So, inquiring minds want to know: where has our beloved Sweetune gone? Well, they’ve seemingly shifted into ballad mode, working with idol band IZ and ex-Boyfriend member Jeongmin over the past year. While it’s always nice to have them around, this is certainly a worrying development. Sweetune can rattle off an excellent pop ballad in their sleep, but it’s not what I love them for. I need some high-octane dance music, dripping with 80’s synths and layered vocals.
With that said, Jeongmin’s newest single The Day Of Ours (그날 우리) feels more like classic Sweetune than anything they’ve produced in a while. Last November’s Why had the classic Sweetune vocal cadence down, but Ours nails the soaring melodies that have buoyed so many of their best songs. Back in 2017, Sweetune produced a knockout ballad for boy group 100%. This song isn’t too dissimilar in tone, though it dials back the vocal theatrics a bit.
Absent a big thumping dance beat, the instrumental still manages to elicit sparks thanks to surging spikes of guitar and some gorgeous, filtered vocal effects after each chorus. But, the full spotlight here shines on Jeongmin himself, who delivers a super-solid performance. While the song’s verses are relatively restrained, he really lets loose during the chorus. Its cathartic climax is immensely satisfying, adding a spike of drama to a track that could have easily succumbed to coffee shop boredom. As expected, Sweetune add a polished crispness to the production, bringing in nostalgic touches that make The Day Of Ours feel like a long-lost soundtrack to a coming-of-age classic.
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That chorus is all Sweetune sound production. A nice vocal performance too.
The song really surprised me when it hit the big high note early at only 1:40 in. Its a note that is usually at the bridge, or at least at the end of the second chorus. After it hits that note, the only place to go is a lengthy instrumental, and then … repeat it all again. da capo al fine. So the song structure really structure as odd, in an odd way. It has all the elements and styling of being a “verse-chorus-verse-chorus-(bridge)-chorus” song, but changes it up to “verse-chorus———verse-chorus—–first two lines of verse as outro” in a way that sounds more half done than creative.
The structure reminds me of Lim Hyunsik “Your Love” from October 2019, which also has a big high note early and does a very similar structure a bit more successfully. “Verse-chorus———bridge with higher note – down to quiet verse – chorus – outro with chorale and adlibs”.