Heartbreak, loss and confusion is made surprisingly palatable in The8 and Vernon’s hands. Granted, said themes are probably not what you’d pick up on at first listen. Spanning eight tracks, the duo shares the same name as its debut mini-album. Titled V8, it is a marked departure from their work as members of K-Pop ensemble Seventeen—while the latter’s discography leans more towards hopeful lyricism and infectious beats, V8’s sound situates itself somewhere within electronica and trash pop. Or, at least, that’s what they want you to think. When taken at face value, V8 is a techno-infused dream; a hodgepodge of electrifying bass drops and catchy hooks. Peer beneath the surface, however, and you’ll discover a wealth of emotion brilliantly disguised.
While there’s no specific overarching message to be gleaned from V8’s aural realm, a sense of disenchantment is evident. It’s not so much an apathy for life, but rather frustration at its limitations. Its most on the nose interpretation is in ‘girlsandboys’; a frolicsome, synth-heavy track which declares that “boys and girls are so tired.” Of what, precisely? Neither The8 or Vernon get into the specifics, though they do express that it has to do with a world “overflowing with enmity.” Its serious note is hard to discern considering the upbeat inflection to the song, but the juxtaposition is precisely what makes it an engrossing listen.
The same can be said about ‘mia’, a solo effort from Vernon. The track’s peppy tempo and exuberant energy is heavily influenced by early 2000s pop-punk; a hallmark of the singer whose previous work ‘Shining Star’ retained a similar flavour—though the distinction between the two is clear to see. While ‘Shining Star’ is centred on a nebulous, unnameable figure that is a guiding light in a dark city, ‘mia’ is unapologetically centred on Vernon’s perception of self. The title alone is telling; in Korean, ‘mia’ reads as ‘미아’ which translates to lost child in Korean. Amidst a buoyant beat, he sings: “Even though I ran frantically/I never escaped/I still hear myself echoing back.” It’s a tender touch to an otherwise bubblegum pop-leaning track; a peek at Vernon’s vulnerabilities that grants ‘mia’ the dimension it needs to be exceptional.
The8, on the other hand, takes a more self-assured approach to his independent track. While ‘mia’ is an introspective look at identity and the disorienting process of discovering oneself, ‘8DM’ is an invitation directly into The8’s psyche. A crowd thumper designed to get people up and moving, it is a club anthem that is unapologetic in its delivery, from its aggressive pace to its cocksure lyrics. And while it’s a shame that ‘8DM’ doesn’t feature much of The8’s melodic vocal tone, it comes into play more discernibly in other tracks from V8 with ‘coloring’ and ‘Friend.’
‘Friend’ as well as ‘singasong’ were the openers during the duo’s listening party; a ticketed event that took place at Grainhaus, a lounge club in Seoul. The intimate venue and presence of other participating producers on the album meant that it felt more like a rave than it did a concert, a first for K-Pop which typically prefers more polished productions. Stylistically, it made sense. Taking into account how V8’s sonicscape differs drastically from Korea’s pop music scene, it is only natural that its method of delivery, too, should diverge. And while it should be noted that the pair are still holding concerts in both Seoul and Hong Kong, it’s clear that both The8 and Vernon prefer the road less taken when it comes to their craft—no matter the risk.
All things considered, the listening party is not so much a gamble as it is an extension of V8’s essence. In Grainhaus’s smaller, more compact space, the emotion behind tracks such as ‘Friend’, ‘rat race’ and ‘coloring’ were a lot more apparent. What I found to be particularly heartrending was the deliberate choice to start with ‘Friend’ and close with ‘rat race’ both in the performance and the album. The former begins with audio from a younger version of The8 declaring his intention of becoming a superstar; a snippet made all the more poignant when held in contrast with ‘rat race’. The song addresses the never-ending pressures of producing smash hits until one is “in the casket,” a full circle moment that allows for both hopefulness and despair to exist in a singular space.
But perhaps that is the magic of this album; it deftly acknowledges the many injustices we survive without delving into tragic territory. If the world is ending, you might as well have fun with it—well, at least that’s what V8 thinks. And who are we to disagree?
