Lovelyz are back after about 5 months with a new mini album this time entirely spring-themed. The EP called “Heal” is a fusion of new elements for the group that now is more than ready to experiment with some fresh sounds along with their classic pop-ish and lovely sound. The title track is, in fact, composed by Sweetune, which is a first for them, even though he previously composed some b-sides in their albums. Some other noteworthy names who contributed to the album are Davink (part of the team OnePiece, who composed for them songs like “Ah-choo” and “Destiny”), Razer, 1Take and TAK (“Twinkle”).
Release Date: April 23th, 2018
- 治癒 (치유) (Heal)
- 그날의 너 (That Day)
- 미묘미묘해 (Bizarre)
- 수채화 (Watercolour)
Total Runtime: 00:17:51
Recommended for: Lovelyz fans. People who like electro pop, bubbly, jumpy, cute, bright but yet gentle songs with groovy twists. People who like variety and spring-like tracks.
NOT recommended for: People who prefer hip hop tracks, EDM, Trap, Rap and sad songs.
The intro starts with a lots of rhythm, percussions and a soulful piano to break into a synth-based tune soon after, with bright electronic effects which are the perfect prelude for the title track.
그날의 너 (That Day)
The title track starts like a very loungy and chill song whose rhythm looks like a perfect continuum of the previous intro. Then it all explodes suddenly in some synths pop perfection that is as unexpected as almost misplaced. In fact, soon after, the first verse comes back again to the previous chill mood. A melancholic and sad emotion is lingering in there coupled with the breathy and soft vocals.
The build-up picks up a bit of energy with again a cute electronic background. Though I can say that before the chorus there seems to be something missing. I mean the build-up connecting the verse with the chorus is there but its tone is not “elevated” or “high” enough to flow into a completely bright and upbeat chorus. It’s mild, a little dull and again it feels like something more powerful is missing. This lack of some unnamed sound is then filled up with the superlative chorus. This may actually be one of my favourite choruses this year because it’s so well-constructed. It has all the necessary elements like the synths, the electro-pop sound, the girls’ sick harmonies, a catchy hook and then it culminates in the final instrumental that it’s the same from the beginning.
The following verse is again similar to the first one. The energy is suddenly too low without any warning, there’s only sadness there, interpreted perfectly through Sujeong’s airy vocals. With Kei’s part, the rhythm picks up a bit of pace again and then the same build-up with Jiae and Jisoo’s normal voices (finally!) paves the road for the thrilling and catchy chorus. The bridge is very ethereal and it’s peculiar that there’s no high note at the end, maybe because the collective chorus is already higher in tone than the rest of the song. In fact, what I appreciated greatly here is that finally we hear the girls singing in their lower tones, a register they still have to explore more even though they showed great potential there.
All in all, the song seems to have once again two souls. It’s actually an improbable break up song and following also the lyrics I can see why they chose to give the verses a nostalgic hue and why they did the opposite with the chorus. In the verses, they simply expressed the painful memories of the breakup which then become just faint memories to which one smiles later when they have finally moved on. And the bright chorus expresses exactly the hope one has when he’s finally free from the bad memories.
This is a song that makes you say “That’s it! This could have been easily the title track”. Why? Simply because it’s so engaging, quirky, boppy and at the same time somewhat unique. It opens with some disco and rock-ish instrumental but after that Yein and Sujeong’s playful vocals set the mood for the first verse. The next build-up comes completely unexpected. There’s something mischievous and jumpy to it, and it has that game-like sound which could be considered one of the distinctive traits of lovelyz discography. In this part, it seems like a new tension is built towards the chorus. It’s like the song here is going higher and higher but then this tension is loosened in the last part of the build-up with a sound that reminds me of flowing water exploding all of sudden through a dam. Together with Baby Soul and Jin’s soulful vocals, the effect is quite peculiar.
Finally we reach the chorus which is the apotheosis of “the cute”. It’s cheerful, uplifting and just an happy-go-lucky chorus accompanied by delightful and elegant violin sound that seems to proceed in circular motion. Is it normal that it almost made me feel dizzy? I don’t know but the percussions are also very present and powerful here. All in all, a very playful chorus. The instrumental interlude with strings and guitar following the chorus is also another dazzling part. A rather enticing and captivating sound is the flamenco clapping in the background of the second verse. With the bridge, the hectic song slows down in a very groovy way. Sujeong’s vocals really stand out here for their huskiness and Baby Soul brings back the playfulness with her final high note, which explodes one last time in the sweet chorus.
Temptation is one of the most experimental tracks Lovelyz have ever had. Its composer has described perfectly its mood in a tweet:
It’s a work where I feel like I’m giving a glass of red wine for the first time to a younger sibling who I’ve always poured grape juice for.
It’s like a coming-of-age song in every way. Starting from its completely different mood compared to the rest of the album. This track is sultry, dreamy, almost reminding me of one of those ambient songs that are just deep and you can’t help but lose yourself in them. The song starts with some deep disco-electro sound and synths. The following jumpy and mysterious electronic effect is so captivating, making me feel like I’m in a sort of crime novel or thriller. The vocals are also sexier and huskier. The key change during Jisoo’s part marks the start of the build-up which is not substantially different from the previous verse. The pre-chorus drizzly synths become gradually higher, bringing much more sentiment to the next part. The chorus is, in fact, filled with ethereal harmonies but at the same time the singing also appears more resolute and powerful.
During the song, we always have the same background melody with synths, electro effects and percussions. The only thing that changes throughout the song is the key. Some time we get a lower key (mostly in the chorus) so there’s a different style of singing, some other time we get a higher key (verses + pre-chorus). This results in a very intense track that actually keeps your attention until the end. The only different part is Baby Soul’s vigorous rap. Here, Baby Soul can finally show what she’s capable of: fiery, emotional and charismatic, her rap is surely an unprecedented bold move, since she never had the opportunity to show her amazing skills in an album track. The song actually ends with this rap and a nostalgic and tender instrumental.
This is the representative ballad of the album. Once again a perfect track to show off lovelyz’s polished vocals. It doesn’t stand out much as a song, especially considering that Lovelyz has better ballads than this one, and it also has the common structure found in other ballads. However, the pure and sweet emotions coming from it can’t be ignored. The chorus shows their flawless harmonies and it’s particularly sentimental. The climax, for me, is actually Kei’s high note in the first chorus, because it’s so soulful and sincere. The bridge is very delicate and pleasant, and once again the exchange between the girls’ different vocal tones brings an additional sweetness.
If you’re searching for a perfect anime song, you found it! My God, this could easily be an opening or an ending of some anime and nobody would even know the difference given by the Korean language. When I first listened to this song, I thought “This song is so effin’ annoying”. Well, I’m sorry I said this, I’m going to repent for my sins, because this is just a banger, a bop, an earworm, nothing more nothing less. The reason why I first said that is because it’s just so fast-paced, it makes you go crazy or dizzy, or both.
The problem is that it makes you go crazy in a very good way. It’s quirky, frantic and has the distinctive game-like sound. Its rhythm is addictive from the start and the cute and simple beginning escalates quickly into an unrestrained and frenetic electro-pop melody. From here, as the pace becomes faster and faster, the song becomes catchier and catchier and the chorus is just insanely eccentric. The second verse is much more relaxed and it’s strange that it’s slower than the rest, since the bridge is usually the part where everything slows down. On the contrary, this part actually continues with the same tone, bright, cute and just faster and faster.