Here are my credentials (again, again): I would consider myself a fan of Seventeen. I’ve heard many of their songs and like them, including some b-sides. And I know a little about the members from watching interviews. But, I decided to do this deep dive because I wanted to know more, and I felt like this month full of comebacks was the perfect time to do it.

(Part One) (Part Two)

EP #9: Your Choice

We’re back to the ethereal sound with Ready To Love, which I think is their best of this genre. While it’s still more restrained than their strongest songs, it utilizes this pulsing, dancing beat underneath that really keeps the momentum up and the chorus is full enough that it works to connect the disparate parts together. That being said, it’s still not one of my favorites.

From the EP, Your Choice, I enjoyed the light but catchy “give me your, give me your love” hook from Heaven’s Cloud and the gentle hook of Same Dream, Same Mind, Same Night, but my hidden gem was the fun-loving, sunny Anyone.

EP #10: Attaca

Rock With You, despite the name, isn’t…very rocky? Don’t get me wrong, it’s a good song, whose electric guitar and powerful drums are catchy, but I’d consider it more in the dance-pop or synth genre than fully rock, which seems like a bit of a missed opportunity to me when they could’ve gone with a sound like Adore U or even Clap, which would have felt a bit more different from the rest of their work. Either way, though, I do still like this one.

From the EP, Attaca, I enjoyed the heartfelt synths of To You, (my hidden gem), and the laidback, all-English 2 Minus 1.

Album #5: Sector 17

HOT, unfortunately for me, is a return to the over-autotuned noise-music that is the reason for my dislike of NCT 127. Also like them, there’s parts of the song I like, more specifically the pre-choruses and bridge, which have some melody and heft to them. But they’re just ruined by a disappointing anti-drop of a chorus that sacrifices quality for an empty hook.  C’mon guys, you’re better than this.

To add to that point, _World is absolutely better than this. I know I’ve complained a little about some of their more electro-based songs, but I really liked _World. It’s just so earnest and bright that I was won over, and the synthy direction that it went in, backed up by bursts of brass, didn’t hurt either. Even though it doesn’t sound exactly like their earliest work, it keeps that same spirit, which is good enough for me.

From the album, Face The Sun, I enjoyed the flute in Cheers (though I admit to still being scarred by NCT 127’s Sticker, the catchy lyrics of all-English lyrics of Darl+ing, the surprisingly fun lyrics of Don Quixote, the incredibly catchy Wild West rock sound of March, the jaunty piano of ‘Bout You, and the emotional vocals of If You Leave Me. This album is very strong, and even gives Haeng:Garae a run for its money.

But that leaves my hidden gem. Circles has always been one of my favorite tracks of Seventeen’s, since I saw their performance of it on Dingo’s Tipsy Live years back and really found myself moved by how close they are and how they comforted each other. I’m in the habit now of listening to it whenever I have a pain flare up, and it never fails to make me feel better. Hearing it again now only makes me love it more, and I actually went to rewatch the tipsy live.

EP #11: FML

Fuck My Life is not the kind of title I expected from a Seventeen release, and the opening of cars on fire and the world apparently ending is one hell of an opening. It may be one of the most honest songs they’ve ever made, communicating depression and hopelessness in a way that still manages to be uplifting and comforting rather than just sad. As the mood rises and the dark clouds go away, it feels like the song takes a deep breath with you and encourages you to keep going, which is sometimes exactly what you need.

Super’s been all over the k-pop world since its release, winning awards and just generally getting itself stuck in my head. Returning to the “I’m-cooler-than-you” sound, it too has some moments that are quite strong; the drumbeat vocalizing, build-up, and post-chorus are good, but yet again, we’re in the position where the central hook is just too empty to carry the rest. Like a lot of k-pop tracks—SNSD’s The Boys or 2NE1’s I Am The Best, for example—it’s more performance than song. But it’s a good performance and they clearly give 200%, I’ll give them that.

From the EP, FML, I enjoyed the lovely lyrics and guitar hook of I Don’t Understand But I Love You, the sentimental, nostalgic feeling of Dust, and the synths-meeting-brass of April Shower. For such a depressing name, it’s quite a sweet album.

EP #12: Seventeenth Heaven

God Of Music is what really got me into Seventeen. The day it came out, it caught my eye. As I’ve mentioned ad nauseum on this blog, I’m a sap, and also a linguistics major. A heartfelt song about how music transcends language and brings people together, with a dance break worthy of a Bollywood movie? That’s utter perfection, in my opinion. The song itself doesn’t disappoint either. It’s driven by a bright, unstoppably optimistic feeling that just makes you want to get on your feet and dance. And it’s so earnestly sweet that I don’t even care how ridiculous the music video is. Why is Hoshi DJing with a donkey? Fuck if I know, it doesn’t matter. Music is universal, man, and really, that’s what k-pop is all about.

From the EP, Seventeenth Heaven, I enjoyed the post-chorus electro breakdown in Diamond Days, the soaring chants in Headline, and the frankly beautiful strings in Yawn, a song dedicated to Moonbin of ASTRO, which was my hidden gem by far, and genuinely made me emotional.

Album #6: Best Of Seventeen

I wasn’t sure where Maestro it was going when it started, to be honest. I was a bit worried that we’d get another empty song like Hot, but the classical elements and the strength of its underlying beat thankfully stopped that from happening. The pre-chorus, as it often is in their songs, is the strongest part of the song, but the verses hold their own. I’m not the biggest fan of the main chorus, but I appreciate it more in this song than their others.

Of the new songs in their “Best Of” Anthology, I enjoyed the bright, bombastic horns of Cheers To Youth, which in my opinion should’ve been the single, but Pledis never asked me, so…

EP #12: Spill The Feels

Love, Money, Fame features DJ Khaled, who’s the figure of a lot of controversy. (I won’t go into it here, but I’d recommend you check it out). As for the song itself, it’s more laidback than the majority of Seventeen’s titles, save maybe Fuck My Life. But where Fuck My Life had a very specific reason for this, this doesn’t seem to. It’s an alright song, but nothing that really grabs me. It’s a bit meandering, to be honest, radio-friendly to a fault. It’s okay, but SEVENTEEN is so, so much more than okay. I know they can do better.

Fortunately the EP is as strong as ever. I enjoyed the relaxed, summer feeling of Eyes On You, the dance-floor-ready Rain, and the saccharine-sweet lyrics of 1 to 13, released just before Jeonghan’s enlistment. 1 to 13 was my hidden gem, and I wish it’d been the single.

Album #7: Happy Burstday

Thunder starts with a whistling hook and a distorted beat that promises something bombastic coming just around the bend. And then…nope. The chorus goes for your run-of-the-mill anti-drop that adds nothing. It’s similar to Love Money Fame in that it’s fine but disappointing because I know Seventeen are capable of so much more. It just doesn’t feel like them at all, sacrificing the warmhearted melodies and sense of joy that’s been so present in their work.

Also, I’m so, so annoyed that I have to mention this, but why is Mingyu wearing braids? It’s 2025 and there is no excuse for this, especially not from a group that’s proven themselves to be self-aware.

Happy Burstday isn’t your usual album, chiefly because thirteen of its sixteen (not seventeen? The HORROR) tracks are actually solos. It seems a bit unfair to rank them because they’re all so different, but if I had to pick favorites, then I can settle on 4. They’d be Joshua’s Fortunate Change with its jazzy background and layered production, Hoshi’s Damage with its solid, pulsing beat, Woozi’s Destiny with its soaring vocals and warm piano, and Vernon’s Shooting Star, with its solid beat and rock influences.

Verdict: TL;DR

Seriously, though, I’m glad I did this. You can see how much Seventeen love performing; it’s so clear in their faces, and that joy is lovely to see. I rewatched a couple interviews for this, but I also discovered their documentary (and promptly binged it), and felt like I really got to know who they are. I suppose that what I’m saying is, I can now add “Carat” to my stan list. I had a feeling that this would happen, and honestly, I couldn’t be happier.

My Top 5 songs are Circles, God Of Music, Kidult, Very Nice, Our Dawn Is Hotter Than Day, and Home; Run, with Snap Shoot and Cheers To Youth as honorable mentions. Seventeen gets a 9 out of 10 from me. Their work is so full of both joy and genuine care—both for each other and their fans—that I couldn’t help but be moved. I had a great time, honestly, and though there are some missteps here and there when they lean more into trends than what makes them great, for a discography that spans a decade, it’s remarkably consistent and strong.

Next time, we’re doing a huge boy group, and possibly the review I’ve been most excited for since I started the blog. Tschüss!

(Part One) (Part Two)