INFINITE is positively one of a biggest names in K-Pop right now. Last years’ ‘INFINITIZE‘ manuscript was a large hit, with “The Chaser” violence out 2011′s “Be Mine” as their third-highest charting singular thus far. At a end of final year and commencement of 2013, Sunggyu and INFINITE-H both had successful promotions (Sunggyu has pronounced in interviews that he considers ‘Another Me‘ a failure, though it was a top offered physical manuscript of November, that is no tiny feat). There’s a lot of vigour when an act is at a top, a higher we get, a harder it is to keep relocating up as against to falling. How did INFINITE handle a pressure? By holding on what they’re job a ‘New Challenge‘.In a way, it’s not that new. Three out of a six songs (seven, counting a intro)- “Man in Love“, “As Good as it Gets“, and “60 Seconds” were constructed by Sweetune, a team behind many of INFINITE’s hits. It wasn’t transparent whether or not INFINITE and Sweetune would be stability their partnership after Sweetune recently started producing for Starship Entertainment acts, even giving Boyfriend a INFINITE-esque “Janus“, though it seems as if they’re continuing a partnership and only tweaking a sound a small bit.
The pretension track “Man in Love” and a following lane “As Good as it Gets” follow in a synth-heavy, 80′s cocktail steps of their prior songs, though this time around they’ve dumped a dramatic violins and angst for something brighter. “Man in Love” is lyrically identical to INFINITE-H’s “Special Girl” in that it’s a sunny, happy strain about juvenile love, while “As Good as it Gets” talks about training and flourishing after ruining a attribute by being immature. They both enclose that fun and balmy sound, ideal to flog off spring, while staying loyal to a sound that INFINITE has spent a last few years developing.
As distant as their other Sweetune-produced song, a organisation remake of Sunggyu’s solo singular “60 Seconds”, I’m not utterly as impressed. The verses sound great- Sungjong and Sungyeol‘s skinny vocals generally took me by surprise, as they unequivocally fit a feel of a song. However, when a whole organisation comes together on a chorus, it sounds a small bit like uncover choir for a cocktail song, that is usually amplified when Woohyun over sings his part. Yes, carrying everyone sing on a chorus is one of INFINITE’s signature sounds, and it works in their cocktail songs, though in a rock strain like this it’s a small overwhelming. The swat break is awkwardly shoe-horned in and totally unnecessary. If they wanted to remake a song, they should have done a finish reboot, with a new instrumental and everything, or else arranged a vocals so that a chorus wasn’t SO overwhelming.
“Still we Miss You“, “
As distant as their other Sweetune-produced song, a organisation remake of Sunggyu’s solo singular “60 Seconds”, I’m not utterly as impressed. The verses sound great- Sungjong and Sungyeol‘s skinny vocals generally took me by surprise, as they unequivocally fit a feel of a song. However, when a whole organisation comes together on a chorus, it sounds a small bit like uncover choir for a cocktail song, that is usually amplified when Woohyun over sings his part. Yes, carrying everyone sing on a chorus is one of INFINITE’s signature sounds, and it works in their cocktail songs, though in a rock strain like this it’s a small overwhelming. The swat break is awkwardly shoe-horned in and totally unnecessary. If they wanted to remake a song, they should have done a finish reboot, with a new instrumental and everything, or else arranged a vocals so that a chorus wasn’t SO overwhelming.
“Still we Miss You“, “