Archive for March, 2017
CNBLUE’s latest Korean release, the six-song mini-album 7°CN, dropped on March 20 and it’s possibly the best thing they’ve put out in the past couple years. It’s also a giant step forward in their creative development, with the addition of electronic elements to their signature rock sound.
A few times in their career CNBLUE has made quantum leaps in their musical development and artistry. RE: BLUE, their first album that was completely self-composed, was an explosive and radical departure from their earlier, more KPop-styled Korean releases. Their 2014 Korean mini-album, Can’t Stop, also demonstrated massive growth in their musical development. With 7°CN the band once again has catapulted far beyond their preceding releases, opening up an almost unfathomable artistic distance between this album and their last one.
CNBLUE dipped its toes into EDM on their 2015 release 2gether, as well as on some of their Japanese albums (including the standout tracks Still and Radio, both from Wave), but with 7°CN they are all in on the electronica. Yet at the same time the band manages to retain a strong rock feel on the album, attesting to their increasing skill as composers, producers, and musicians. In this release they get some help from a new collaborator, US-based producer Justin Reinstein, whose past credits include Kpop acts Vixx and SF9, and Japanese pop legends Arashi, among others. Reinstein brings a glossy sheen to the record that brightens and freshens up the usual CNBLUE sound. The result is a strong new direction for the band that fits organically with their established sound.
There’s a definite sense of urgency in this release that was absent in their past few albums. On their last two Korean releases, 2gether and BLUEMING, band leader Jung Yonghwa seemed content to noodle around, experimenting with various styles and types of instrumentation, but this release has a laser focus to it. It’s almost as if Yonghwa has started to count down the days until his military enlistment (sometime in 2018) and he’s realized he has no time to waste any more.
This is very evident in the title track, Between Us (Korean title, Confused), which is a gorgeous, powerhouse piece of pop music. Here the urgency is particularly palpable as the songs starts in medias res, charging directly into the driving chorus before returning to the verse, as if Yonghwa doesn’t want to take any chances with losing listeners. Unlike the leisurely buildup of their 2014 track, Can’t Stop, which begins slowly and then gradually hit its full stride, Between Us goes straight for the jugular right away. The result is thrilling, and as the song builds the effect only becomes more exhilarating.
The track’s dense production includes both electronic drums and a trap set, roaring rock guitar licks, several layers of vocals, and a thundering bass line, creating a veritable wall of sound. This echoes the intensity of feeling expressed in the lyrics, which describe the uncertainty of a couple on the edge of falling in love. Interestingly, the lyrics were co-written by a woman, with some smartly expressed paradoxes including “when I see you I can’t breathe/I need to see you to breathe,” and the vulnerability in them is in sharp contrast to the strong downbeat and buzzy guitar riff that drive the song. Likewise, the slight discordance of the close harmonies in the final chorus underscores the confusion of the track’s Korean title.
As in the best CNBLUE tracks the small embellishments enhance the sound beautifully, such as the intricate piano and cymbal fills during the song’s pre-chorus. Also effective is the contrast between is the song’s quieter sections, including a couple smooth passages sung by Lee Jonghyun and a passionately belted bridge by Yonghwa, with the driving beat of the chorus. By the end of the track Yonghwa is wailing away in an ecstatic fervor, Kang Minhyuk’s drums are double-timing, the guitar and bass are blazing, and the entire song is clicking away on all cylinders. It’s an irresistible slice of pop music.
The second track, It’s You, leans more toward the pop side of things, and sounds a bit like some of the songs on CNBLUE’s last Japanese release EUPHORIA. But whereas that album’s production style is a stripped-down throwback to 1960s soul, here Yonghwa and co-writer and co-producer Reinstein fatten up the mix with finger-snapping, a hooky refrain, a bit of horns and piano, a brief rap in English, and the catchphrase “oh baby girl, it’s you,” as well as a smattering of synthesizer and some vocal processing. The result is a fresh, bouncy earworm of a track.
One of the pleasures of CNBLUE’s music is the interplay between Yonghwa’s and Jonghyun’s vocals and the third track, Calling You, is a stellar example of this. The song features the two singers effortlessly swapping lead vocals and kicking some gorgeous falsetto. The old-school Hammond organ and rhythmic, wah-wah pedal guitar riff, and some jazzy chromatic shifts add to the rich, fat sound of the track.
When I Was Young, the third track (composed by Jonghyun), is another standout cut. Once again liberally making use of the electronica side of the pop music spectrum, this sexy and slinky track mixes up trap beats, dubstep, and Yonghwa and Jonghyun’s smooth and effortless, soulful vocals. Yonghwa manages some of his most assured and inspired singing here, ranging from full-throated belting to sultry crooning. The lyrics belie the track’s smexy feel, however, as they are a lament to lost youth. Although heavy on the EDM, CNBLUE’s rock roots come through in the track’s anthemic chorus, a fuzzy, distorted guitar riff, and a deep deep bass line.
Bassist Lee Jungshin, who recently started publishing songs, adds another solid tune to his repertoire, the sweet uptempo ballad Manito (Secret Friend). Yonghwa makes great use of the song’s simplicity to improvise around and over its basic melody, showing off his ability to embellish and elevate a simple composition.
Closing out the EP is the Korean version of Royal Rumble, one of the standout tracks from EUPHORIA, CNBLUE’s Japanese release from last fall. The track features a polyrhythmic Latin beat coupled with Yonghwa’s haunting vocals. Although both the Japanese and Korean lyrics follow the same basic premise, of the experiences of a fighter forced to do constant battle in a never-ending competition, the Korean lyrics are actually much bleaker than the Japanese translation. Whereas the tagline of the Japanese version ended with somewhat hopeful line “nevertheless I dream on,” the Korean version (which I assume Yonghwa directly wrote) has no such redemptive words, closing instead with “maybe I want to end it too.” I’m hoping Yonghwa means ending his musical career and not something even darker and more hopeless. The structure of the song also complements the despair of the lyrics as the beat of the song moves along briskly while the vocal line moves in half-time. During the verse Yonghwa sings slightly behind the beat, which also contributes to the sense of fatigue and exhaustion.
In their seven-years-plus since their 2009 debut CNBLUE’s songcraft has become increasingly skillful in that time and both Yonghwa and Jonghyun are now masters of the three-minute pop song. Likewise, the demands of both their accelerated release schedule and their constant touring have strengthened their vocal technique. Yonghwa in particular is in another realm now with his varied and accomplished singing on every track. His voice is now incredibly strong and supple, ranging from a sultry purr in the lowest parts of his range on When We Were Young to a high tenor on Calling You and his passionate and expressive dynamics on Between Us are the engine that powers that song.
Ironically, even though this may be one of their strongest and most accomplished releases to date, its sales have been the poorest of their career in South Korea, their home country. The album has done well internationally, topping iTunes charts in nine countries around the world and garnering almost universally positive and in some cases rave reviews. Yet in South Korea CNBLUE continue to be prophets without honor in their own country as neither the song nor the album have been particularly well-received.
There are several reasons why this might be, chief amongst those being the fickle, youth-driven South Korean pop music market, as well as the lingering damage from the bad PR the band suffered last summer due to the incompetence of their agency, FNC entertainment, in the handling of insider-trading accusations. FNC also seems to have been caught by surprise with the middling reception of one of their headliner acts, as publicity and promotions in SK have been scanty. Recent CNBLUE releases have also had lackadaisical support from FNC but CNBLUE’s overall popularity during those times made up for the agency’s indifference. But after last summer’s controversy it’s a brand new world, and seven years in Kpop is an eternity, so even reliably popular senior groups like CNBLUE have been losing market share to the latest hot new acts.
Watching CNBLUE make the rounds of the Kpop music shows this past week has been an interesting experience. Since their digital sales have been lower than usual they have no chance of winning any of the trophies on these programs, so their performances have been somewhat meaningless. Added to that is the fact that they are mostly hand-syncing on these programs—they certainly give it their best, but since they are used to the much more invigorating experience of playing live in their concerts, being on Kpop shows has got to be a little bit less than exciting for them. I think it’s starting to dawn on them that they might not need Kpop or commercial success in South Korea to keep making their music. They’ve topped charts all over Asia and have even cracked the Billboard Top Ten World Music charts with this release, so maybe South Korea is beginning to become irrelevant to them. Although it’s sad they’re not appreciated in their home country these may be the hard facts.
It may be the start of their transition from a Kpop group to a real touring band, which is probably better for them in the long run. Their abilities and appeal are undeniable so I hope they can expand their base beyond the unappreciative South Korea music market. I’ve been following popular music for decades and CNBLUE’s talent is a rare and special thing. CNBLUE creates pop of the highest order and it would be criminal for their surpassingly excellent music not to be heard and appreciated by a wider global audience.
Bonus beats: In case you need convincing that Between Us is a great song, here’s a piano cover of it. Even without all the fancy overdubs the bones of this tune are so solid. This is amazing songwriting, people. Listen and weep.
CAAMfest is just around the corner so I’m posting a few quick recos to help people wade through the massive program. As usual this year the festival is screening more than 100 films, plus music and food events, so finding your bliss can be a daunting process. Here are a few things that I’ve seen that I like. Get your tickets while they’re hot—they’re going fast!
The Tiger Hunter, dir. Lena Khan
A sweet and amusing comedy set in the 1970s about an Indian guy who moves to the US to make his fortune, The Tiger Hunter is a crowd-pleaser that’s set as the CAAMfest opening night movie. Danny Pudi is appealing and genial as the son of the titular tiger hunter and the ensemble cast brings a goofy charm to the rest of the film. Speaking as someone who grew up in that inglorious decade I can also say that the 70s art direction is totally on point.
The Lockpicker, dir. Randall Okita
Randall Okita’s teen angst drama made my best-of list for 2016 and I’m sticking by that decision. Asian American narrative film directors have pretty much mastered the art of mimicking Hollywood movies these days, but The Lockpicker is a different animal altogether. Raw, unstructured, and brutally honest in its examination of some of the worst aspects of adolescence, the film is anchored by a charismatic and emo performance by first-time actor Keigian Umi Tang. As I’ve said before, as a parent of teenagers this movie terrified me in its depiction of the casual cruelty of ennui-stricken youth.
Chee and T, dir. Tanuj Chopra
Tanuj Chopra’s latest flick is a wacky ride through the wilds of Palo Alto with a couple slightly sketchy desi dudes who exist on the fringes of Silicon Valley’s tech wonderland. Funny and frantic, with typical Tanuj Chopra hijinks including hallucinogenic drugs, ethically questionable characters, and surprising individuals who are not what they seem to be.
AKA Seoul, dir. Jon Maxwell
An intriguing look at the experiences of a handful of twentysomething Korean adoptees as they return to Seoul to search for some of the answers to their family histories. Along the way they discover that uncovering the truth may not always be the best way to determine your destiny and that detours don’t necessarily mean derailment on the track tracks of life (wut?).
Basha Man, dir. Daniel Chein
A perceptive look at the conflict between capital and culture, this short documentary profiles a young tour guide and performer in a small village in western China. The film explores the difficulties in maintaining a cultural heritage in a rapidly commodifying world.
Bruce Takes Dragon Town, dir. Emily Chao
Returning to Taiwan during Ghost Month takes on extra significance for a Taiwanese American filmmaker tracing her family’s migrations. This short experimental doc gets bonus points for featuring clips of the obscure Francis Ng film Banana Spirit.
It Is What It Is, dir. Cyrus Tabor
This short experimental documentary uses home movies, archival footage, and a personal narrative that attempts to unlock family secrets across generations and between continents. Dreamy, sad, and perplexing, with a blurry sheen of flawed memories that demonstrates the difficulties in finding the line between truth and fiction.
Death In A Day, dir. Lin Wang
A brief look at a significant moment in a young boy’s life, this sharply observed short narrative, told from the boy’s point of view, is full of subtlety and symbolism.