ClaimDream

After being delayed from a planned July release, SHINee’s Key has finally returned as a soloist with his Bad Love mini album. Judging from reports, he and SM Entertainment clashed on everything from concept to title track. I imagine a scenario where SM presented some dusty old NCT scrap and said: “this is what the kids are doing today.” Quite rightfully, Key insisted he follow his own path. He’s been vocal about this album representing the kind of music he enjoys, and I’m immensely proud of him for sticking to his guns. Key and I happen to share similar taste in pop music, but even if we didn’t, it’s so important for artists to release material they enjoy performing.

With this in mind, Bad Love is utterly victorious. If anyone was going to do justice to K-pop’s new retro trend, it’s Key. It’s as if he was simply biding his time, waiting for this style of synth-infused dance pop to make a resurgence.

After a scuzzy bit of electro distortion, Bad Love vaults into its undulous beat. This heavy synth groove powers most of the track, apart from the beautiful pre-choruses that opt for a nimbler rhythm. Every element comes together for the chorus, crafting a forceful arrangement powered by chanted backing vocals and exuberant samples. This results in a track that never lets up. Bad Love is intense from start to finish, and Key’s vocal follows suit.

On first listen, I was knocked flat by Key’s performance. We all know how talented each and every member of SHINee is, but when it comes to Key I picture fashion and attitude before bombastic power vocals. Yet, his delivery on Bad Love knocks it out of the park. He belts most lines and sounds totally comfortable doing so. His climactic ad-libs shoot the song to the stars, adding that uniquely K-pop flair that turns global musical trends into theatrical euphoria. And, he’s helped along by melodically rich songwriting. Bad Love’s chorus soars, but every segment of the song finds unexpected peaks that keep it from stalling. Key’s solo work has always been great, but this feels like his full potential unleashed.

Hooks	10
Production	9
Longevity	9
Bias	10
RATING	9.5

Despite debuted just over two years ago, AB6IX are already releasing their second full-length album. From its title Mo’ Complete, you get the sense the group is laying it all on the line, and that includes the first Lee Daehwi-composed title track since last year’s Salute. Cherry is the brightest, most cheerful single they’ve ever promoted, falling in line with 2021’s love of upbeat funk disco confections.

This style will always be a treat, and I love how Cherry’s instrumental remains exuberant all the way through. We’ve come to expect a certain ebb and flow in K-pop title tracks, where segments like the pre-chorus and second verse often lull in energy. Cherry is having none of this, and refuses to let the party stop. This is a total asset. I mean, who wants to stop dancing in the middle of a dance track? Frankly, I’d take a whole hour of this effusive rhythm guitar, bright synth and celebratory brass.

If Cherry disappoints in any way, its melody is the culprit. The song itself is engaging and exciting, but doesn’t quite find that knockout hook that would send it over the top. The “you’re my cherry on top” chant is used too often without modulation. It’s better-placed at the start of Woojin’s standout rap bridge. Meanwhile, the verses feel largely throwaway. It’s not until we hit the pre-chorus that Cherry starts to take shape. The melody here is breezy and fun and leads into a solid chorus. I feel like we’ve heard this refrain before, but its warmth pairs wonderfully with the splashy instrumental. And given its undeniable energy, I have a feeling Cherry’s going to age very well.

Hooks	8
Production	9
Longevity	9
Bias	9
RATING	8.75

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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