VIXX debuted in 2012, just on the cusp of Kpop’s 3rd generation, with six members: N, Leo, Ken, Hyuk, Hongbin (who left in 2020) and Ravi (who left in 2023). They were formed by Jellyfish Entertainment, which also started the careers of VeriVery, EVNNE, Gugudan, and soloist Kim Sejeong. At time of writing, it’s their 13th anniversary, which seems appropriate given their somewhat notoriously dark concepts.

Here are my credentials: this is a bit of an interesting one. I’ve heard about VIXX from outside sources, a lot vaguely fear-mongery along the lines of “oh my GOD have you heard about that weird kpop group with the chains and the blindfolds and the BDSM contract in the album—” et cetera, et cetera. But I don’t like relying on other people for my opinions and I’m always wary of believing what random people say online, so I decided if I wanted this done right then I would do it myself. So let’s get into it!

Single #1: Super Hero

After that intro I treated us all too, I confess that Super Hero is nothing like what I was expecting. From the start, it’s very 2012 kpop: there’s the cringy English intro, the costumes that feel like low-budget versions of SHINee’s Lucifer (not that those were particularly good either but you catch my drift), lots of random nonsensical words, a synthy-ish beat that sounds right out of 1985, etc etc. That’s not to say it’s not catchy or that I couldn’t see their talents, but it’s a bit hard to focus on those things when they’re happening in front of a wall painted like over-saturated penicillin. But I can see why it wasn’t this song that blew them up, and now I’m very curious how they got from here to what I know is coming.

Single #2: Rock Ur Body

Rock Ur Body feels like a continuation of the styles and sounds of Super Hero, again colorful and a bit strange (mostly in a good way) and again not what I was expecting from VIXX. It’s even more on the cutesy bubblegum side than Super Hero was, interpolating a lot of chiptune in the beat and video game effects in the MV, and that’s not even mentioning the actual arcade that provides the framing device in the video. It’s just a bit hard to look at, with so many flashing lights and quick cuts, that tend more towards the disorientating than the engaging. It’s just strange, as I was expecting vampires, werewolves, etc. Instead there’s solid disco, dance floors, and a surprising amount of smiling. Once I got over my initial shock, though, I was really hooked. It’s a great song.

Single #3: On & On

When groups make big changes in their sounds, it usually happens one of two ways: either a gradual maturing that comes with the artists changing, like Gfriend’s slow shift from cutesy bubblegum to orchestral synth pop, or out of absolutely nowhere, like Weeekly’s switch from “relatable” upbeat pop to a girl crush sound.

On & On is the latter; from the setting in what looks like a mad scientist’s military base to the heavy EDM sound to the (*Anna thinks about how to describe this without sounding weird and gives up*) rampant shiftlessness. There are some hints of the VIXX from the first two songs, especially in the synthy background that the rest of the song builds on and especially in Ravi’s raps, but besides that, it’s as different as night and day. Or Jekyll and Hyde for hat matter. Its autotune is a bit too heavy for me, but I really like the sense of drive it has, and overall, it’s much more unique. I still have no idea what was going on in the music video, though.

From the single, I enjoyed the plaintive, vulnerable Don’t Want To Be An Idol, quite a surprising title for a kpop group, especially at this time.

EP #1: JEKYLL / HYDE

I recognize that Hyde is supposed to be very serious. But it’s a little difficult not to laugh when it starts off with crackling thunder, backing strings, and the gloriously dramatic “We started from the bottom, but we just DO IT now!”. I thought it was more interesting than necessarily for me, at first, but then that chorus comes in and I was convinced otherwise. It’s not quite operatic in the way of an Infinite song, and not quite as classic as BTOB’s later ballads, but something all its own. I admit that throughout, though, I just could not stop giggling at the terrible special effects, and when the members all sprouted wings and started roaring at the sky, I full on cackled. Spoiler alert for a nearly 150-year-old novel, everyone, but I have absolutely no idea what this has to do with The Curious Case Of Dr. Jekyll and Mr. Hyde. Like, they put on black suits instead of white ones and I guess they’re evil now? Okay.

I know I mentioned Weekly’s “out-of-nowhere” shift with Ven Para before, but G.R.8.U. really cinches the comparison. It’s not only a return to a much lighter, more solidly poppy sound, but also a return to the kind of bubbly, honestly fairly unremarkable sound common for the time. It’s…fine, sure, but after seeing what VIXX is capable of with songs like On & On and the b-sides I’m going to talk about in a minute, it didn’t make much of an impression on me.

From the EP, I enjoyed the fritzy energy and everything-but-the-kitchen-sink approach of What To Do, the insistent thumping beat of Chaos, and the gorgeous vocals of album closer Love Letter, which goes full-on ballad. I confess to being a bit taken off guard by how laid-back Stop Resisting was in comparison to the rest of the album, especially taking into account how unsettling that title is. Other than that though, I thought it was quite a strong work.

Album #1: Voodoo Doll

If previous songs were VIXX dipping their toes into the world of horror, Voodoo Doll just goes all in. (Cue Monsta X) With a distorted beat and vocals that seem to reach out of the darkness to drag you in, it’s a Frankenstein’s Monster of a song, and I do mean that as a compliment. While I admit I scoffed a bit as past titles as feeling over-the-top and taking themselves too seriously, somehow the abject drama just works here. You really can’t accuse the members of being anything less than completely committed, from their performances to the vocals, and the music video is genuinely terrifying. (Be warned, it’s not for the faint-hearted or the squeamish) Besides that, though, it goes a long way towards establishing the kind of group that VIXX is becoming, unafraid of pushing boundaries.

From the album, I enjoyed the abject drama of Beautiful Killer (which feels like it should be declared to the stars), the rocky EDM of Secret Night, and the lovely vocals of Love Come True. Also, though it’s far too short, shout out to the gorgeous string-led intro, just called Voodoo.

Single #4: Eternity

Eternity ratchets the drama up to 11, and I am so here for it. With a solid pulsing beat and a sleek delivery, it feels like a more natural evolution from songs like On & On, working in elements of science fiction and horror alongside your classic pop hallmarks. It reminds me a lot of Infinite’s ever-building rock ballads, especially in that final minute from the bridge to the final chorus and the outro, which is just incredible. While past singles found horror in your classic places, this MV finds it in the very human area of grief and loss, remaining simple yet very effective.

From the single, I enjoyed the hand-clap led beat of Sad Ending.

Next time, we’re onto Part 2. Tschüss!