WOODZ proves himself as a genre-defying ace with ‘OO-LI’

The 26-year-old solo artist has done it again with his latest electrifying EP.

WOODZ is re-defining the K-pop genre with his songs’ rock undertones. Image: WOODZ Official Twitter.

Cho Seung-youn. Singer, songwriter, dancer, rapper, producer, composer. UNIQ, M.O.L.A, X1, and soloist. WOODZ has truly done it all, and his OO-LI album, released 26th April just continues to show that he’s one of K-pop’s real aces. The singer has blown expectations out of the water by combining his signature falsetto with melancholic beats and rock/hip-hop blends that would make the Beastie Boys proud.

Often in K-pop, artists are praised for being able to showcase a variety of sounds within a record — we love to see that they can’t be contained in one box. But this can sometimes lead to an EP or album that feels disjointed, jagged even. WOODZ showcases brilliantly with OO-LI that an album can be consistent and coherent, whilst still highlighting a variety of styles and skills.

A track list that takes WOODZ from idol to rock-star

The seven tracks are kicked off by “Deep Deep Sleep”, an English ode to dreaming as a way of avoiding reality and the problems of life. The subtle, hi-hat/lo-fi beat delivers this sense of sleepiness perfectly. And WOODZ’s delicate high pitch and breathy tone adds to the chill, Frank Ocean-esque vibe of the album’s intro. Such a track sits neatly amongst some WOODZ’s previous alternative R&B releases: “DIFFERENT”, “POOL”, “meaningless”, “SWEATER”, “Waikiki”.

This subtlety and, to a certain degree, melancholy, is built on as we’re led into “Journey”. Electric guitars are gradually added into the mix before the poignant pop-rock chorus. The track’s lyricism explores knowing yourself during a “flood of pain”, and the feeling of perseverance in order to come out the other side of an overwhelming struggle. The instrumental build-up matches this growth, this relief, as the singer finally lets go — “I can cry… When the cool breeze blows, I let myself float on the wind far away”. The chanting chorus at the song’s close is almost anthemic, giving listeners a chance to feel comforted, or to cry as hard as they need.

Watch the MV for “Journey” above.

The rock influences continue with “Drowning”, which leans heavily into its pounding drumbeats and the powerful belting of its vocalist. If “Journey” is the song to cry to, “Drowning” is the rage-filled song to scream to. “Oh I’m drowning, it’s raining all day… I can’t breathe” — the pain is raw and emotional, but manages to highlight WOODZ’s incredible timbre and vocal agility as he slides up and down his range.

“Busted” follows, with guitar melodies switching between the slow-quick pace and energy of the verses and choruses, complemented by subtle touches of electronica, and followed by a rap outro that encompasses the album’s rage in a short space of time. However, the track is very quickly overshadowed by “Who Knows”. Addictive electric guitar riffs, a heavy bass, crystal clear cymbal hits, and a megaphone-like quality to WOODZ’s vocals and shouting raps make for an intense track. It clearly takes inspiration from artists like the Beastie Boys and AC/DC, whilst still having the unique WOODZ colour we’ve come to know and love.

For the penultimate track, “Ready to Fight”, listeners are taken more in the direction of funky rock and roll than ‘90s hip-hop/punk/rock. Still maintaining the heavy sound of the album, the song has more of a bounce to it and a sense of mischievous rebellion. WOODZ is a rockstar as he swears his way through the track, bleeped out for an almost comedic effect. Whether this can even be classed as K-pop is up for debate — but what is certain, is that it defies the boundaries of musical genres!

Whilst “ABYSS” feels a little sudden as the closing power-ballad track, its beauty cannot be denied. Delicate, echoing harmonies against an acoustic guitar highlight the artist’s ability to bring things back down with ease. This rounds out the album’s passion with a sense of melancholy, and brings the journey of WOODZ’s incredible OO-LI to a close.

Edited by Chelsea Cheetham.