Here are my credentials (again): 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!

(Part One)

EP #2: Error

While they’ve spent time in the realms of fantasy, Error is solidly science fiction, from the MV’s metallic gleam to the many references to sealing away emotions and becoming robotic to the insistent underlying beat. And yet despite that, it starts out so human, so soft, before spiraling into a heartfelt power ballad that feels about ten seconds away from spiraling out of control, and only adds to the audience’s feeling of unease as everything becomes less and less “real”. There’s clearly some kind of in-depth storyline that I’m missing here, of course, but I did still really like it. Despite being pretty long—especially for a kpop song—at five and a half minutes, it never feels like it drags, and I was invested the whole time. I hope it’s the start of a new era for them.

From the EP, I enjoyed the creeping, unsettling feeling of After Dark and the lovely acoustic guitar-led Blue Blossom, but my hidden gem was Time Machine, which toes the line between the two, marrying warm-hearted vocals and a synthy sound with a solid instrumental.

Single #5: Boy’s Eternity

As mentioned before with G.R.8.U., VIXX has a tendency of going back to their peppier roots that throws me off balance every time. I’m still not sure what the thought process is behind it to be honest. There’s nothing wrong with the track, certainly, but the darker work that made them famous is such a good fit for them and not to mention feels much more unique. This is a good song, I want to make that clear, but I just…don’t get it. I’m just getting a bit of whiplash from all the concept changes. I know that that’s their thing—and I know how good they are at it, but it’s still a bit difficult to get into a group when you don’t know what to expect.

From the single, I didn’t have a hidden gem.

Lots of kpop songs take surface-level things from BDSM, but few are as blatant about it as Chained Up, so kudos for that. The intro for this song is called “Mistress” to start, and the various references to collars in the styling, choreography, and lyrics don’t make it any less obvious. I’d say it’s done fairly tastefully, but then again, I’m absolutely not an expert. Besides that, though, the song starts at a low rumble but doesn’t stay still for long. Just listening, it’s fairly “usual” for the time, with vintage influences, a rap out of nowhere, layered vocals, and various other things now hallmarks of kpop that were very unique at the time. I really enjoyed the song’s last minute, when all the previously separate threads came together.

From the album, I enjoyed the off-kilter sound and funky synths of Maze, the frantic pace of Spider, and the solid beat of Heaven. I couldn’t pick a hidden gem, to be honest. Also, shoutout to the one high note in Hot Enough. It really didn’t have to go that hard for such a calm song, but it did, and we’re all grateful for it.

Single #6: Conception—Zelos

Dynamite, fitting for the start of a new era (VIXX’s Conception…uh..quadrilogy? Series. We’re gonna say series) has a funkier edge that’s a bit unexpected, but not unwelcome. You might be expecting me to complain about concept switching again, but I’m actually not going to do that. This is the first time I felt like the mix of their early career poppiness and later career EDM really worked in their favor. It didn’t throw one under the rug or include it just for the purposes of nostalgia; the song needs both halves to work. I wonder if this will be the prevailing sound for this entire Conception series; I certainly wouldn’t be opposed.

From the single, I enjoyed the fritzy sound of Six Feet Under.

Single #7: Conception—Hades

Fantasy is the one song I’d heard of the Conception series before this deep dive, so that’s probably why I was so thrown for a loop with Dynamite. Fantasy is as polar opposite as you can get, with a slowly creeping beginning that sets you on edge and then what may be the greatest of their many great hooks. I love how unapologetically dramatic it is, fitting for the inspiration it takes from Greek myths. And that final chorus! Right when you think we’re going back to the song, no; everything that’s come before is amplified tenfold, and the bridge bleeds perfectly into a great finale. Hats off.

From the single, I enjoyed the fast-paced Love Me Do and the smooth R & B of Butterfly Effect.

Single #8: Conception—Kratos

(I admit my first thought when I saw the title “The Closer” was about INFINITE’s The Chaser, which isn’t exactly ideal, but neither is it unusual when you listen to way too much kpop and your monkey brain must. Make. Connections.)

I digress. While the past two singles each further explored a previously shown area of VIXX’s arsenal (a brighter funky sound and a string-led power ballad), this song does both styles…and neither. It’s dramatic and sweeping, yes, but it’s not like Fantasy. It’s got a solid beat but it’s not dancy. The chorus is both an anti-drop and not. You never quite know where it’s headed, and I honestly can’t decide if that’s a good thing or not. The song seems to thrive in subverting expectation, and it’s a fun time trying to guess where it’s headed, not in the least because you’ll probably be wrong.

From the single, my hidden gem was Desperate, with its blend of dramatic strings and very minimal percussion.

Album #3: Conception—Kyr

Milky Way is kind of a combination of all three of the previous titles. It has the synths that powered Dynamite, the dramatic backing vocals from Fantasy, and the odd structure from The Closer. It is my least favorite of the singles, but that’s hardly an insult considering how much I liked them each. The MV isn’t like any of the previous three, though, being a behind the scenes one showing them interacting with fans, preparing for concerts, and acting cute on stage. It was definitely an odd feeling, going from seeing them hip-thrust in collars to see them now in oversized pink sweaters making hearts at the camera, but it was definitely endearing.

This album is a combination of all the singles before, so besides the title, there are no other songs of note. As a whole work, though, the Conception album is very strong, though I think its concept is a bit better than its execution.

Next time, we’re onto the final part of this deep dive, Part 3. Tschüss!