Song Review: Seventeen – 24H

Seventeen’s 24H is already the group’s fourth original Japanese single, continuing to represent their successful push into international markets. It comes on the heels of March’s Fallin’ Flower, and uses that track’s energy as a jumping off point. But, 24H pushes us in even stronger directions. Its willingness to explore is appreciated.

Composed by the usual team of Woozi and Bumzu, 24H borrows from many of their preferred sounds but ties everything together in a taut, forward-moving package. Its greatest success lies in its ability to shift and grow as it goes on. Rather than circle back to the same elements over and over, 24H unfolds like a musical story. This is in spite of a melody that’s really quite repetitive. However, the track’s arrangement spotlights this melody in different ways, tweaking the energy for a dynamic – but never jarring – journey.

Opening with insistent kick and gentle acoustic guitar, 24H’s verse snowballs as more instrumental elements are brought in. It’s a classic approach, but one that’s rarely unsuccessful. From here, the song’s chorus enlists chugging guitar to lend the refrain a great sense of drive. Its second verse holds on to some of this rhythm, but it’s not until we reach the bridge that 24H reveals its trump card. We move through an aggressive, chanted segment to a brief moment of open space before the chorus returns with even more rhythmic bite. It’s a great way to tease out the strengths of both the melody and performances. For me, this is easily Seventeen’s strongest Japanese single since Call Call Call.

 Hooks 8
 Production 9
 Longevity 8
 Bias 9


8 thoughts on “Song Review: Seventeen – 24H

  1. 24H is another great addition to Seventeen’d roster of great Japanese releases. Seventeen’s Japanese releases are on another level, in my opinion. So far I have yet to not like a single one. Seventeen is a group for me that’s hit or miss. I like the majority of their Korean releases but the ones that I don’t like I feel completely nothing for. That so far has not been the case with anything of theirs that’s Japanese(except maybe Happy ending but it’s grown on me-mostly because of the iconic “kikasete kikasete aishiteru shiteru”). Honestly, Call Call Call and Fallin’ Flower are some of my favorite Seventeen releases, period(like top 10) and 24H doesn’t lag too far behind.

    Liked by 1 person

  2. Well, hey, its not so bad. It has its charms. It does that tempo change thing, pretty well. I may even also second Nick’s comment that it is the best Woozi – Bumzu song in a long while. Maybe that isn’t even a stretch to say that.

    I miss the DK show here, he doesn’t have nearly enough lines, but maybe in fairness to everyone else in the group that may be a good thing. (so that he doesn’t blow them all out of the water, again.)

    It doesn’t beat Call call call. That song rocked.

    Liked by 2 people

    • What exactly do you mean by DK blowing everyone out of the water? I get that he has an incredible voice being a main vocal, but the way you phrased it seemed as though he’s somehow better than everyone else in the group. I don’t think it was meant to come across as that way, but that’s how I read it. Although I must agree, Call Call Call is still my favourite Japanese release of theirs by far.

      Liked by 1 person

      • Seventeen is a collection of distinct and beautiful voices that all shine in different aspects. I personally really like all of their vocal tones and singing styles but in pure terms of range and power, I believe DK tops them all. He has had a lead role in a musical as well (king Arthur) which requires very good vocal technique.


      • Perhaps I used the wrong metaphor, as so many came to mind. But to your point, yes I am actually calling out DK from the rest of the Seventeen lineup and also from all of kpop.

        DK has a unique voice for kpop, a booming one like a Steve Perry (of Journey, “Don’t Stop Believing”) where so many others are light tenors with falsettos. Along with the Chen Jonghyun K R Y Yoo Hwe Sung etc, I would add his name to the list of vocalists who can easily be identified for the quality of their vocals.

        For a long time DK and Seungkwan were a 1-2 matched set. I believe they may have even traded lines from time to time in the old songs. But, unique in kpop, DK has gotten better with time, and especially in the past year or two. His ability to emote and convey that feeling to the very back row, to the rafters, right to you through the lens, through the microphone, THAT has grown immensely. How to be more musical. How and when to use to use his breath. How to enunciate the vowels and consonants. How to attack the beginning of the line, and when to hang onto the end of the line. How to phrase a line, how to swell and build within a single line. And then forget all that, internalize it, and sing like your life depends on it.

        I believe as DiscountXiumin points out, it has everything to do with getting involved in the musicals last year where all these details matter. You have to emote to the very back row, or the next musical director won’t hire you back.

        Recently, DK demonstrates this in “Falling Flower” in his short section, and also again in “Together” from a few months ago. Both have the same expressiveness, but I will go into detail with “Together”. Compare his only big part in this song in the chorus, with all the other vocal line who each in turn carry essentially the same melody. The others do a pretty good job, DK does better.

        “Nae tteudaero” starts soft builds a bit
        Drops back “an dweneun” builds up again more intensity
        Drops back “haru” and then soars, really leans into it “HAAAAruga”. There, there is the boom.
        Beautiful decrescendo follows in reverse” UP and then softer, Up a little less 2nd time then softer, up even less 3rd time and then land the phrase.

        The whole line he gets as a whole, and then within the line in each phrase, is beautifully done. Compare it to Seungkwan right after his line. Now, I love SK. I’ve listened to SK on his OST, his Masked Singer, all that. SK is still the same SK as he was 5 years ago. SK here modulates between 30 to 70% of his intensity. The high note is only important in SK’s line because it high, and not because it is the top of a crescendo. DK brings those intensity swells out more to a 10 to 90% range, and then on HAAAAARuga his life and soul is laid bare.

        So, yes, I am seriously missing more DK in this song here.


  3. Jpop idols (as their fans lovingly call them) are back with another banger.
    Wonder if they’ll bless us with another korean cb before the end of this year? Busy year, indeed.

    Liked by 1 person

  4. I’ve never been the biggest fan of rap so an all-vocal song, especially a Seventeen one, is always welcome. The opening is unexpected for a Seventeen song, but sets the tone well, with S.Coups singing in his lower register and starting before the instrumental. Joshua, Mingyu, and Jun really got to show off in the first verse and did a great job leading into the pre-chorus. Woozi writes great pre-choruses, and 24H is no exception. It’s interesting that the vocal leads straight into the chorus while the instrumental takes a second to regroup.
    From Hoshi’s part in the 2nd chorus to the end of the song, the transition between sections is really seamless. The post-chorus -> bridge -> chorus section is the highlight of the song for me. The post-chorus has an awesome bass line, and the vocal varies the melody that came right before it perfectly to build even more energy, which makes the drop to one chord a measure in the bridge incredibly effective. Then when the instrumental cuts out completely right before the chorus, the focus is totally on Mingyu, who delivers a pretty impressive vocal run. I really enjoyed this, even though I think I would rank it third out of their Japanese releases, after Call Call Call and Fallin’ Flower.

    Liked by 2 people

  5. My dear Seventeen.. I still appreciate them from afar, but this is just not something I would ever listen to. I won’t say anything more about it, you have heard me lament their change of styles enough already :’)


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