SEVENTEEN Pushes the Envelope with An Ode
In their darkest comeback yet, SEVENTEEN returns to the scene with their latest single “Fear,” off of their new album, An Ode. Released on September 16, the third full-length album brings about a different image for the group, complete with darker visuals, a matured sound, and a release full of musical risk-taking.
Nothing to “Fear”
In the days leading up to An Ode’s release, SEVENTEEN teased that this would be their darkest concept yet. With several cryptic teasers and the announcement that the title track would be called “Fear,” anticipation was running high from both fans and non-fans alike. And, unsurprisingly, “Fear” does not disappoint. Picking up where previously released tracks like “Getting Closer” and “Good to Me” left off, “Fear” is equal parts edgy and sensual with just enough danger to keep listeners on the edge of their seats.
“Fear” is a song about love gone bad, wherein unhealthy feelings seep through a relationship like poison. Lyrically, it’s an interesting take on an unhealthy relationship as the majority of K-Pop heartbreak songs tend to have the victim as the protagonist. SEVENTEEN, however, flips this narrative on its head, instead acting as the antagonist in the toxic relationship and begging the other person to leave. Instrumentally, the song was teased as an R&B track, though it’s hard to pin down this sinister song to just one genre, with elements pulled from EDM, house, and even rock.
The true genius of “Fear,” however, is in its composition. SEVENTEEN’s “Home” from their January EP You Made My Dawn was notable in its out-of-the-box construction with its minimalism and false drops, and “Fear” follows in its footsteps. “Fear” starts off with an explosive chorus courtesy of Wonwoo before immediately cutting to a haunting acapella by Joshua—a pattern that follows the entire song. Slinky instrumentation kicks in with Vernon’s first verse, building in intensity and bass with Woozi’s pre-chorus before Seungkwan’s powerful “Someone tell me what should I do.” Jeonghan’s whisper-like acapella at the start of the second verse is literally jaw-dropping, made all the more startling by the way it suddenly interrupts the preceding chorus. The full chorus takes the minimalist route, with a catchy repeat of “Oh oh oh yeah, yeah” that’s bound to get stuck in your head. “Fear” is a song that keeps you on the edge of your seat like a snake waiting to strike. It’s a track that’s injected with just the right amount of danger to keep you coming back. One thing’s for sure, this is one brand of poison that’s addictive.
From Dark to Darker
Musically, “Fear” is evidence of SEVENTEEN taking risks with their sound; that being said, the music video is essential to the track, with the enigmatic visuals and striking cinematography heightening the already mysterious song. As a group, SEVENTEEN is viewed by the general public as almost synonymous with fresh, youthful concepts, a trend that has followed them since their earlier days. Although fans know this limited view only touches the surface of the group’s discography, the bright and youthful image has been a hard one to break. With the release of “Fear,” however, SEVENTEEN’s mastery of various concepts is plain to even the most ardent “freshteen” fan.
The video is set amongst stark blacks, whites, and reds; there’s a recurring motif of blood in various shots stained or tainted with red. As a result, these splashes of color make the video visually startling—appropriate for such a foreboding song. One of the most dramatic shots shows Jeonghan in a red overlay before cutting away to reveal a smudge of red against his lips, a clear message that everything is not always what meets the eye.
Other members are seen on sets with cages, shattered glass, and timers ominously counting down. The video also plays with various camera angles, shifting between aspect ratios and sideways shots in a way that’s almost hypnotizing.
Compared to their last aptly named hard-hitting single “HIT,” the choreography for “Fear” trades in fast-paced tempos for smoother movements that tell a story. According to performance leader Hoshi during the group’s comeback showcase, the point choreography of cupped hands that makes a recurring appearance throughout the song signifies drinking poison. In addition to specific imagery, the emotive choreography allows the members to focus on the feeling of the song—and each and every member delivers flawlessly in this video.
As interesting and complex of a song as “Fear” is, this concept relies heavily upon the visual aspect. Between legitimately stunning cinematography and breathtaking visuals, “Fear” is a video that will haunt you long after the first watch.
An Ode to Artistry
Considering An Ode is the group’s third full-length album, the release brings just as much—if not more—creative risks as one would expect. In terms of genre, the album has it all, from sultry ballads to high-energy numbers fitting of a musical. The release also shows a notable maturation in SEVENTEEN’s sound: gone are the rose-colored days of teenage romance, instead replaced by delicate heartbreak and poisonous relationships.
The album boldly opens with the group’s recent digital release “HIT,” a fierce EDM track in which SEVENTEEN declares their pride as artists. Immediately shifting gears, the next track is the much softer “Lie Again,” a track co-composed and arranged by Simon Petren, known for his work on the group’s iconic ballad, “Habit.” As the album’s only track not entirely produced in-house, the sound in “Lie Again” is quite different from the rest of the album. In my honest opinion, what makes a good song memorable is when it sounds like nothing I’ve heard before, and this whimsically sad, soft pop track about lying to spare a loved one is experimental in its pizzicato string effects, heavy yet subtle bass, and use of silence. Even more striking for the SEVENTEEN fan is the featured reworking of Vernon’s iconic opening lines in the group’s hit, “Don’t Wanna Cry.” As melancholy as it is, “Lie Again” serves to be a standout on the album.
“Fear” is the next track on the album, amping the energy back up to where it started. “Let me hear you say” is the fourth song in the tracklist, and while not as hard-hitting as its predecessors, the track is injected with SEVENTEEN’s characteristic youthful fervor. In an album suited for autumn, “Let me hear you say” brings the energy from summer with its catchy chorus. “247,” the token performance team track, is another standout on the album. Known for usually delivering electrifying dance tracks, the performance team’s “247” is instead a sensual R&B jam that allows team members Hoshi, The 8, Jun, and Dino to show off their vocals with the boys soft crooning set against a lone electric guitar. The song also features references to the team’s past releases like “Moonwalker” and “Lilili Yabbay,” a nod any Carat can appreciate.
The vocal team’s “Second Life” is next and, while a good song, it does regrettably fall a little flat compared to some of the team’s past releases, perhaps due in part to its lack of power vocals. The highlight of the song comes in the form of Woozi’s awe-inducing belting in the bridge which feels like something of a wake up call in contrast to the rest of the muted track. “Network Love” comes next, performed by a new sub-unit comprised of foreign members Vernon, Joshua, The 8, and Jun. Groovy from the first note to the last, the song pulls from 90s influences as the four international members of SEVENTEEN sing about the internet’s ability to bring people together. Similar to “247,” this song showcases the voices of Chinese members The 8 and Jun much more than previous releases, with their soaring vocals in this song offering some of the most memorable points in the album.
“Back it up” is the quite literal banger from the group’s hip-hop team. Like “Network Love,” the bass used in the song has a certain retro 90s feel to it. A classic hype track, the song features sirens throughout its entirety, and while musically it is weaker compared to the rest of the album, “Back it up” promises to be one of the best live performances. In another dramatic shift in tone, the upbeat pop track “Lucky” follows “Back it up.” “Lucky” takes the 90s influences to the max, with its jiving bass and strong synth hits reminiscent of the Spice Girls (yes, you read that right). Against the rest of the tracklist, this song stands out the least, though not necessarily through any fault of its own: the rest of the album is that distinct.
Speaking of distinct, “Snap Shoot” undoubtedly serves to be the gem of An Ode. In an album full of sorrow, heartbreak, and regret, “Snap Shoot” offers unparalleled charisma. Complete with a Broadway-esque intro and jazzy church organ, the gospel-like song evokes the energy of past releases like “Pretty U” without sacrificing the group’s maturation as artists—their sound has simply grown with them. SEVENTEEN’s ability to blend their old, youthful charm with their more mature image makes the infectious “Snap Shoot” just all the more enjoyable. It is physically impossible to listen to this song and not smile. Absolutely impossible. The album rounds out with the Korean version of the group’s earlier 2019 Japanese release “Happy Ending,” though in all honesty, it’s hard to top the happiness in “Snap Shoot.”
As an album, An Ode is an interesting release from SEVENTEEN. It’s not perfect: despite several remarkable standouts on the album, several other tracks are more or less forgettable, and with such a widespread array of genres, the tracklist at times feels a bit disjointed. However, SEVENTEEN never promised a “perfect” album. What they did promise was a release full of creative endeavors, an album that would push their envelope as artists. And in that respect, SEVENTEEN indisputably delivered.