Review: Taeyeon - INVU
Taeyeon is one of the most consistent soloists in Korea at the moment. She has released two A+ full-length albums, with INVU being her third album. While not instantly as appealing as My Voice or Purpose, INVU is led by an appealing title track to open the album.
INVU, genre-wise, is an electro-house dance-pop track with future-house elements. Apparently, SM entertainment higher-ups did not find this song worthy of its status as a lead single, and Taeyeon had to fight to have this song head the album. This happened with Key's Bad Love EP last year, making me wonder what SM has against futuristic concept electronic synth dance tracks!
Taeyeon proves a fantastic vocalist as always. She has shown time and time again how she can add pathos to a simple track. While INVU is no Time Lapse, few other Korean soloists could tackle the track as head-on as Taeyeon does here.
Thankfully, the instrumental is straightforward but always focuses on building. The electronic groove is slick, never overpowering, but strong nonetheless. From the thundering bass in the verses to the smooth electronic drop, each and every segment flows into another. A particular highlight of the production is the sci-fi synths seen in the middle eight, which give an anthemic feel. It is always atmospheric, especially in the chorus.
The chorus cleverly layers the thundering bass over a light, springy, but forceful synth line. Initially, it does prove uninteresting, but subsequent repetitions add Taeyeon ad-libbing over the segment, giving another dimension to the song.
The song's secret weapon, however, is percussion. From the stomping beats in the chorus adding a level of intensity to the snapping beats proving in the pre-chorus, adding extra texture to what would otherwise be a simple segment, it saves the song from collapsing under its weight. Overall, this is a strong lead single for one of Korea's top soloists.
Loved that you are enjoying INVU. It's definitely South Korea's most commercially successful critical release yet, well since AKMU's NAKKA. I'm kind of really intrigued that we never get spectacular songs to top the charts anymore starting in the 4th generation, like what The Chaser, Paradise or even Ticket and 4 Walls did. That era may have ended as well, the shift of the general population is to what is more accessible and more moody.
ReplyDeleteA sidenote, I have to say OSTs this year are very good. I listened to Twenty-Five, Twenty One's soundtrack and the two songs so far are absolute fire. Starlight bt Taeil and Bae Giseong's 눈이 부시도록 너를 비춰줄게, are standouts. Particularly the commonality of a guitar hook is so impeccable to my ears. In Thailand, their OSTs are very good, I mean last year was an up and coming year for shining a light to their music scene.
True, it has been interesting to see how idol tracks have slowly fallen of the Gaon charts. I feel it has a lot to do with several factors, such as the Produce series, the re-vitalization of the indie scene, and much more. I actually have a lot to say about that, but that is for a potential future post. I must note though, that the examples you picked never topped Gaon though lol, though 4 Walls peaked at no. 2.
DeleteI have yet to hear the OSTs, but I actually am quite excited and will check them out soon!
Oh wow. I didn't know that they didn't even top! I thought with the 3,000,000+ units of The Chaser it must have been sure for them. But well it's sad.
DeleteSales units were quite different at the time. But you have a point, idol acts have totally fallen off the Gaon over the recent years.
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