(This is on my list for a re-do, as I first wrote it back in 2023)

Taemin has been an important figure in k-pop (to say the least) since he debuted in 2008 as the youngest member of 2nd generation group SHINee, with Jonghyun, Onew, Minho, and Key. He was the first of them to debut as a soloist, with the EP Ace in 2015.

Here are my credentials: If you couldn’t tell by the blog name, I’m a Shawol (I’ve been one for three years or so, and a casual fan longer), and SHINee are my ult group. I love all of the members’ work, and Taemin is tied for my favorite soloist of the five. As much as I make an attempt to remain unbiased in my reviews, I’m kind of going into this knowing that I’m going to love this discography, and any criticisms I’ll have will likely be very nitpicky because it’s hard for me to be objective. So, that being said, please ignore the fangirl squealing and let’s get into it.

EP #1: ACE

Danger starts with that harsh electro beat and vocalizing, and is actually quite fast in terms of the lead-up to the chorus, especially in the “oneul-bam-i, oneul-bam-i, oneul-bam i (tonight, tonight, tonight)” pre-chorus. The distortion in the post is also interesting to me, because all of this together means that Danger has all the right elements to what have become Taemin’s most enduring hits, but the song itself feels a bit unpolished and rushes to declare itself rather than having the patience of his later work. I do still like it though.

From ACE, my hidden gem is Pretty Boy. The opening horns are a bit grating for me so I admit that I almost skipped it until I read the lyrics (and read that Jonghyun was the writer), and I’m so glad that I didn’t. I love the contrast between the slower verses and what feels like genuine anger in Kai and Taemin’s voices in the chorus, and I just love their voices in general. I’m always up for critiquing the stupid rules of traditional masculinity and especially in a space like k-pop that is so often associated with femininity and fluid gender expression. Sometimes we all need a reminder that being a man does not have to go hand in hand with aggression, cruelty, or a certain way of presentation, and Taemin’s work shows us this in spades.

Album #1: Press It

Drip Drop is a pre-release to the Press It album, and to my surprise, my first thought watching it was that he looked (and even sounded) so much like Jonghyun that it scared me. The song itself does too, being a very controlled, polished R & B sound that isn’t quite Taemin’s signature yet. The song pulses with great energy, but I don’t have much to say about it because it’s so minimalistic that it’s really just a vehicle for the dancing, which is, of course, excellent.

Press Your Number starts with deceptively calm vocals and a soft piano in the verses, before spinning out in a much dancier, much more emotive chorus that immediately had me tapping my foot. From there, the energy never stops, and even the moment you think it will in the bridge, it only does for a split-second before spinning out again. This isn’t one of my favorite title tracks from him, but I do like it, especially the way the bridge repeats again as the outro, which is unusual for a pop song.

Press It, truth be told, is one of my favorite k-pop albums, so it was hard to choose a hidden gem but I eventually landed on Sexuality and Soldier. They’re very different; Sexuality is…well, exactly what it sounds like, and sets the template for many a sensual, dancy Taemin song in its stead. It’s breathier and in a way softer than Press Your Number and Danger, but still has its own drive. Soldier, by contrast, is a full on ballad that would become just another b-side in the hands of a lesser artist, and I (always a fan of artists writing their own songs), think that some of that is due to the genuine emotional weight behind it. The lyrics are beautiful, and Soldier’s also the first song to feature the explicitly religious imagery that becomes a hallmark of his later work (which we’ll discuss in a bit).

Album #2: Move

Despite the popularity he’d seen before as a member of SHINee, it was really with MOVE that Taemin established himself as a soloist. It’s a song that defines him, and for good reason: it’s unique. From the start, it almost slithers forward with the kind of control that would make a samurai flinch. It’s both smooth and then suddenly sharp and cutting, and you never know which part is next. It’s so tense, and yet it almost feels as though it shouldn’t be, like a suspenseful scene in a thriller with no resolution. In this deep dive, I found myself replaying this song so many times because I just couldn’t figure out how it works so well. All I achieved was loving it more each time, so not a complete failure, I suppose.

I’ve said before that I’m not a choreo blog, but Taemin’s dancing is on another level, and it’s on full display here. If he’s controlled in Drip Drop, then I have no idea what he is here, because when I watch this, it’s like every muscle in his body is committed and yet he’s barely moving, and besides that, so utterly nonchalant. As one review I read put it, “it looks like he has no bones”. I don’t know what makes it so captivating, whether it’s charisma, talent, or something else, but while I can’t explain it, I can absolutely give credit where it’s due. The mix of “feminine” and “masculine” dancing styles works so well here, and I love that his intention was to break down barriers in terms of what constitutes what “gender” of dance.

Before I say my hidden gem from the album, a special shout-out to Heart Stop, because Taemin and Seulgi’s voices work so well together, especially in this kind of elegant, dancy R & B (though perhaps I’m biased as a ReVeLuv). My favorite, though, was absolutely Love. From first listen, it drew me in, for both the excellently conveyed emotion and the vocals too. An old singing teacher of mine liked to describe songs like this as though someone is carving out their heart and slamming it on the ground, which feels apt for this one. It’s as though it’s trying so hard to stay calm and composed and then just can’t keep it in anymore. Perfection. I also liked Rise (a soaring piano!) and Back To You (a chill guitar).

EP #2: Move-ing

Day and Night surprised me, to be honest, because I’m not used to such a calm, acoustic song with Taemin’s voice. It has what I think are some Latin pop influences and they blend to create a very vibe-y, breathy contrast to a great majority of his work. I think it works pretty well, although it still feels more like a b-side than one of his titles. I don’t have a hidden gem for this album, since it’s only a couple tracks.

Interlude~~Flame Of Love & Under My Skin

I don’t normally do this but I wanted to talk for a little bit about Taemin’s Japanese work because he has such an extensive catalogue of it and he’s bilingual (something I’ve attempted to be and failed at for a very long time, lol). Flame Of Love and Sayonara Hitori are similar, working in some more traditional Japanese balladry and drama which works well with Taemin’s voice. He utilizes a different kind of control here, more elegant and graceful than the sharp and cutting side used in his Korean titles. Both are good songs, but I think that Flame Of Love’s instrumentation makes it just a little more excellent.

Under My Skin would have to be my favorite of his Japanese titles, for its expressed vulnerability in reaching out to someone, the contrast of the quiet openness and the soaring vocals, and of course, that great last chorus that pulls it all together. From the Japanese album, just called Taemin, I also loved Holy Water. Its gospel influences and dramatic production mix well with Taemin’s voice and the desperation with which he begs to be cleansed of sins and the guilt of whatever he’s done, and the song has a power reminiscent of Love and Soldier, albeit more forcefully.

EP #3: Want

Want is more forward and obvious than MOVE, drawing on a synth base rather than R & B, but still keeps the sense of restraint so ubiquitous in his work. I know I’ve used the word “control” a lot in this review, but I don’t know a better one to explain the very delicate balance of sensuality and power in most of these singles. For me, this song is right in the middle of MOVE and Criminal, and though I love it, it doesn’t distinguish itself in the beginning as much. The ending and last chorus especially are great with the clever use of distortion though, and the religious imagery makes a return in red apples, slithering snakes, gates of hell, and the idea of forbidden temptation.

I have two hidden gems from this album in Shadow and Monologue. Shadow really leans into a feeling of danger that (despite his debut’s name) none of the titles quite have. The danger in them is always teasing and has some level of playfulness, while here it’s taken dead seriously. It’s absolutely real, haunting the guilty speaker’s every moment, and he can’t escape. I could absolutely see this with some kind of horror-inspired music video, and it’s a shame that it wasn’t a single.

Monologue is also about haunting, though in a different way. Its almost sparse violin and piano provide the backdrop for a quite painful song about the genuine grief of losing someone, and it’s no wonder that he doesn’t perform it much with all the backstory behind it. Whenever I listen, I always promise myself I’m not going to cry and then we get to “honjanmalppuniya, kkeudopshi” (I’m talking to myself, there’s no end”) and I start bawling like a baby. Like a lot of k-pop fans, I don’t speak fluent Korean (although I do know a little bit), but even before looking up the lyrics, his voice carries so much pain that I felt it hit me in the chest and I had to sit with it for a moment. Given that it was written less than a year after SHINee’s monumental loss, I can’t help but think of that, but no matter what the intention was, the pain is real. Well. I’m gonna go dry my eyes and then we can continue.

Next time, we’re onto Part Two. Tschüss!