NOTES: I've been holding off with reviewing the MV because I'm confused about the "ver. B" aspect. I'm hoping for a truly epic "ver. A" to come out and blow the one we currently have out of the water. "ver. B" is okay, they look great, but when I heard they were using a Hollywood crew . . . I was hoping for more.
TOP TRACK: Going to You
FINAL SCORE: 8/10.
Destiny's intro is too long. Well, it sounds almost exactly like my alarm clock so I think any of that saw tooth wave bombardment is too much. The song has it mixed well, so it's not as irritating (it was way too high in the mix on the MV, so I was worried). Aside from that, I love the verses, they build tension and let the chorus just fall over you. Also, each verse is delineated in some way, the fill is different, the feel is different, it's very subtle but very good. The raps are all unique enough to feel individually valuable. The chorus is catchy and fun, a nice smoothe slide of sound. It's not my favorite Infinite track of all time, but it definitely lives up to my high standards for them.
I give it an 8/10: FABULOUS!
Inception is sweet and smoothe. The harsh synths in contrast with the light and bright piano tones with the sweet vocals set nicely in the middle rolls over the ears beautifully. The melody moves along the harmonies are well integrated. Over all a good track. I didn't feel special spark in it, but it's a really nicely done track.
Going to You has a fantastic undercurrent of energy that just keeps building and building. It's wonderful and ties thematically to the lyrics in the best way. The chorus manages to release enough tension to keep it bearable, to give the listener room to breathe, but also keeps pushing the tension up ever so slightly. The bridge is a nice plateau and the drop afterwords is breath-taking, and made especially so by the sfx of heavy breathing. The counterpoint is elegant, particularly in the places it's left out of. The ending is beautiful, a pause, an affirming echo, a quiet fade . . . and it does it all with only the slightest bit of reverb.
Mom has a lovely melody. You almost never hear idol groups make a piano-voice duet ballad. The distinct lack of a beat in the first two minutes make it all the more remarkable. The sweetness and sincerity is truly wonderful. It's beautiful. Live, it must be absolutely amazing. The fill comes in mainly to give the song scope and creates this lovely feeling of space and earnestness. It pitch supports the weaker singers, delineates the sections, it generates build, it's absence makes the strong singers shine and pulls the listener into a cozy embrace. Beautifully done.
I give them an 8/10: FABULOUS.