The hazy, wistful image posted above this review (which is also the cover of Jennie’s new digital EP) is emblematic of a certain sound that’s permeated global pop music and has weasled its way into K-pop as well. On this blog, I’ve called it “restrained,” “subdued,” “coffeehouse,” “beige” and a dozen other descriptors. It’s the kind of music perfectly pitched for playlists meant to establish an easy vibe suitable to just about any setting. For my taste, it’s done irreparable damage to pop music’s ambition, scope and progression, but I’m clearly in the minority. Apparently, mainstream listeners love their tempos low and their sonic landscapes hushed.
So, where does Jennie fit within this realm? She straddles the line between global pop and K-pop, leaning further into the former with each passing year. Last month, she released the extremely palatable (read: boring) Less Than A Lover and new single Fallen Angel continues to build that soundscape in a less tightly structured way. Here, we have folk instrumentation, dreamy textures and wisp-like melodies performed just above a whisper. It all screams “aesthetic” in the misused adjective sense of the word. To Jennie’s credit, the song takes its textural tropes in a less predictable direction than most of her peers, abandoning expected structure in favor of loose, barely lucid execution.
While this is easy to admire, Fallen Angel is harder to embrace as an actual song. It presents many signifiers but little to actually sink your teeth into. Refrains waft in and out, buttressed by short instrumental interludes. These pieces are all quite pretty, but never forge into a knockout moment you’ll remember after the song has finished. Still, as far as “vibes” music goes, I appreciate Fallen Angel‘s attempt to do something a little different.
| Hooks | 7 |
| Production | 8 |
| Longevity | 8 |
| Bias | 7 |
| RATING | 7.5 |
Grade: C
The Bias List // K-Pop Reviews & Discussion 
this Fallen Angel era is kinda boring
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I wonder why she decided to released an album full of songs that showcased neither her vocals nor her performance skillwise. I mean it brought nothing new or exciting to the table compared to Ruby album. Without her name, few would even bother to take a glimpse at these kind of boring radio-friendly fanfares. Heaven, another track in the album, was a tad bit more interesting vocal-wise but still felt a bit stale for me.
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It’s hard to understand how moody and subdued became so trendy in pop music. I wonder if it’s because lots of people are passive listeners, as in they are content for something low-key and vibey to play in the background while they focus on some other activity. I’m very much an active music listener, as in my ear always gravitates toward music when it’s on, almost to the point where I’m analyzing it. I suspect you’re the same way, Nick, based on your reviews? I think active listeners appreciate when music has something impressive, unexpected, or simply cool to catch their ear since their attention is so set on it. That may be why energetic, passionate, melodically rich music is more appealing to us than “vibes” music, which is much simpler and unassuming. Does my theory have grounds?
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I definitely sense demand, think about the lofi beats playlists over at streaming. The little article I found helped me see what people expect now https://www.musicradar.com/tutorials/we-have-the-youtube-generation-to-thank-for-its-explosion-unpacking-the-modern-lo-fi-genre
Since I believe this era of pop is now trendy MUZAK. I’m literally just going to 90s and 2000s for pop with flavor and style.
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“Hey, can’t you stay … ” those two lines in the chorus are lovely. And then it repeats that sentiment multiples of multiples.
Maybe this is just the softer kinder millennial version of Everything But the Girl’s “Missing” which takes a simple sentiment And I miss you, like the deserts miss the rain – and repeats it over a soft beat until it worms its way into your subconscious.
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boring
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It is difficult to hear what Jennie is saying sometimes in this song, which isn’t great.
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Im a sucker for these sorts of songs, so i really enjoy the song. Only main issue i have with it is that, it can be hard to understand what she is saying at certain parts.
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Nick, out of pure curiosity – were you listening to Bjork back in 90s/2000s? The Homogenic/Vespertine era, do you even enjoy this kind of music? I’ve been a kpop fan for years and recently gave Homogenic a listen, and it honestly changed my whole perception of music. It’s so experimental and doesn’t rely on catchy hooks that I’m used to. Do you enjoy it, or is it not really your cup of tea?
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I was definitely aware of Bjork’s music (and the movie “Dancer in the Dark” scarred me back in the day), but overall it’s not really my thing. A little of her voice goes a long way for me.
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I was a huge fan of Bjork, during that period. It was exciting back in the day, to hear her go from the Sugarcubes (listen to “Birthday” if you haven’t heard it), to Debut, then Post, and then the Homogenic and Vespertine albums. (She kind of lost me after that, tbh.) Don’t pass up her Greatest Hits album either – it contains some remix versions that are the definitive versions (namely, All Is Full of Love, Big Time Sensuality, Possibly Maybe), plus a couple of new tracks.
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Not what I expected of Jennie, but I think this is actually a very interesting take on this type of music. I quite enjoy it.
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Not sure how the whole EP would gonna sounds like, but based on the singles released I would assume it’ll be type of in-the-background-bossa-nova-hotel-lobby style.
I sincerely wish K-Pop/Pop Music to release yet another “Future Nostalgia” – no filler all killer, vocal & production focused, upbeat, energetic, and fun.
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Subdued can work for me if the singer has either an incredibly gorgeous voice or a really compelling vocal color. Jennie has her strengths, but this kind of song doesn’t play into any of them imo
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I am confused about why Jennie chose to go in this direction. The Ruby album had a different sound that felt much more like Rihanna’s ANTI. It did have a couple of ballads and slower tracks, but the melodies were way more compelling even in those moments. In general, it was a good album for what it offered.
To this song’s credit (and the whole EP in general), I think it has really cool textures and instrumental moments. They remind me of the production work that has been done by Dijon, mk.gee and Bon Iver for the past two years. However, I think the songs fall short in terms of melodies and the songwriting is not strong enough to have a stripped-back sound like this.
I think someone who’s doing a more effective version of this pop/r&b crossover with pop/rock would be someone like Ravyn Lenae. It keeps the cool textures and interesting instrumental moments, but the melodies are way stronger and keep you coming back.
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i love this song instantly the moment i listen to it and keep on repeat for hours and hours. Amazing music! It soothes my soul.
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I didn’t initially like this too much but it’s grown on me a lot these past couple of days. It actually has a really nice chorus, post-chorus, bridge and cool guitar solo before the final chorus…it’s just the verses where there are too many off-kilter sounds that don’t gel together. I’d probably put this at 8/10 for now but I might come to like it even more.
The song definitely has a subdued tone but I don’t think it’s “vibes” music, the chorus melody is quite catchy and the verses are too weird/experimental to just be the kind of background music I associate with that term.
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This sounds like a contract obligation.
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