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2017.07.26 05:09

Do Disturb - by 이즘 Izm

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★★★☆

by 정민재

2년 전 첫 솔로 앨범 < 어느 멋진 날 >이 '씨엔블루 정용화'의 연장이었다면, 신보 < Do Disturb >는 '솔로 팝가수 정용화'의 결실이다. 음반 내 6곡 중 절반은 댄스, 나머지 반은 템포를 늦춘 감성 트랙으로 꾸려 역량을 펼쳤다. 댄스곡에선 트렌디한 사운드 구현을 위해 일정 부분 해외 제작진의 도움을 받는 한편, 발라드 3곡은 작사, 작곡을 도맡아 자신만의 감수성을 드러냈다.

특 장점인 '캐치 코러스'는 이번에도 막강하다. 모든 곡의 후렴이 선명히 들어온다. 레게가 떠오르는 펑키한 리듬에 간소한 사운드 소스로 멜로디를 부각한 타이틀곡 '여자여자해'는 그 정점. 노래의 후크와 싱어롱 파트는 몇 번 듣지 않고도 흥얼거릴 수 있을 만큼 귀에 쉽게 붙는다. 로꼬와의 호흡도 자연스럽다. 날렵한 가창으로 곡을 리드하는 정용화 식 딥하우스 'Password'는 그의 새로운 일면을 조명하고, 코드 진행과 구성 면에서 씨엔블루의 최근 곡들을 연상케 하는 '딱 붙어'는 익숙한 그의 매력을 재차 강조한다.

후반의 세 곡은 서로 다른 지점에서 승부를 건다. 'Navigation'이 피아노와 스트링에 미디엄 템포 비트로 서정성과 긴장감을 동시에 연출했다면, '대답하지 마'는 인트로의 신시사이저부터 선율의 진행까지 1990년대식 발라드를 빼닮아 흥미롭다. 하이라이트는 정통 발라드 작법을 따르는 '널 잊는 시간 속'. 보컬의 감정 표현과 멜로디의 흡인력이 다른 곡을 능가한다. 악기 사용과 노래의 구조, 전개 방식 등이 1집의 타이틀곡 '어느 멋진 날'과도 유사하나 여러 각도에서 더욱 발전한 모습이다.

전반적으로 만족스러운 음반의 결정적 아쉬움은 가사에 기인한다. 전부터 거듭 감지된 약점들이 고스란히 남아있는 탓이다. 이야기의 얕은 심도는 감상에 입체감을 부여하지 못하고, 1차원적 비유는 곱씹는 재미까지 가닿지 않는다. 웰메이드 팝송 '여자여자해'의 허점도 노랫말에 있다. '여성스럽다'와 유사한 뜻으로 통용되는 신조어 '여자여자 하다'를 굳이 노래의 소재, 테마로 활용한 것이 패착이다. 작사가의 본래 의도, 내러티브 속 맥락과는 별개로, 보편적 공감대를 형성하기엔 표현이 다소 편협하다.

그럼에도 음악적 만듦새는 높이 살만하다. 앨범은 개별 곡의 완성도와 풍성한 장르에서 오는 즐거움, 각기 다른 좋은 후렴을 갖췄다. 트랙마다 달리한 가창도 중요한 포인트다. 꽂히는 코러스를 만드는 감각과 더불어 노래를 풀어내는 전달력 또한 준수함을 증명한다. 장차 진일보를 위해선 가사의 보완이 따라야겠지만, 밴드와 별도로 만든 근사한 팝 앨범 < Do Disturb >를 통해 솔로 가수로서의 경쟁력을 공고히 한 것은 분명하다.

-수록곡- 
1. 여자여자해(That girl)(Feat.로꼬) 
2. 딱 붙어(Closer) [추천 Recommend]
3. Password [추천 Recommend]
4. Navigation [추천 Recommend]
5. 대답하지 마(Not anymore)
6. 널 잊는 시간 속(Lost in time) [추천 Recommend]

Trans)
by Jung Minjae 

If the first solo album from two years ago 'One Fine Day' was an extension of "CNBLUE's Jung Yonghwa," the new album 'Do Disturb' is the fruit of 'pop soloist Jung Yonghwa'. He unfolds his capability by filling half of the 6 tracks with dance tunes and the other half with slow-paced emotional tracks. To create trendy sounds in the dance tunes, he was partially aided by overseas producers, while he takes full charge of lyrics and music for the three ballads, revealing his own sensibilities.

His special forte, the "catchy chorus" is strongly at work yet again. All the songs' choruses are clearly heard. The title track "That Girl," which utilizes funky rhythms reminiscent of reggae and emphasizes the melody through simple sound sources, is the prime example. The hook and the sing-along parts stick to your ears and lets you hum it right away after just a few listens. The partnership with Loco is also fluid. Jung Yonghwa's style of deep house genre, "Password," wherein his sharp vocals lead the song, sheds light upon his new dimension. "Closer" brings back feelings of CNBLUE's recent tracks in its chord progression and structure, re-emphasizing his familiar charms.

The latter three songs stress their strengths in different ways. While "Navigation" coordinates sensibility and tension through piano, strings, and medium-tempo beats, "Not Anymore" is interesting in its resemblance of 1990's ballad in the intro's synthesizer to the melodic progression. The highlight is "Lost in Time," which follows the traditional ballad composition. The vocalist's emotional expression and the melody's charisma surpasses other tracks. The usage of instruments, the structure of the song, and its development are similar to the title track of his first album, "One Fine Day," but it's advanced in many angles.

Though overall satisfying, the shortfall of the album arises from the lyrics. The weakness that had been pointed out previously are still there. The shallow stories don't imbue much depth into one's listening, and one-dimensional metaphors don't amount to repeated enjoyment. The hole in well-made pop tune "That Girl" is also its lyrics. It was a blunder to employ the neologism "yoja yoja hae," commonly denoting how "feminine" one is, as the theme of the song. Aside from the lyricist's original intent or the context within the narrative, it's a somewhat narrow expression to draw a broad-based sympathy from listeners.

Nonetheless, the musical caliber is highly commendable. The album brings well-made tracks, delightfully diverse genres, and distinct yet excellent choruses. Differentiated vocals in each track is another important point. He proves his knack for creating earworm choruses as well as proficiency in elaborate delivery of songs.  Although he must supplement his lyrics for future steps forward, it is clear that he has solidified his competitiveness as a soloist through making this superb pop album, 'Do Disturb', independently from his band.

http://izm.co.kr/contentRead.asp?idx=28628&bigcateidx=1&subcateidx=3&view_tp=1
  • anonymous 2017.07.26 05:23
    Thank you so much for the trans!
  • anonymous 2017.07.26 07:31
    감사해요ㆍ저분평 기다렸는데ᆢ전부터 생각해오던 용화의 장단점을 잘얘기해주셨네요ㆍ가사만 보완하면 정말 완벽한데 ㅠㅠ
  • anonymous 2017.07.26 08:41
    Thanks for the trans. Still a positive review over all. Summer dream lyrics shows more expansive use of words than usual & sometimes I think YH just need to step out of his comfort zone. He can do it . Looking forward to when he does.
  • anonymous 2017.07.26 14:24
    애정어린 비평같아요.
  • anonymous 2017.07.26 16:39
    오히려 아쉬운 부분이 있어서 그런지 장점에 대해 더 명확하고 자세히 써주신듯한 평. 다채로운 보컬과 작곡능력에 대한 포인트는 정말 꼭 필요했다고 생각해요^^ 간만에 속시원하게 읽은 리뷰.
  • anonymous 2017.08.16 12:55
    Thank you so much for the translation. I think it is a fair review that I can totally agree with. YH is awesome in creating memorable and catchy songs and hopefully he continues to improve on his lyrics and develop a wider range of content. He tends to stick to writing about love between man and women, or about his own journey. Maybe he can explore other topics that relate to society etc. Anyway, overall still a good review from a respective critic.

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