HYUKOH - ‘through love’ Review

HYUKOH have never been a band afraid to shake things up; after all, their non-conformist, gear-switching, honest sound has allowed them to gain millions upon millions of fans worldwide. But yet, on new EP through love, they seem to throw a rather unexpected curveball. Although it still has the occasional moment of manic sonic brilliance - namely the mid-point of “New born” - for the most part, this extended play is a calmer, more soothing endeavour. It is also the first release without the age of the members forming the centre-point of the title, and without dramatic, carefully crafted artwork (all we get here is an image of nature, one taken by Wolfgang Tillmans) dominating the cover-art, which could further indicate their change in style and feel.

But, most importantly, this new-sounding HYUKOH is fresh, reflective of where the members are in their lives, and marks an important transition into another style of music they can rubber-stamp as their own. All six songs work with one another flawlessly and create a dynamic EP that is impeccably appealing.

Opening track “Help” gets proceedings started, with a bossa nova-influenced jazz backdrop flanking Oh Hyuk’s raspy, unpolished vocals perfectly. The acoustic guitar adds a tangible groove to the song, and the simple delivery of the lyrics allows for a refreshing easy-listen. It’s an interesting, somewhat restrained opener that works well with limited tools to create something palpably relaxing. Although “Help” might not immediately stick in your head, there’s certainly enough quality shown to have you revisiting it time and time again.

“Hey Sun” follows with a soft, healing melody and vocals that switch between wispy and shy and clean, layered falsetto with ease. Lyrically, the track talks about waiting and the repetitiveness that comes with it, which corresponds perfectly with the singular melody used throughout the song. HYUKOH, here more than ever, are ensuring that only the bare necessities are used in each track, failing to surrender themselves to any temptation to add more sounds into the mix to thicken each track up. It’s a masterstroke though, as it allows for a continuous mood to be felt throughout and links each track together with the utmost precision.

At the halfway point, “Silverhair Express” greets listeners with warm-sounding instrumentation that takes the front-seat, with Hyuk’s vocals only ever heard in the background. It’s easy to get lost in the kaleidoscope of interesting sounds here, whether it be the soothing woodwind or the light, colourful percussion, and even though the vocals seem surplus at times, it’s an undoubtedly confident offering that shows the band’s high level of musicality and enviable sonic range.

“Flat dog” feels a lot closer to traditional rock, showcasing crisp guitar riffs alongside expert percussion and plodding vocals. Culminating in a section in which the vocal warbling becomes higher-pitched, more arresting, and slightly more urgent, all before coming right back down to the bare bones of the melody that dominates much of the track, this more traditional-sounding cut is quintessential HYUKOH. It’s a highlight of the EP, and a transcendental track that feels like it could easily be dropped into any release and still work perfectly.

Penultimately, the minute-and-a-half long “World of the Forgotten” feels melancholy in its essence, with the tranquil, peaceful vocals working in perfect tandem with sombre guitar melodies and simplistic percussion. Seemingly written about a person leaving after a mistake, with its only lyrics being “wait, i know you but where did i meet you? // is it Bern or Taipei oh where are you going?”, the track’s emotion feels visceral in its directness, thus enabling the listener to feel the emotions conveyed by the writer with a sense of clarity.

And finally, through love closes with an eight-minute classic, “New born.” Bass-heavy in its melodies, this poignant, tour-de-force of emotional vehemence is hard to resist. Oh Hyuk’s vocals are sublime in conveying a tangible feeling of loss, and the repeating instrumental section seemingly becomes more emotional as each minute passes. Even its mid-point, dominated by industrial sounds that block out the plodding melodies and Hyuk’s vocals, helps aid the listener in translating the message of the song, leading perfectly into the disjointed, wavy instrumental finish that is confusing, jarring, yet pure genius as it eventually culminates in one final iteration of the melody we first heard. It’s the apex of a superlative EP and shows the skill HYUKOH possess in creating rich sonic complexity from the most simple of stems.

In conclusion, Oh Hyuk, Im Donggeon, Lim Hyunjae and Lee Inwoo have finally found the analog style of music they have been chasing for years. Gone are the surplus sounds that may add depth, but risk the occasional loss of a track’s emotion, now replaced by poignance, accessibility and music that feels truly complete. It would feel like a disservice to not consume this album in its entirety as a piece of art, and its very creation is a testament to how much the band have improved and developed since starting in 2014. With a world-tour on the horizon, there’s nothing stopping HYUKOH from stapling themselves as one of the biggest bands in the world.

EP Rating - 9.5/10