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why-so-serious-lucifer · 5 months

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K-pop Discography Deep Dives: Dreamcatcher (Part ONE)

A Disclaimer: I was planning, when I first started Tumblr, to be a lurker, but then I began an office job and needed something to listen to to keep myself occupied. And then, I started going through entire K-pop groups’ repertoires, album by album, and jotting down my thoughts. And then, I stumbled into K-pop tumblr and decided, you know what, there’s at least four people on this hell site who would read in depth rants about these discographies and at least five who wouldn’t read it and then get mad because it’s kind of our job as K-pop fans. My lukewarm takes should be taken with an entire silo of salt and the knowledge that this is completely for fun and occupying my very bored, very neurodivergent brain. All this to say, for the love of god, I’m a sleep-deprived student and I don’t have time for internet hate, so don’t kill me. With that being said, enjoy!

Here are my credentials: I’m a HUGE fan of Dreamcatcher, and have been an Insomnia since mid-2021 or so, just after the release of BEcause. They were actually the first concert I’ve ever been to, and I couldn’t have asked for a better experience for that. They totally gave their all for those two hours and I ended up loving them even more afterward. I’m even considering going again if they have another tour.

Dreamcatcher debuted in early 2017, so they’re nearing their 7th anniversary (breaking K-pop’s infamous curse), with 7 members: JiU, SuA, Yoohyeon, Gahyeon, Handong, Dami, and Siyeon. Handong was not involved in their 2020 comebacks due to being in her home country of China when COVID broke out, but she’s since returned. They have very complicated storylines which I won’t be going too deeply into here besides when I think a specific song’s meaning in context is important to mention.

Their first single was Chase Me, which starts with a deceptively lovely piano and very typical for-late-3rd-gen-vocals. I was surprised by how k-poppy the song sounded, at least in its early stages and verses, but this was their debut after all. A lot of their early work is slowly stepping out of k-pop convention, one step at a time, although a sound all their own wouldn’t come for a couple songs. Any worries I had were assuaged by such a strong chorus, especially the combination of the bridge just before the last one.

Good Night immediately stands out from the often overly-bubbly, aegyo-filled 2017 k-pop landscape with its creepy ticking clock, marionette-like dance moves and an almost violent electric guitar riff. This time the guitar continues through the whole song, so there’s no fear of it sounding same-y. I’ll probably say this many times in this review, but I just can’t get over how well-suited DC’s vocals are to this rock sound, which isn’t always the case for other groups I’ve seen with a rock concept. The distorted voices in the bridge are a nice touch too. The b-side Lullaby is actually quite lovely, and is a good showcase for their voices in a more soothing context.

Fly High is a poppier sound for Dreamcatcher, although still with more of a rock base than is usual in k-pop, which does make sense as it’s supposed to be a prequel to their much darker storyline. I’ve heard it described before as a bit like an anime theme song, and I’d have to agree, especially the “I can make it!” combined with the strings, lighter electric guitar, and super high power note. Even with a bit of a sound change, Dreamcatcher never slows down their energy, which is something I really appreciate. They always sound like they wholeheartedly believe what they’re selling.

From the EP, Prequel, there are a few great b-sides I could choose (like the off-beat Sleep-walking), but I’m gonna have to say that Wake Up is my favorite. I’m totally biased, but I’ll just never forget the experience of watching them have the absolute best time performing this live for their encore and jumping into the stratosphere while waving a pride flag back and forth. It’s an anthem that needs an audience, first and foremost, and there’s really nothing more exciting than screaming “Wake up, wake up!” at the top of your lungs.

Full Moon is a special single for their first anniversary, and I won’t spend too much time on it, but I really like how it combines that anime-esque energy from Fly High, a harsher electric guitar, EDM, and some ballad elements. It’s a style that DC returns to later in their career, and it’s fun to see a slightly less complicated version here. I never gave this song much of a chance before so I’m glad I did now.

You & I is next in the “Nightmare” saga, and is probably both the most popular of that arc and the most similar to a lot of mainstream k-pop (which I do like, I want to be clear about that. This is not an attack on mainstream k-pop, guys, I run a blog about it.). Maybe it’s a product of that, but in such a strong catalogue it doesn’t really stand out to me. All of DC’s songs add other elements to their rock sound like EDM, pop, metal, or even a flute (we’ll get to that), but You & I is pretty straightforward, as are its lyrics. The chorus and the opening hook are both pretty good, I will admit, and always get me at least nodding to the song. Again, I in no way even dislike this one, and I’m not going to skip it if I’m doing a re-listen or if it comes up on shuffle, but I just never find myself going out of my way to listen to it.

Though the title isn’t my favorite, I quite like the EP Escape The Era. Which a Star may be an average b-side but it's really elevated by their voices and its twinkling instrumentation, while Scar takes some lovely strings and some crushing electric guitars and somehow turns itself from a rock song into a ballad and right back again. Mayday, meanwhile, is much like Wake Up with its anthemic answer, and immediately gets me headbanging to its hook.

WHAT starts with a tense energy right out of the gate with those strings, and in what may be DC’s best first 20 seconds of a song, it culminates in an excellent electric guitar riff that would feel right at home in a BabyMetal song. When the song returns to “normal” after, it only adds to the sense of “wrong” and foreboding…until the chorus smashes through a brick wall with perfect metal anthem energy. In case it wasn’t clear, I love this song and it’s tied for my favorite. You just can’t do much better than a song encouraging people to wake up, fight their nightmares, and live another day, which is one of my personal favorite song subjects.

In a switch from Escape The Era, I love What but Alone In The City is one of my least-favorite of their albums. That being said, I do like the contrast between acoustic and electric guitars in Trap, and its build up is pretty great. But I usually have more than one liked b-side.

Over The Sky is another special single and returns to the softer, more string and pop-rock led base (or “anime theme”, I suppose). It feels much happier than a lot of Dreamcatcher’s singles, and is a nice break in between their very heavy discography. I especially like the twinkling quality of its background piano.

PIRI is the end of their nightmare saga, and is a continuation of the defiance seen in What. It’s named after a traditional Korean flute that the song uses to say “sound the alarm (piri), emergency, emergency.” This is the first time rap is incorporated in its own (albeit short) verse, and I think the combination works quite well. The inclusion of the flute in the background is something I’ve never heard in a song before, but its shrillness provides a good contrast to the very low guitar and drums and Dreamcatcher’s voices sitting in the middle, perfectly capturing the song’s whole idea of being stuck in between light and dark. Overall, a fitting finale.

From PIRI’s EP The End Of Nightmares, while I do really like the sweetness of the ballad Daydream, Diamond was an easy choice for me. It has quite a minimalistic chorus, which normally I’m not the biggest fan of (for evidence, look at any review I’ve ever written to hear me decry the existence of anti-drops), but here it’s to let the great guitar hook and electronic background have some time to be appreciated and its fuller pre and post-choruses make up for it.

Deja Vu is a special single made for a game collaboration, so perhaps one would assume it to be a usual ballad or easily-overlooked piece of a great discography. One would assume very, very wrong. I assumed this, when I heard the first, very slow verse and the backing piano. Deja Vu definitely leans more into melancholy than most of their singles, but it's really at the end of the pre-chorus where the band comes in and DC goes full-on rock ballad that it begins to sound like them.The song is a slow burn, definitely, but the incredible catharsis at the end is totally worth it. Just go watch the music video itself, which is full of delightful drama and betrayal, and can best be described as “Macbeth, if it was gay, Korean, and magical.” You’re welcome.

Raid Of Dream, the EP, was also produced for the game, but the mix of metal clashing and delicate vocals in Silent Night, the backing piano for the full-on ballad Polaris, and the return of the anime theme (plus guitar solo!!) in the call-to-action that is Curse Of The Spider render it quite a strong album in their greater discography.

I don’t normally dive too deeply into Japanese releases, but, like with Taemin, Dreamcatcher’s offer an interesting expansion on their work. Endless Night starts with much harsher rock than most of their singles, while Breaking Out features a surprisingly chill tropical beat, and No More goes full now-or-never nu metal with guitar riffs that would make Babymetal proud.

R. o. S. E. BLUE is another special single produced for a game, and does lead into the more ballady side of k-pop soundtrack songs, but without sacrificing Dreamcatcher’s rock edges. It, like Deja Vu, is a slow burn that doesn’t seem to have much energy at first, but builds up to it through its great pre-choruses. It’s definitely not as good as Deja Vu (few things are), but does remind me of later-stage Gfriend’s more dramatic and celestial sound, and the music video follows JiU attempting to rescue her friends from the magical prison their minds are trapped in, at the expense of herself.

So that’s where we’ll end it for now, being around halfway through. I mentioned last time in my TXT review that this was supposed to be a one-parter and became two, but the second one is basically done and will be coming out in a few days (after I listen to the new album), not a week from now, and I won’t be doing supplementals. Apologies to the five people who actually read those, lol. So, I’ll see you next time for Part Two. Tschüss!