Everglow’s ‘Arrival of Everglow’ Album Review
Everglow are a new girl group from Yuehua Entertainment that feature girls who have already participated in survival shows. Since Yuehua and Starship Entertainment have a partnership to co-manage several of WJSN’s Chinese members, this technically makes Everglow a step-sister girl group to WJSN, but the two groups’ sounds heavily differ in character.
Everglow’s first single album release Arrival of Everglow is aptly named. The album explores musical elements that are generally associated with shimmer & glow, especially the synths in the title track.
The synthesized guitars start off the song with a quiet atmosphere, followed by a heavy digging bass & slapping trap-influenced percussion. That is further followed by a house-electronic influenced sonically dense pre-chorus, that is one of the strongest musical moments on the album for me.
Then it blossoms into a bouncy chorus that seems fun & playful. The song is heavily reminiscent of LOONA’s “Girls’ Talk”, especially the progression & instrumental in the pre-chorus (and the song is titled “Moon”).
The bridge is infused with a trap beat & there’s a change in the percussion sample, which is a nice change of pace.
The song also features a rap verse, which blends into the instrumental quite well. You would expect a rap verse for the title track with the amount of Hip-Hop influences in it, not this track.
There’s a change up in the last chorus in the beginning & the bounciness is even more apparent with the slightly differently sung chorus.
Overall, it’s definitely the strongest track on the album by far, being the most musically interesting as well as fulfilling.
02. “Bon Bon Chocolat”
The song begins with heavily edited automated voices & slap percussion, followed by a heavy descending bass that warps & swallows the verses sung by the girls.
There’s a constant thin high twinkling synth in the background of the pre-chorus, which has some decent vocals & is one of the parts of the song that’s in major key.
The pre-chorus’ “Everything, Everything” is almost reminiscent of Ariana Grande’s “Everyday” chorus.
Then the song drops hard with the dominating bass. However, the drop is late in the second & third choruses, as there’s sections of instrumental hollowness.
They seem like they really want to get the motif in your head with the multitude of times it’s repeated.
The bridge is calm, a section of aural relaxation as with many K-pop bridges, a respite from all the sonic congestion throughout the song.
The track is an electronic track at heart with Hip-Hop & Trap influences.
The constant ticking percussion can get annoying but it’s the trap component of the song.
There’s also some heavily synthesized strings in the background of the pre-chorus.
The song heavily relies on autotune, which even if done stylistically, subtracts from the song as it totally muffles the voices & reduces the organic appeal. Furthermore, the lack of a proper chorus, & the overuse of the motif in the beginning, make the song a repetitive & fatiguing listen overall.
The title reminds me of LOONA’s Yves’ “D-1″(What’s with all the LOONA references?) but the two songs sound absolutely nothing alike.
This is another one of those sentimental ballads people can go to sleep to. It’s not very interesting with the typical, familiar chords & the occasional shimmering wind chimes. The piano is sweet & heartfelt but it barely changes throughout the song. It’s not a very captivating song & fails to impress overall.
The strings in the bridge are however, a good addition, along with the modulation before the last chorus.
Rating – 5.5/10.
Everglow have debuted with a single album that explores genres, each song totally different sonically. However, a problem with such exploration is that they don’t have a defined sound yet. It is still their first project and there is definitely room for improvement.