When Dreams Come True: DAY6’s Band Aid
If you’ve listened to any amount of K-pop since 2015, chances are you will probably count yourself as a casual listener of DAY6. For years, it seemed like everyone was just a little bit of a fan of the band—My Days, on the other hand, have lovingly referred to the group as a “super band” for quite some time. It took nine years for them to get here, but it seems that with the release of Band Aid, the rest of the world is finally starting to take note.
“Melt Down”
There are few things as satisfying as seeing an artist you love organically achieve success. Now, factor in that the group has gone through member hiatuses, lineup changes, military enlistment, less than stellar promotions, and more in their nearly decade-long career and suddenly that hard-earned success seems nigh impossible—and yet, DAY6 has achieved exactly that in 2024. Gone are the days when DAY6 was more recognized overseas, when award nominations didn’t turn into wins, and when they weren’t widely known. Their latest single, “Melt Down,” stands as undeniable proof of that transformation.
“Time of Our Life,” the title track off 2019’s The Book of Us : Gravity, took Korea by storm this past year, and with the band's triumphant return with “Welcome to the Show” in spring, it felt like all eyes were on what they would do next. Enter “Melt Down,” a high-energy pop-rock track that follows the suit of its predecessors. The song, self-written and self-composed as usual, flips the negative connotation of its title on its head, instead using uplifting lyrics to detail how the warmth and support from another can melt a frozen heart.
Much like its driving beat, the song charged its way to the top of the charts, eventually landing the group their first No. 1 on the Melon Top 100, and later, their first real-time all-kill (meaning they simultaneously topped the charts of all the major Korean streaming services)—an achievement they are notably the first band to claim in a full decade. Naver reported that the band cried upon hearing the news; when you consider that they debuted almost nine years ago to the day, it’s no wonder why.
While the video for “Melt Down” aims to showcase the lyrics literally, showing the boys and their landscape thawing out as the song progresses, it feels more like a visual representation of how DAY6 has grown into Korea’s most beloved band. As the video moves along, pops of color explode throughout the Korean skylines, eventually culminating in an out-of-this-world concert with DAY6 as the stars of the show. Much like the song, it’s got an energy that’s as fun as it is addictive, and is sure to make anyone desperate to see the band live.
Self Care the DAY6 Way
Releasing eight new songs only five months after their last mini-album is a feat in itself, but it’s another kind of accomplishment when you consider that it’s been less than a year since DAY6 reunited following their military service. Even more astounding is the fact that all eight songs on Band Aid are entirely new compositions. For a band that’s spent the last half of the year absolutely skyrocketing in popularity and performing at what feels like every turn (a task which is not easy, given they’ve had to rework much of their discography to fit a four-person set), the caliber of Band Aid is downright incredible and proof that they really might be a super band after all.
Teasers for the album made it clear the release would have a grungy feel to it, and no song fits this concept better than Band Aid’s opener, “Monster.” Evocative of the Western ‘90s grunge rock era (think Nirvana or Radiohead), the song features wailing guitars, muted vocals, and DAY6’s angstiest chorus yet. The song is inspired by Young K’s inability to speak English when moving abroad as a child and the inherent loneliness that came along with it. Any fan knows Young K is the lyrical mastermind behind much of the band’s work, but in “Monster,” he truly outdid himself. To take the idea of feeling alienated by a language barrier and turn it into a gritty, heartwrenching, rock anthem is a true testament to his talent. Furthermore, and perhaps it’s because it’s one of the rarer occurrences where drummer Dowoon helped with composition, “Monster” sounds like nothing DAY6 has done before, and that’s saying something when you have one of the most objectively impressive discographies that happens to span a whole decade.
“She Smiled” follows “Melt Down” and has a similar upbeat sound to it. In an offline listening event, the band expressed that they’re excited to play this song live. It’s definitely one suited to live performances, with a classic call-and-response chorus. The love confession pop song is one of two songs written by Sungjin and Wonpil with the help of frequent collaborator (and fandom-proclaimed honorary DAY6 member) Hong Jisang.
If there’s one thing you can count on lyricist Young K for, it’s an unorthodox metaphor. “Shxtty Game” sees him return to the songwriting helm, this time to compare persisting through life’s struggles like fighting one’s way through a video game. He admitted he thought of the idea when listening to the song’s instrumental which reminded him of Mario Odyssey. As a result, the song is one of the wittiest inclusions on the album, revving along to one of their highest BPMs.
“Help Me Rock&Roll,” the second track penned by Sungjin, Wonpil, and Hong Jisang, sings of an unconventional love confession. The song is unsurprisingly guitar-heavy, but features poppy elements that are reminiscent of the band’s 2016 sophomore EP Daydream. The driving chorus is offset wonderfully by the unexpected bridge that dials back the gritty guitars, replacing them with melodic doo-wop vocals. The contrasting sounds really let everyone shine vocally, including even Dowoon who features on backing vocals (a My Day will always be able to pick out his voice). “COUNTER” is the most off-kilter song on the tracklist, where the band experiments more with their composition, taking the rhythms and melodies into rather unexpected places. This fits the concept of the song perfectly: this time around, Young K restructures persevering through the ups and downs in life into the framework of a boxing match.
Mirroring “Not Fine” from 2019’s The Book of Us : Entropy, “I’m Fine” uses intense syncopation and percussion to tell the tale of a love gone wrong in which one half just wants the doomed relationship to come to its inevitable end. The song serves as the final frenetic track on the album, before slowing things down to a somber end with “Still There.” The ballad starts off with the sound of a ticking clock before Sungjin comes in with the first heartbreaking lyrics. For a song about loss, the inability to move on, and the desperate pain and hopelessness that comes with watching change happen without you, it’s only fitting that the vocals finally take center stage. In the same offline event mentioned earlier, Wonpil admitted to recording his vocals in one take, as he felt he’d be unable to muster the emotions for it again. Things only get harder after this, with Sungjin opening the second chorus with his rarely utilized lower register. It’s a stunningly unexpected moment that offers one of the greatest builds in DAY6’s catalog; by the time he crescendos to a full belt, you’re bound to have goosebumps. The song reaches its climax at the bridge, with Young K delivering absolutely gut-wrenching vocals before drawing to a mournful, quiet close. I genuinely shudder to think what it would be like to hear this live.
I have been a My Day for many years now, in fact even before the term My Day existed. For many of those years, DAY6 has felt like my own little secret—I couldn’t understand how they weren’t everyone’s favorite band. It’s always been my wish to see them finally get the recognition they so rightfully deserved. During promotions, Young K told the story of how he recently saw a shooting star and couldn’t think of anything to wish for since he already felt like he had it all, so he simply wished for “Melt Down” to be No. 1 on Melon. Here’s to hoping 2024 and beyond sees the rest of our wishes come true too.
Edited by Joi Berry