becomes extra frustrating. There are parts of Dark Dream that approach perfection. When the song gets going during its fast-paced, thrilling chorus, there’s nothing stopping it. The verses bring down the energy, opting for a heavier melody and blasts of moody rap. This is fine, but these segments are overlong. Further listens tease out the details, and once you have that roadmap, Dark Dream‘s twists and turns feel less disorienting. Still, I’ll always prefer a tighter, more streamlined structure.

Thankfully, the song’s grandiose production is consistently thrilling. Many K-pop groups fuse symphonic elements into their music, but few do it with such aplomb. Dark Dream feels tailor-made for musical theatre, and I appreciate how slavishly it sticks to this concept. Even when the guys are shouting forgettable scraps of melody, the strings swirl in the background as if we’re listening to the most monumental song in pop music history. Strip this away, and Dark Dream would be far less effective. When it comes down to it, that’s always been E’Last’s Achilles heel.

Hooks	8
Production	9
Longevity	9
Bias	8
RATING	8.5

Several weeks after pre-release Spicy, CL is back with the second taste of her upcoming album Alpha. Lover Like Me was penned by English singer/songwriter Anne-Marie, who has had tremendous success in Korea with her song 2002. I’m not sure what it is that made 2002 such a massive hit in the country, but it’s still charting years after its release. To sum it up, this collaboration feels very smart from a commercial perspective.

Lover Like Me also does a good job showcasing CL’s various charms. While Spicy showcased her skills as a rapper, Lover allows for focus on her vocals. This duality has always been one of CL’s biggest assets, and powered many a 2NE1 classic. I wouldn’t put Lover Like Me up there with the best of her material, but its emotional approach definitely piques interest for the album.

Musically, the song echoes much of the sounds found in global Top 40 fare over the past few years. The beats are languid and chill, augmented by trap hi-hats and atmospheric synths. The instrumental mostly stays out of the way until forming a muted drop during the chorus. There’s not much of a hook here, but the titular refrain is still catchy. The verses are more dynamic, with CL delivering an impassioned rebuke. She sounds great – simultaneously fiery and vulnerable. A late-song rap verse switches up the structure and works especially well against the skeletal beat. Lover Like Me’s whole is greater than its parts, but I still think CL is in search of her magnum opus.

Hooks	8
Production	7
Longevity	8
Bias	8
RATING	7.75

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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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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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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