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Nagitoqueer Pride Flags + Icons """i just put the definition on here""" emoji combo: 🔋🍀🤍
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the collection [story op. 2] was ranked at the most memorable album of 2017 by korean music review site idology. taemin ranked at #6 with move. (source)
Soyeon for Idology interview
17.09.18🌱
Cr T. forlaboum
Best Idol Albums 2017
(180130) Idology
2nd. Taemin - Move Shall I compare the image to a rock star from another world doing a Kpop idol? With a sure grasp of his own concept he's making unfamiliarly various attempts to use his vocal according to it. (translation: juju_home)
Idology has released their list of best 20 albums of 2016, and all SHINee full albums released in 2016 have got their place on it: Taemin’s Press It ranked #11, Jonghyun’s She Is ranked #10 and SHINee’s 1of1 ranked #1. Congrats!!!
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in his personal ranking of the best k-pop songs released between 2007 - 2017, idology (korea) music critic kim young dae ranked (in no particular order): 누난 너무 예뻐 (replay) - shinee sherlock (clue + note) - shinee view - shinee drip drop - taemin she is - jonghyun tell me what to do - shinee his full ranking can be viewed both through his twitter (i / ii) and through a personal playlist on youtube.
ideology has released their annual list of the top twenty albums of 2016. ranking with three different group and solo related releases, shinee has has appeared on the list the most overall, being followed by 2pm, bts and twice, who all appeared twice, respectively. ranking at eleven with press it, taemin is the first release from the group to see a spot on the chart. coming in after him is jonghyun at ten with she is. he is the highest ranking male soloist on the chart, and second highest ranking soloist (only being surpassed by snsd's tiffany). finishing off the list is shinee's 1of1, which ranked in first place. congratulations! (source)
乐评 | Enhypen– 《Border : Carnival》/Idology
Monthly: 2021年4月– 专辑 Enhypen
Border : Carnival
Belift Lab
2021年 4月26日
[原文链接]
Seukwib (스큅)：
继防弹少年团的《Fake Love》、TOMORROW X TOGETHER的 《在九又四分之三站台等你》，经过了“世界燃烧的夜晚，我们……”后，终于来到了Enhypen的《Drunk-Dazed》。现今可以称为Big Hit的音乐传统的摇滚emo感正在闪烁着。和在强烈的吸血鬼风格中，看起来似乎主客颠倒了的出道曲《Given-Taken》有所不同，这次回归通过音乐提出了鲜明的外形。与《Carnival》专辑标题相匹配，从凝聚成爆发的能量中传来的压迫感相当大。特别是最后的曲目，与充满了瞪鞋摇滚（Shoegazing）（*注1）气息的<Intro: The Invitation>之间的协同效应成为了点睛之笔。
也能听到就像是前辈组合们一直推进着快速恢复的emo主旨的宣战布告。虽然这种能量中弥漫着的被虐性（*注2）可能带来喜好分明的结果，但我推测会形成一个清晰的核心支持群体。特别是从几年前在海外就开始流行的emo pop，会不会收获更好的反应呢。（早在《i-Land》的时候就已经预想到了，现在从专辑销售量等方面来看这种趋势已经显现出来了。）让人联想到了Lauv的<Not For Sale>等的收录曲给人的印象较为平淡。在主打曲中，被埋没在grunge声音中的人生听起来很弱，因为存在着突出了不成熟的段落而留下了遗憾。然而如果听到了像《Interstellar》中的OST一样伸向远方的<Outro: The Wormhole>，不论如何都会对Enhypen的下一个目的地产生好奇吧。
*注1：瞪鞋摇滚—Shoegazing, 也被称为低头摇滚或盯鞋摇滚，是一种出现于1980年晚期的另类摇滚的支派。英文刊物，尤其NME和Melody Maker将其命名为瞪鞋摇滚，是因为这些乐团在现场演出中经常站着不动，全神贯注于地上的效果器，像盯着他们的鞋子一样。（wiki）
*注2：被虐性—此处被虐性是指对Emo文化的一种”刻板印象”。Emo文化通常被指为在社会上被压抑的情绪，包括敏感、憎恨世人、内省与焦虑、抑郁甚至自我伤害的行为。（wiki）
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