Lee Hyori was—and, frankly, still is—one of the most important soloists in k-pop history, second only to maybe Rain and BoA. She debuted as part of the 1st generation k-pop group Fin.K.L. in 1998 at age 21, older for the industry than is usual. She’s been making music for the last twenty years, and just recently returned last year.

Here are my credentials: I don’t know much about Hyori, to be honest. I actually decided to do this review when I saw Hyori’s Hoodie E Banbaji music video (which came out last year) on the giant screens at a Korean restaurant, and then her collab with Jennie. I looked her up and found her interesting, and so here we are!

Album #1: Stylish…

10 Minutes was Hyori’s debut, and may still be her most popular song. From the low rise jeans to the MV quality to the random dance break, it’s so utterly 2003 that it’s almost funny. Based on a simple R & B beat, it shouldn’t be as catchy as it is, but the chorus has a smooth, addictive quality that stays with you. A lot of the style reminds me of SHINHWA’s work post Perfect Man, though 10 Minutes leans way more into the sex appeal than I was expecting for a k-pop song. Like, was that dance move at the end really necessary? But I digress; I did like it overall.

Hey Girl initially seems like it’ll act as the softer, more vulnerable ballad to Hyori’s debut and then it very much…doesn’t. Though there was sexualization in 10 Minutes, it’s honestly nothing in comparison to the opening minute of Hey Girl. There’s nothing wrong with sex appeal in a song, but this felt dehumanizing and weird, especially with the schoolgirl clothes. It genuinely made me uncomfortable. I tried to focus on the song, but it was honestly difficult, which is a shame, because I mostly liked its beat. I have no idea why the rapper is necessary here, though; his parts didn’t seem to fit with the rest of the song.

Remember Me is the ballad that I thought Hey Girl was going to be, and though it’s nothing that unique in the realm of this genre, it’s still solid. Hyori has a nice voice, and seeing her exercise it in a different way with a different kind of instrumental was interesting. I also enjoyed the music video made of pictures of Hyori just enjoying her life, though there were some odd editing choices at times.

From the first album, Stylish…, I enjoyed the acappella beginning of One Two Three N’Four, the swirling orchestra of Ice, the layered harmonies of Jazz Bar, and the gentle outro of Ghost. My hidden gems were the smooth, solidly groovy Eve, Sleeping In Paradise and the percussive, snappy Do Me. This was a more ballad-heavy release than I was expecting, and though those aren’t usually my style, it was a nice change of pace from my usual reviews and a nice opportunity to appreciate Hyori’s vocals.

Album #2: Dark Angel

Get Ya goes for a more bombastic sound than any of the singles from Stylish…E, working in rock-pop, EDM, and a touch of funk too. Perhaps fittingly for an album called Dark Angel, this song seems to be all about putting forward a “bad girl” image for Hyori, and to her credit, she sells it well. The music video has such creepy vibes with the dancing marionettes, and that paired  with this darker turn and the synths makes it a harbinger of the early years of the 2nd generation. This feels like the first track to be a pop culture moment and not just a song, and it being a great song only helps.

Shall We Dance has a similar kind of daring sound to Get Ya, though it’s more stripped-back (no pun intended) and also  faster-paced. For a song with its title, it’s not actually that dancy, and I wish it used its brassy interpolations more than it actually does. I’d say it relies more on Hyori’s charisma than its own strengths, and winds up placing style over substance. That’s not to say it’s not good, but next to Get Ya or 10 Minutes, it’s honestly a bit forgettable.

Straight Up is the closest Dark Angel gets to the sound that Stylish…E established, a very 2000’s, percussion-heavy R&B with hints of hip-hop and pop. Hyori is good at this sound, and the best parts of the song are when her voice takes center stage and the instrumental quiets down. The best word for it is “vibey”; Straight Up just isn’t the kind of track that gets you dancing or running, but instead the kind of background thing you’d play in the car on a long drive.

From the album, Dark Angel, I enjoyed Hyori’s lovely tone in Winter Gaze, the sleek confidence in Steal A Glance, the softly creeping vocals in Slave, and the smooth beat of 2 Faces. My hidden gem was E.M.M.M., though, with its great rock guitar and forceful delivery. I hope she does more of this style in the future. Also, I liked Straight Up more just listening to it; its charms are more obvious when it’s in the background. Overall, though, I don’t find this album as good as Stylish, mostly because it’s not as cohesive.

Album #3: It’s Hyorish

I had a feeling U-Go-Girl would be a favorite of mine from its title, and I’m happy to say that I was right. I’ve never been able to resist a song aimed at female encouragement, and even though I have a couple issues with the music video like I did with the others, I’m willing to mostly ignore that. There’s just no better feeling than singing “you go girl!”, especially along to such an upbeat, feel-good pop beat. My one big complaint would be the rapper’s feature, because not only is it unnecessary, but I feel like having a man direct the song undermines its message. Overall, though, I had a good time with this one!

Hey Mr. Big gave me the exact opposite idea from its title as U Go Girl did, but I was actually pleasantly surprised by how much I liked it. It has this very catchy blend of electronica and R&B and manages to focus on Hyori’s sex appeal while also feeling like a lot of fun. It doesn’t take itself seriously, and that goes a long way towards my enjoyment of it. I also appreciate that the lyrics are about telling a man to grow up and admit that he likes a woman. By the end, I was dancing along!

From the album, It’s Hyorish, I enjoyed the more vulnerable lyrics of Hyori The Invincible, the scat outro in Photo Album, the gentle guitar of Do You Think It’ll Be Okay, the brassy interpolations in P.P.P. My hidden gem was the Barbershop’s Daughter, which looks back on Hyori’s childhood and promises never to forget where she comes from or the friends she made there. It’s just a lovely song, especially since she wrote it herself, and the children’s chorus she sings along with only makes it more special.

As a side note, looking at the album credits from the last few releases, Hyori’s name is slowly becoming more prominent in the lyrics and composition seconds, which is great to see.

Next time, we’ll be doing Part Two! Tschüss!