The Jukebox shrugs…
[Video][Website]
[5.29]
Sonya Nicholson: Infinite H are what hip-hop heads in Korea refer to sneeringly as “idol rappers” — that is, good enough for two lines on the bridge of a pop song, if that. Within the ranks of the idol rappers, though, Hoya and Dongwoo of Infinite (no H) are considered maybe a slight cut above average — passable, even — as former protegees of “actual rappers” Mithra Jin and Tablo of Epik High. Their home group is label Woolim Entertainment’s biggest money maker as of this writing, best known for a string of Sweetune SinglesTM culminating in The Chaser, a song that samples a Korean traditional instrument. Hoya is hot, coming off a starring role as a gay teen in a popular drama. Producer Primary is very hot, as the guy behind both K.will’s great single Don’t Go and one of 2012’s best albums. A track on that album features Zion T, who also features on this track. So understand that when I rate this song merely average, part of that reflects my expectations, which were very, very high.
[5]
Patrick St. Michel: This exists on the other end of the emotional spectrum of that Sistar19 song we reviewed the other week. That single focused on all the little details gone missing after a breakup; this does the same thing, but during the best parts of a relationship, the whole thing sounding like a playful Valentine to someone you’ve been dating for three months. It’s laid back, almost to a fault, but peppered with enough cute imagery to be charming. Sorta like “Do You…” with drugs and rock-paper-scissors swapped out for ringtones and wallet-sized pictures.
[7]
Brad Shoup: A sweet round-the-block ballad padding about on sly organ and throwback R&B synth squeal (if I concentrate, I can turn it into a talkbox), “Without U” can’t hit the cuckoo heights of the last Zion T collabo I heard, but it does talk about opening a wallet and seeing her, and that’s wonderful.
[6]
Edward Okulicz: I’m less impressed by this than perhaps I should be because not only did most of the sounds in this exist 20 years ago in the U.S., they were emulated 10 years ago when Europeans realised it was legal (if not always a good idea) to do this kind of music. The slinky opulence is there, but the thrill isn’t.
[4]
Anthony Easton: They have a gorgeous voice, and the song is well constructed, in a calming, low key, fairly banal kind of way. Almost a platonic 5.
[5]
Frank Kogan: Piano chording that can be described as nice; a gentle brief half-sung rap from Dongwoo at the start that fits nicely with the niceness, surrounding the soft drumbeats with his own. Then Hoya’s in with more pressure, and falls into a voice that sounds like complaint, like hundreds of other Korean raps, even though the lyrics here are of mutual boy-girl support. Dongwoo comes back but follows suit, so what could have been delicate fluff is more dry and down than intended.
[5]
Iain Mew: The rapping and singing are better integrated than on most similar tracks I can think of — certainly much more so than the Baechigi song we just covered. Either one could be the lead and the song’s downbeat, slightly jazzy vibe builds undisturbed across its length. Thing is that, for that reason or otherwise, there are no stand out performances or touches, and this isn’t a mood or sound that I’m keen enough on to want to come back to it.
[5]