INFINITE is approaching fifteen years in the k-pop industry (next year), which is no mean feat. They’re solidly in the second generation, debuting in 2010 with seven members: Sungkyu, Woohyun, Sungyeol. Sunjong, L, Dongwoo, and Hoya, the last of whom left the group in 2017. They’ve all left their previous company, Woollim Entertainment, but are still together.

Here are my credentials: I don’t know much about Infinite. I’ve heard a few of their biggest hits and a couple songs by Woohyun, who’s also a soloist. I have a friend who’s a huge Inspirit (Infinite fan), though, and so I figured this would be a good time to give them a chance, and also to use him as a fountain of knowledge.

(Part Two)

EP #1: First Invasion

Their first official song was She’s Back, which was so 2010 k-pop the second it began that I admit I laughed (just a little bit). It’s not the kind of sound I was expecting based on what I’ve heard from Infinite before, instead going for a fluffy, breezy summer pop sound that would feel right at home with SHINHWA’s late aughts material. It’s a bit like a bridge between that sound and the later 2nd gen k-pop sounds I’m more familiar with. I did like this one, but it was a little forgettable compared to their other work.

From the 1st EP, appropriately titled First Invasion, I enjoyed the choppy distortion of the intro Infinite, the rock guitar underpinning Come Back Again (my hidden gem), and the lovely harmonizing in Fixed Star. Also, I enjoyed She’s Back more this time around.

EP #2: Evolution

Before The Dawn takes a sharp left turn from She’s Back, and suddenly there’s leather outfits, bad boy haircuts, and of course, the classic hip-thrusting at the screen. As for the song itself, it marries a gloriously dramatic EDM beat with angsty vocalizing and lyrics that would make My Chemical Romance proud, and I do mean that. It’s a little hard to take seriously, I admit it, but that doesn’t mean it’s not exactly what it’s supposed to be. As the execution of this genre goes, you really can’t do much better.

From the EP, Evolution, I enjoyed the sunny delivery and light strings of Can U Smile, the great build up in power ballad Voice Of My Heart, and the immaculate roller skating sound of I Don’t Know.

Single #1: Nothing’s Over

Nothing’s Over is in somewhat of a middle ground between She’s Back and Before The Dawn, being somewhat angsty at points but overall far more on the happy and hopeful side. I appreciated the backing guitar and the inspirational tone, but I wasn’t that big a fan of this one either, which I feel a little bad about since it seems to have a lot of heart. Again, it’s fine, but it’s not that unique for its time period. I also liked Shot, from the single.

Album #1: Paradise

Be Mine goes gloriously 80’s synth, for what I would call their first really quintessential track. The beat is tight and punchy, and doesn’t ever feel like it’s lagging, even in the quieter moments. It does feel more restrained at points than I wanted it to be, and I can’t help but see the purely instrumental bridge as a missed opportunity for a stronger build up payoff. I did also quite enjoy the music video, as I happen to be a big fan of film noir.

Paradise both builds on what Be Mine started and doesn’t. It’s more ballad-heavy in its opening moments, although just as angsty, of course, but the second half of the chorus it manages to come close to the synths of before. I really enjoy how the tension and power of the song builds as it goes along. But the verses are a bit too subdued to really keep that strength going, which is a shame, because the final minute is excellent. It’s meant to be a slow burn, and I understand that, but it’s just a little too slow.

From the album, Paradise, I enjoyed what’s becoming a signature blend of EDM and strings in intro Over The Top, the thundering beat—and even the sing-talk—of Cover Girl, the gentler piano and lyrics of Julia, the climactic, impressively high note that closes out Timeless, and the added layers of the remix of Be Mine. I couldn’t choose a hidden gem.

EP #3: Infinitize

The Chaser is probably the first song I heard of Infinite’s, and it’s also probably the reason why I’ve been a bit harsh on their work thus far. There’s so much about this song that I could make fun of: the 90’s anime haircuts, the ridiculously dramatic delivery or the slow motion car flipping over for example, but I can’t. Because this song is fantastic. Every criticism I’ve had about their past singles is rectified here: it commits to its own drama, it never stops moving forward, and its build-up and pay-off is one of the best I’ve heard in k-pop. Just when you think the song’s over, its last chorus elevates the whole thing even more, and it rockets forward for one last hurrah. This is what k-pop should be. Hats off, boys. Take a bow.

From the EP, Infinitize, I enjoyed the light footed strings mixing with such powerful voices in Feel So Bad, the warm guitar and gentle hook of Once In A Summer (my hidden gem), and the choppy, dance floor ready sound of I Like You.

EP #4: New Challenge

Man In Love is a return to the peppier, more youthful side of Infinite’s discography, which so far hasn’t been for me, and I was prepared to write the same thing about this one. But this song changed my mind! It keeps the continuous energy from The Chaser, adding in lighthearted strings and creating a dance floor-ready beat that had me nodding my head before I even realized I was doing it, imbuing it with this warmth and joy that was a nice contrast to their previous melodrama.

From the EP, New Challenge, I enjoyed the golden age musical flourishes in intro Welcome To Our Dream, the smooth keyboard of Beautiful, and the pitch-perfect fade out of Inconvenient Truth. My hidden gem was As Good As It Gets, without a doubt, though: it just never stops moving, innovating, or impressing, and that fantastic driving beat is just the icing on the cake. I might like it more than Man In Love, to be honest, and I think that this is their strongest full release so far.

Single #2: Destiny

Destiny is a tough name for a k-pop song to have, since in my mind it’s being pitted against the great renditions by Oh My Girl, Lovelyz, and Mamamoo. But this one holds its own, its hard-hitting beat fitting the post-apocalyptic (?) setting of the music video, and channeling this specific sound of anger that’s unusual in the genre and even less so in a love song. It’s expert at knowing when to push forward or pull back, keeping the listener on their toes, without making the pay-offs feel unearned. My only complaint would be that those were some painfully unrealistic special effects.

From the single, Destiny, my hidden gem was the somewhat toned down beat but not at all toned down drama of Come To You.

Next time, we’re doing a couple girl groups before we return to Infinite! Tschüss!

(Part Two)