IZ*ONE was one of the most famous k-pop project groups, formed by Produce 101. When this review comes out, it’ll be the 6th anniversary of that formation, August 31st, 2018. Though they disbanded in 2021, they had twelve members: IVE’s Jang Wonyoung and Ahn Yujin, Le Sserafim’s Sakura and Chaewon, and now-soloists Jo Yuri, Choi Yena, Kwon Eunbi, Lee Chaeyeon, along with Yabuki Nako, Kang Hyewon, Honda Hitomi, and Kim Minjoo. 

Here are my credentials: It’s hard to be a k-pop fan and not know of IZ*ONE, so of course I’ve heard a decent amount of their songs. I also know a lot of their members because, as mentioned, many of them are now soloists or in different groups. I’ve covered IVE (see here), Le Sserafim (see here), and Yena (see here), but I thought that coming up on this anniversary was a great time to do the full group.

EP #1: COLOR*IZ

I confess I never understood the hype around La Vie En Rose. Of course, there’s very few songs that could live up to being treated like the second coming of Christ (probably BTS’ Spring Day, SNSD’s Into The New World, and BP’s Lovesick Girls, and that’s about it). LVER is definitely unique in the realm of k-pop, I’ll give it that, but besides that it’s always seemed understated to the point of being…boring? The pre-chorus is probably the best part, with a solid build up, but I’m always put off by the payoff, which is just too empty. This is a music blog, not a dance one, but the choreo is very intricate while still being elegant, which is especially impressive with twelve members.

From the EP, I enjoyed the bubbly hook of Colors, the sharp jazziness in O’My!, and the J-rock edge of Suki ni Nacchaudarou. I’m not sure which was my favorite. Out of the album, though, I think that there would have been several better choices for the single than La Vie En Rose. Maybe I’m just biased.

(TW: Eating disorders for below paragraph)

Sidenote: I know it’s not unusual to have young performers in k-pop, but Wonyoung turned 14 the day that IZ*ONE were formed, which means she was 13 during the majority of the show when everyone was commenting on her body, and when she was chosen to be the center. And, she’d just turned 17 when IVE debuted in 2021. To put this into perspective, she’ll only be turning 20 years old the day this review comes out. (August 31st, 2024). And still to this day, at 5’8” (nine inches taller than me), according to her official weight issued by the company, she weighs less than I do. Which is…horrifying. There are so many young girls who were IZ*ONE fans, and IVE fans too, and I worry for them seeing her as a role model. And I worry for Wonyoung too. Ok, time to get off my soapbox, but I felt like this needed to be said.

EP #2: Suki To Iwasetai

Suki To Iwasetai has long been my favorite Japanese single by IZ*ONE, and was probably the first one I heard. There’s a couple reasons for that: besides doing a good job with its set-up and payoff, it has that classically J-pop oddball sound, jumping from pop to chiptune and back again before the bubblegum explosion that is its chorus. It’s a sound that, in my opinion, we don’t hear enough in k-pop, especially with its penchant for quirky music videos. Also, though this isn’t that surprising for a half-Japanese group, it’s nice to see a Japanese release given as much prominence as a Korean one, and not treated as an afterthought. All in all, it’s a great song.

From the EP, my hidden gem was the rocky, sharp-witted Gwaenchanha Yo, but I also enjoyed the rushing piano of Dance Wo Omoidasumaide.

EP #3: Buenos Aires

Buenos Aires is also a Japanese release, and though it doesn’t hold a candle to Sukito Iwasetai (in my opinion), it’s still pretty solid. I think the best part is the post-chorus, with its quick footed instrumental and synths. The whole thing has this great sense of fun that I always appreciate hearing. But one of my pet peeves with this one is the extreme overuse of autotune; this may be a dance-focused group but we know these girls can sing, and sing well. We don’t need to make their voices sound like they’ve been shredded in a synthesizer. C’mon, guys.

From the EP, I enjoyed the synthy sound of Tomorrow, but I didn’t have a hidden gem.

EP #4: HEART*IZ

Violeta was really the start of the elegant bubblegum that would soon become as synonymous with IZ*ONE as girl crush did with Blackpink or classical did with Gfriend. No empty choruses or disappointing payoffs here; though there’s an instrumental hook, it’s supported enough so that it doesn’t fall flat. The final refrain especially is lovely, and though I wish it was taken a bit farther each time, I do still like it.

From the EP, I enjoyed both the vogue-worthy, minimalist Highlight and the gentle strings of Really Like You, but my hidden gem was Airplane, though. The way its stomping EDM helps take the edge off of the cutesier moments of the song is great, and it’s a sound I hope IZ*ONE returns to.

EP #5: Vampire

Vampire feels like a spiritual successor to Sukito Iwasetai, with a vintagey sound, a tongue-in-cheek humor, and a unique sensibility. It doesn’t take itself too seriously, having fun with its creepy lyrics and classical flourishes in a way that feels right out of an anime. In fact, I wouldn’t be surprised if it was used as a theme song. It’s dramatic and sweeping, and though it doesn’t quite lean far enough into that to be completely convincing, it comes close.

From the EP, though I enjoyed the slowly creeping sound of Shigaisennaka Buttobase, my hidden gem was Fukigen Lucy from the minute that incredible guitar riff kicked in.

Next time, we’ll be doing Part 2. Tschüss!