Bit of an advance review. It’s unlisted for now, but it’s totally possible that I remove it (I don’t like my face out there so much), so I’d watch as soon as you are able. If you like it, and want to see more, let me know. It was fun doing this video, and if there’s demand, I would definitely consider scaling up the quality. Thanks for watching!
Woops, I was supposed to be doing economics research but then I ended up watching SHINee on Sketchbook. Since Jonghyun’s getting a solo debut this January 2015, I hope he’s been booked for Sketchbook as well.
I definitely don’t give Taemin enough credit for growing so much in the past few years. While I’m not in love with this performance of Danger (weak as always because his low register is not comfortable for him at all and he mumbles instead of singing sometimes), his rendition of Experience and Replay are the best I’ve heard him, and could have been even better if Taemin gave up the cheesy dancing during Replay. When he sings Jonghyun’s vocalizations, there are some periods of uncomfortable tightness, but mostly it’s smooth and doesn’t feel so forced as it usually does. Like Replay, Taemin still has several periods of rigidity when singing in the progressively higher parts.
Huge shout-out to the guitarist supporting him both– especially for Experience— I would attribute a lot of the great flavor of Taemin’s performance to him and the other instrumentalists. Live bands make a big difference, which is why Sketchbook and Muzit performances are always a step-up from the average music show performance.
Watch Replay at 17m16s, and Experience at 23m45s.
Key sings an older song, A Story of a Couple in Their 60s, placed in a lower range than SHINee normally sings– even for Onew. His rendition is excellent, especially when considering his broad lower range, which reverberates and projects. Like Taemin, his voice becomes stretched and too throaty when he reaches higher, but his lower parts are simply glowing. Easily the best I’ve ever heard Key.
Watch A Story of a Couple in Their 60s at 8m22s.
Bonus! Some thoughts on SHINee
Not the best Dream Girl performance from SHINee, though the live band is amazing. Seriously, I’d listen to this again and again just for the badass live band in the background. All of them are sounding strained, especially Taemin and a little for Onew, Jonghyun is way too nasal, Minho’s singing is surprisingly all right– he fudged the rap part big time, though.
The live band, though! A+! Instrumentalists are the best, after all.
There’s no live band in the Sherlock performance, sadly. Largely the same verdict as before, though Jonghyun mellows out in this performance and has a broader voice. SHINee is too shouty in both these performances.
1. Downtown Baby
This single can be seen as a follow-up to Lucky Star and Dazzling Girl, endearingly pop and catchy but not a particularly creative or more-than-ephemeral song. The vocals are all stylistically more consistent, warm, broad, and light– even Minho. Jonghyun in particular sounds more mild than usual, a tone he usually reserves for ballads and not for upbeat singles like Downtown Baby.
There’s nothing much to complain about this single, nor is there much to especially like. Continue reading
In the spirit of being
lazy creative, Taemin’s debut album, Ace, will be entirely reviewed in haikus.
Too many nosebleeds from dance
Strangely his style
Hair so moppy mess
Beats good, voice over-processed
In lives warble heard
Sounds stupid at first
Cheap excuse for a dance break
4. Pretty Boy
At least Taemin doesn’t rap
Stretched voice too throaty
Too much brass, doo-wop!
Not Taemin’s style
6. Play Me
Ace’s bland brother
Falsetto: breathy weakness
I prefer Reynah
Yiruma, a famous Korean pop pianist, composed Selene‘s instrumental. A bit about what I think about Yiruma: he’s not a classical pianist or composer, despite some people insisting on labeling him that way. He may play as well as a classical pianist but for me, Yiruma is the kind of music you’ll hear in the elevator five years down the road. It’s tired and true, and while it may be popular in the short run, it’s nothing new– and so it is with his instrumental for Selene 6.23. Some swelling strings and a spare piano melody; if the song is going to be any good, it has to come from SHINee.
This song is a little different than usual SHINee songs as each individual singer sings more lines at one time– e.g., we do not hear Taemin come in until the second chorus. The chorus is sung by individual voices– mostly Key, Onew, Jonghyun– without a blended “voice” as we usually hear on lead singles. It’s actually quite nice, you can really focus on each singer.
Both Minho and Key were better than they usually are. Minho still sounds carefully controlled but alas is no longer a frog; his voice color more or less blends in with SHINee but you can still tell he is uncomfortably holding himself in a higher register. His voice, for the most part, still sounds from the throat and floats through the head. It makes zero sense that they gave him the high parts of the song when he could just have taken a part from Onew or Taemin; Onew and Taemin would be able to handle the higher register just fine.
At times Key has a problem with ending his phrases– they’re abrupt and without any vibrato, so sometimes it sounds like you’re in front of a warm, crackling fireplace and then you are thrust in the cold. It’s still a problem in Selene 6.23. However, he surprised me in the second chorus, as he starts quite low and sounds eerily like Onew in his breathing, delivery and control (1.53s). I am divided about Key– sometimes he shows pockets of brilliance and then reverts to his bad habits; he’s been like this since debut, even more so lately. It’s like he cared a lot about his singing at debut but has been lax about it in the last few years. It’s troubling.
Jonghyun and Onew kill it, of course, when they trade back and forth and double up in the chorus, it is evident that they are the vocal souls of SHINee. It’s been a while since I have heard their voices so together on a recording– and only them two, explicitly. Selene 6.23 just confirms that their voices blend incredibly well; Onew’s voice especially, has aged well.
Taemin was a weak presence on this album as a whole and while his parts were non-offensive for Selene 6.23 and Better Off, that is all they were. Neither special nor bad. It sometimes puzzles me to see Taemin as a solo artist now because his presence on a SHINee song can sometimes even be less than Key, despite having more lines.
Like Selene 6.23, Better Off is an inoffensive mid-tempo ballad. Check out Reynah’s piano arrangement instead.
Key, two thumbs down.
Business as usual.
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.
Please submit your suggestions here.
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.
Delicious Continue reading