Here are my credentials (again): As mentioned, they were formed in ’92, back when my mother was around my age, and so, obviously, I wasn’t a fan (or alive) when they were still together. But this is a blog where I look at kpop groups from across the generations, across companies, and across times, from SHINHWA to ZeroBaseOne, and what better group to cover than the first ever one? So, let’s get into it!

(Part One)

Album #5: Seo Tai Ji

Take One has one of the strangest TVs I’ve ever seen right off the bat, leading me to one main question: why do the animated characters look like those stupid droid robots from the clone wars? Either way, the song itself is pretty good, beginning with a foreboding rumble of instrumentation before the main sections of electric guitars and drums come in. It also blends Taiji’s tendency for harsher rock with a pop-ballad sensibility similar to Dreaming Of Balhae, one of my favorites from the first part of this review. Its biggest issue is that it often gets stuck in the middle of several genres, and isn’t quite devoted enough to any of them to really stand out.

From the album, called Seo Tai Ji (not getting any better with the names, are we), I enjoyed the solid, unique instrumentation of Take Four, though the rest of it wasn’t for me. I also liked the intro, Maya, which is miles ahead of the four editions of “Yo Taiji” I went through in Part I, so…progress?

Album #6: Ultramania

Ultramania has a surprisingly soft opening, just a tip-toeing piano and some genuinely lovely strings…and then all hell breaks loose, turning the track into the kind of harsh-on-the-ears anthem that’s pretty much become Taiji’s trademark in the years since. Songs like this are difficult, because, while I appreciate the impulse behind them and respect the artistry it takes to make them, I can’t say that I like them. Likewise, I can’t say I like this song, and I’ll honestly probably never replay it again. Also: I feel like I’d be remiss, though, if I didn’t mention that Seo Taiji is wearing braids here, as he did in almost all of this album’s promotions, and, unfortunately, I can’t say I’m surprised.

Internet War was the first song I ever heard of Seo Taiji, actually, due to a famous (infamous?) cover of it by Jonghyun and Taemin of SHINee, which I still regard as one of the best performances in kpop. Unlike Ultramania, you know where it’s going right out of the gate, as a monster of a guitar hook crashes through your brain. Despite that, the screamo chorus catches me completely off guard everytime I hear it. You’d be hard pressed to find another song quite like this one in the industry, not only for its genre but for its lyrics, which take aim at the dangers of the internet, especially for children. Having been recorded in 2000, it’s easy to see why this was fresh on his mind. Overall, I’d say that, while it’s not something I’d find myself listening to every day, it’s a classic for a reason, and I do like the song. I think I still prefer the SHINee version though.

From the album, Ultramania (a name!!! Hallelujah!), I enjoyed the bass guitar-led instrumental of Do You Remember. The rest of it…let’s just say yikes. Not for me. So, so not for me.

Album #7: Seventh Issue

Heffy End combines the good that’s been in Seo Taiji’s discography so far—a punchy guitar line, solid metal influences, forceful drums—with a warm, sentimental through-line and gentler vocals than usual. It could be a TV show theme song, and I do mean that as a compliment. I especially loved the moments where it pulls back to let you appreciate its lyrics (which are honestly quite sweet) only to begin racing forward again. It’s absolutely my favorite title track since Dreaming Of Balhae, though I don’t think it quite eclipses that.

From the album, Seventh Issue, I enjoyed the painful, genuine lyrics of Victim, the frenetic energy of Live Wire, the gentle guitar of October 4th, and the off-kilter beat of F.M. Business. This is a really good album, and like its title, certainly my favorite in a while (maybe of all the ones so far?). We’ll have to see what the future holds.

Album #8: Eighth Atomos

From the name, I was expecting Morning Snow to be a Christmas song, and I was…sort of right? The track starts with the kind of disjointed strings and sunny piano that you’re likely to hear in your grandmother’s house on December 24th, but after that, Taiji manages to inject a bit more color into it, with some electric guitars and his unique voice. But, it’s honestly still a bit boring, something I never thought I’d say about one of his title tracks. I’ll give it a resounding shrug.

This album, Eighth Atomos, luckily for me, follows in the footsteps of Seventh Issue, striking a good balance between the somewhat harsher tracks like the off-kilter Replica and the gentler ones like the rock-pop-ballad Juliet. Besides that, there’s a couple that toe the line like Moai, a great melding of classic 90’s kpop and newer styles (my hidden gem), or Bermuda, which has a great driving beat and a peppy energy. Overall, it’s another pretty solid release.

Album #9: Quiet Night

Sogyeokdong isn’t a song I’ve heard before, but considering it was voted by Billboard to be one of the best of 2014, I had high hopes. And I’m very happy to say that it didn’t disappoint. Starting off hazy, Sogyeokdong, about the town where Seo Taiji grew up in the 1980s and the turmoil he witnessed there, soon becomes a deeper reflection on Korea itself in a period of immense turmoil. The music video too perfectly captures the mix of fear, warmth, and nostalgia that comes with remembering such a complicated place, going back and forth between him as an adult and two teenagers growing up back when he did. It’s beautiful and moving, especially in light of the recent events in South Korea (that were just two days ago at time of writing). It’s a song like this that truly shows me what Taiji is capable of, and I wish so deeply that this was the genre he stuck with.

From the final album, Quiet Night, I enjoyed the odd mix of fast-paced guitar and funky instrumentation in Christmalo.win, the distorted beat of Fighter In The Forest, and the hopeful, racing piano of The Lost. My hidden gem was Prison Break, which melds a dancy underlying hook with a rockier edge. This is probably my favorite album yet!

Verdict: TL;DR

I’m glad I did this! This was such an interesting review to do, seeing the roots of the industry I’ve devoted part-time job hours to, however uncertain they might have been at the start. Seo Taiji and Boys were truly one of a kind, not only in their own time but still now. It was difficult for me to find getting-to-know-you content for them (which I expected, so instead of a couple short videos, I watched one larger one: an hour-long interview from 2014, which gave me both some really interesting insight into Seo Taiji’s creative process and a big surprise at how soft-spoken he is. I especially loved when he spoke about his daughter and the joy she brings him (“is this what they call being a fool for your daughter?”). I also checked out Aespa’s cover of Regret Of The Times, which was a lot of fun.

My Top 5 songs were Dreaming Of Balhae, Sogyeokdong, Dr. Jekyll and Mr. Hyde, and Regret Of The Times, with Heffy End as an honorable mention. Seo Taiji and Boys gets a 7.75 out of 10 from me, while his solo career gets an 8.25 out of 10; so overall, an 8. There’s no denying the impact that they’ve had on k-pop, from the detailed choreos to the hip-hop influences, and like I said, they’ve given me a whole new perspective on the blog, and I discovered some songs that I really enjoyed.

That being said, it’s difficult to overlook the pitfalls: the cultural appropriation (especially in their earlier years) or the tendency towards harsh-on-the-ears trap and / or incredibly melodramatic ballads that’s unfortunately carried on through the years in groups like Big Bang or SHINHWA. And, even more so, I’m a singer. I’m here for great vocals, and often, Seo Taiji’s really get on my nerves. So, overall, neither the band nor his solo career are for me, I’m afraid, but they absolutely deserve their flowers.

Next time, we’re onto my last few reviews of the year. Tschüss!