Bad news first, I will no longer be posting comments on Key’s We Got Married. SHINee’s OST compilation review is still coming, but it’ll probably be on the backburner.
I’m adding a few new kpop projects:
The Misconceptions of Us review
Lucky Star review
SHINee cover & collaborations review
My dear readers, I need your help for number 3! I’ve been so out of the kpop loop that I have missed many things (last night I just watched the sobfest that is the 2013 Melon Music Awards). Please submit any and all SHINee covers or collaborations you’d like me to address, like this excellent suggestion for Gloomy Letter in my ask.fm. Of course, you may submit more than one suggestion.
This is sort of, kind of, most likely, the worst duo project I’ve heard since Eunhyuk and Donghae’s album RIDE ME. INFINITE’s Woohyun and SHINee’s Key, though they are great friends in real life and have great chemistry in the music videos, their singing and rapping do not mesh well. They do not complement each other: they neither lessen each other’s weaknesses nor strengthen each other’s specialties. To be fair, it’s hard to balance with a voice like Key’s. All too obviously, this mini-album fails the balancing act and even raises the question, did they even attempt to create balance?
The production also seems off-quality– I’ve been told that it’s not the usual slew of SM producers backing this, rather from Woollim Entertainment. I’ve never really enjoyed an INFINITE song, and I suspect it may be the unfinished and corny sound that that Woollim tends to favor. Rather than SM’s style of slick pop, Woollim gives off a safe-family vibe.
In this review, I will only be talking about the album and will not review the music videos or the lives, though I may mention them in passing. Be warned, this review is more crass than you would typically read because I couldn’t find much to like about this mini.
I can hear it now, the waves of corniness with a big side of unnecessary piano and bass comping in the background. Can I make it through without gagging? $10 on me not being able to make it to the end.
Part of me cannot believe how much EXO reminds me of early SHINee and how much better they are than early SHINee. SM seems to be lavishing them with good production; I usually run from the smooth R&B pop (including SHINee’s) but EXO’s selections seem to continually flout the typical run-of-the-mill sounds. It also doesn’t help that Chen– and the rest of EXO– is handing in better and better track performances.
Watching the Overdose music video multiple times has made me realize one of SM’s biggest trademarks, which is surprisingly hard to duplicate (no matter how much plastic surgery)– looks. SM probably has potent combination of these three: (1) a killer team of recruiters (2) great plastic surgeons on speed dial (3) makeup magicians. Yet, despite this focus on looks, I must acknowledge SM for debuting artists that are not “typically” the ideal face, e.g., Onew, Tao, Kris, Amber. Think now: how many faces do you see like Hyoyeon and how many faces do you see like Tiffany?
Made popular in part by EatYourKimchi, I think a lot of people still sniff and complain about SM’s “music-videos-in-fancy-boxes”, and some made allowance for this type of video when the dance was “interesting”, most notably for Growl. Yet, in Overdose, just by their looks alone, EXO is captivating– in this case, a storyline would have cut down on the screentime of each member. From a business perspective, a standard box-music-video costs less in terms of concept development and set decoration; if you have fans that will lap up whatever you throw at them, why bother going that far? SM is a company that plays it safe– it will never be home of a Gangnam Style. I do feel that a lot of us in the West tend to have an elevated view of pop musicians and the art form– case in point, Lady Gaga’s release of an album expressly called ARTPOP and the legions of lesser pop stars trying to pontificate on points deeper than they actually intend (I see you, Lana Del Rey). Rather, kpop is less of an elevated art form, more like a vehicle for advertisement. It’s a means for getting the group’s face out there and not necessarily pushing an agenda of any deeper meaning. This is not a critique, this is merely reality. At times I feel incredibly frustrated listening to outside opinions because they continually project their own cultural norms without stopping to think– hey, there might actually be a reason for this behavior.
Favorite tracks on the album are Overdose, Thunder and Love, Love, Love.
In 2014, S.M. The Ballad returned to the music scene. In contrast to the unit’s debut, 2014 S.M. The Ballad included women and released in three languages simultaneously (applause please, seriously impressed with S.M. gunning for the entire Asian market and not prioritizing Korea). The interesting upshot of releasing one song in three different languages is that I get to compare and lampoon everyone who is not Jonghyun. Just kidding, of course.
As this is a SHINee-centered blog, I will be primarily focusing on Jonghyun’s contribution to S.M. The Ballad, but I will briefly discuss all of the other singers and singles within this mini-album. I will also discuss the live joint recital videos that SM has posted on its YouTube channel.
SHINee’s Jonghyun and SNSD’s Taeyeon sing the Korean version, and their success is ambiguous. First of all, Breath by itself is not a memorable ballad, just another sappy mix of a piano motive, synthetic strings and teardrop beats. Both Jonghyun and Taeyeon, while sounding controlled, are at times tight and thin-sounding; as Bilbo Baggins describes, it feels like “butter scraped over too much bread.” In the beginning, Taeyeon does have some beautiful moments in her lower register, but her octave duets with Jonghyun feel uncomfortable, sharp while Jonghyun is broad and relaxed. I wonder if they are truly singing a duet, or whether they are merely matching times. There is no real interaction between their singing, and no building off each other. Overall, I believe they are mismatched as a pair; in terms of aural match, Taeyeon and Onew would have been better. Overall, Jonghyun and Taeyeon’s version is not lead vocal material.
2013 has musically been the busiest year for SHINee thus far, releasing three LPs (Dream Girl: Misconceptions of You, Why So Serious: Misconceptions of Me, Boys Meet U), one EP (Everybody), for a total of six singles. Excepting Jonghyun, all of the members have grown as singers– I would say that the most promising is Minho, with a close second place to Key, who is returning to and developing his original sound in Love Like Oxygen. Improvement of SHINee as singers and the concurrent increase of ballads sans rapping released gave us B-side gems like Beautiful, Password, Symptoms, and Excuse Me Miss. 2013 is easily the most consistent and technically advanced year we have seen from SHINee yet.
Outside of SHINee’s music, Taemin featured on Henry’s Trap(and visually on BoA’s Disturbance). Jonghyun composed and featured on IU’s Gloomy Clock and Son Dambi’s Red Candle, as well singing an OST for The King’s Dream. Key participated in two musicals: Catch Me If You Can and Bonnie and Clyde.
On television, as a whole unit, SHINee appeared little: Weekly Idol and SHINee’s Wonderful Day were the high notes. While entertaining perhaps to SHINee fans, SHINee’s Wonderful Day was quite boring as the members are never as funny and wonderfully cohesive as when they are together as in Hello Baby. In the spring, Taemin was cast on We Got Married with Apink’s Naeun. However, together with the bland angelic “personality” of Taemin and the constructed fabrication of We Got Married, this was incredibly boring for most other than fans of Taemin and Naeun. A much better casting would have been Key or Jonghyun, who are much less guarded about their words and enjoy hamming it up for the cameras. Next, Onew and Minho both had their own turns at acting, with former with much-panned Welcome To the Royal Villa and the latter with Medical Top Teamand Let’s Go Dream Team. Continue reading →