Plus Magazine

| Written by Jang Jun Hwan (Editor for the music webzine IZM)

SEVENTEEN has evolved from boys who bravely declared, “I don't want to cry,” to adults now unafraid to express, “This f*cking world”. Now, they find themselves in their 8th year since debut. Given their extensive career, maturing as artists is an inevitable and necessary journey. However, the growing pains experienced by SEVENTEEN are somewhat unique. This vibrancy finds its roots in the two mini albums they released in 2023: [FML] and [SEVENTEENTH HEAVEN]. These two significant strides forward foreshadow monumental shifts that could present challenges in the future.

On April 24th, SEVENTEEN released their 10th mini album [FML], which broke numerous records following its release, including the title for ‘highest first-week sales in K-pop history,’ bringing unparalleled achievements to idol groups. This significant milestone marked the first change at the top since BTS dominated the Billboard charts with [MAP OF THE SOUL : 7] in 2020, a whole three years prior. Media outlets scrambled to dedicate space and time to explain the meaning and value of this indicator as they grasped the news.

Securing the title of ‘the best’ had significant repercussions. Last year, formidable girl groups such as aespa, IVE, LE SSERAFIM, NewJeans, and (G)I-DLE firmly adhered to chart-friendly strategies, securing recognition from the general public. Conversely, the boy group market, still heavily reliant on fan-driven industry systems, exhibited clear blind spots. Despite impressive numbers and scale, there were certainly individuals on the fringes of the industry who couldn't fully grasp the reality of the situation.

In that situation, SEVENTEEN's [FML] served as a flare, signaling a kind of ‘resurgence declaration’ for boy groups. It quantified the resonance of the boy band era, bringing it to the forefront and suggesting the potential for a new ‘golden age of boy groups’. This wave of anticipation captivated many K-pop fans nostalgic for the past, as news and discussions proliferated across media outlets, social media, and various online communities. This offered both evidence and an opportunity for the general public, even those unfamiliar with SEVENTEEN, to grasp their significance. Many articles labeling this year as the ‘Year of the Rising Boy Groups’ highlight the emergence of new boy groups such as ZEROBASEONE, BOYNEXTDOOR, and RIIZE, consistently positioning SEVENTEEN at the forefront and center of this trend.

Following that, people began to shift their focus from the ‘records’ made by [FML] to its ‘music’. The central question was whether the content truly possessed the compelling quality and scale worthy of achieving such records. Indeed, most tracks from major boy groups released last year failed to demonstrate significant impact on the music charts in comparison to their sales performance.

However, upon opening the album, everyone was surprised. Starting from ‘F*ck My Life,’ the album opener, the style was vastly different from their full album [Face the Sun] released just a year prior. It was as if they had brought a secret manual they’d been refining all along, and were entering battle with their full power unleashed. Most notably, the album exuded a confident assurance, suggesting that no matter the song, they could somehow shift the momentum in their favor.

This is the reason we must also consider their Mini Album 11 [SEVENTEENTH HEAVEN], released just six months after riding the wave of success. The title is a playful pun on the idiomatic expression ‘Seventh Heaven,’ meaning a state of bliss, with their group name inserted, and the phrase 'festival' also repeatedly appearing in the introduction. Thus, this album is permeated with a festive atmosphere, buoyed by the great success of their previous work. The eye-catching cover, adorned with cheerful daisies, unicorn balloons, and sporadic bursts of fireworks, adds to the overall appeal.

Despite the short interval since their last release, they reclaimed the top spot with ‘the highest first-week sales in K-pop history’ once again. With this, SEVENTEEN effortlessly extended their second golden age while boldly proving that the success of [FML] was no fluke. In this way, [SEVENTEENTH HEAVEN] stands as a grand blockbuster, a feat achievable only by those who have garnered ample resources, a dedicated fandom, and musical prowess. Yet, it is not overwhelming. Instead, it stands as their most laid-back, rich, and fragrant work to date, encapsulating nearly all the playful elements K-pop has to offer.

The common point of departure in both of their albums is indeed ‘confidence’. If [FML] represents a moment of awakening, marking the point at which they began to fully realize and utilize their capabilities and standing, then [SEVENTEENTH HEAVEN] serves as another pivotal moment, aimed at further elevating the group's trajectory of growth while simultaneously savoring that happiness. Their poised demeanor and the palpable increase in the scope of their work speak volumes about their growth and confidence.

In the past, they slowly established their identity by adding a vibrant and clear color palette to their proven composition and straightforward development in title tracks such as ‘Pretty U,’ ‘Very NICE,’ and ‘Don't Wanna Cry’. Reflecting on their journey thus far, they have broadened their musical horizons through various endeavors, including the introduction of new compositions and soundscapes in tracks like ‘Home,’ ‘Left & Right,’ ‘Ready to Love,’ and ‘Darl+ing’. SEVENTEEN, known for their unique unit operations that highlight the distribution of roles among members and their consistent cultivation of harmony and skills across various domains, has consistently garnered love for their high-quality music.

The feedback they’ve received over countless attempts and their know-how have finally converged. ‘F*ck My Life,’ which brings a groovy introduction with an old school hip-hop style chorus sample, boldly exclaims “This f*cking world” under a title mixed with profanity, calmly expressing their feelings. Their song ‘Super,’ which incorporates Jersey Club and Drum and Bass—recently popular themes in the K-pop market—boasts trendiness with a clear structure, catchy hook, and explosive solo sections, following the typical pattern of a hit song that captivates listeners' ears not just among fans but also on the streets. They seem to be yearning for bigger markets and the world, as if the stage they are given now is too small. The grand scale of the music video, featuring numerous dancers performing intense choreography in a castle-like plaza, amplifies the impact, serving as a visual feast.

Inviting the famous EDM DJ Marshmello, ‘SOS’ shoots out tense yet lively electronic sounds, making it a festival stage where anthems resound. ‘God of Music,’ which brings a wriggle to life with funky brass and guitar use, is a ballroom filled with expressions of gratitude and admiration from its title to its content. The hopeful phrase, “Different alphabets, but no matter as long as there's music/ We've just met but we can dance together,” encapsulates the theme of the song. Whether joyfully chanting the onomatopoeia “Kung chi pak chi, kung kung chi pak chi,” praising the god of music, or even becoming a part of the music itself by singing along to “Da-da-da-da-Diamond Days” in a voice modulated as if swallowed by a robot, it’s all good. You’ll find yourself unconsciously swaying to the rhythm, as they boldly push forward, confident even in unique materials.

For the matured SEVENTEEN, music serves multiple purposes: it is a genuine ‘sound’ that candidly conveys emotions and messages, a melodious ‘sound’ that enchants people globally, and a ‘sound’ of gratitude dedicated to CARAT, their supportive fanbase, who have played a crucial role in their journey to the present. Underpinning all of this is their unwavering pride, stemming from a firm belief in their ability to take on any challenge and achieve success as a leading group in today's K-pop scene. They have substantiated this belief with the success of just two mini albums.

I recall the release of ‘Fighting (Feat. Lee Youngji)’, a playful new single by BSS, a sub-unit of SEVENTEEN, earlier this year, which had many responding with laughter and playful remarks like, “SEVENTEEN, do whatever you want.” Their adept assimilation into character and cheeky demeanor, confidently and almost shamelessly shouting “Tension Up” despite the suddenness of their comeback, exuded not awkwardness, but a thrilling sense of awe. It was as though an entity, already perceived as formidable, was declaring that everything showcased until now was merely a prelude. Their festival has only just begun.  

※ Manuscripts from outside writers may not reflect the editorial direction of this magazine.