There are more than a few hits and misses in H-Logic. At times, I felt like Lee Hyori was trying too hard to bring an epic quality to the tracks on this album, when the epic value she may have been striving for has already been brought several times by countless artists before her.
This album, described in a couple of words, is severely noisy.
I’m not a big fan of the melodies Hyori has vouches for in H-Logic. The opening track “I’m Back” is just one of those songs with some of the most generic melodies you could think of. But let’s forget all about the generic melodies. There’s a lot of ‘wtf‘ instrumentation elements that confuse me. “Chitty Chitty Bang Bang” opens with one of those epic elements I was talking about – the dramatic choral voice. Been there, done that, right? I mean, when Girls Aloud have already touched those effects (Love is The Key), you know there’s no musical progression going on. To be honest though, this song is mostly good. It may be noisy as (fucking!) hell, but there’s a little touch of likability in there.
“Feel The Same” is an example of the kind of slow-tempo song I do n o t enjoy. There’s no excuse, in my opinion, to have a slow ass chorus with repetitive lyrics. It’s like being placed on a medieval torture rack and having my limbs pulled…at snail speed. (Did I commit an act of blasphemy I wasn’t aware of?) If the acoustic guitar had played alone throughout this song, it might have saved it some. If it even played in to song number 6 (“HighLight“) it’d be fine by me. I would love to tell Hyori that less is sometimes more, particularly in this song. All the rap and the strings and beats and cheery vocals, ouch. Not to mention that Bizzy (the featured rapper) told me to put my “one fat finger in the air“. NO, thank you.
But Lee Hyori did well in “How Did We Get” (duet with Daesung of BigBang). I don’t think the woman has a powerful voice, but the way in which she utilized it in this song is really nice. Two thumbs up to Daesung, as well, who elevated the ‘pretty’ factor up a few notches. “So Cold” and “Love Sign” are also winners (although I had to listen to Love Sign three times to actually like it). Both songs are layered with musical nuances that rightfully compliment both the melodies and Hyori’s voice.
One thing I noticed about H-logic and the structure of each song is that in most cases, Lee Hyori’s tracks opened with a particular style, then moments later changed completely into American R&B. She jumps from opening with a (sweet) guitar intro to a typical R&B mix. From simple synths to a typical R&B mix. R&B left and right with a hefty load of hip-hop effects to give this album some edge. It isn’t wrong of me to say that Lee Hyori is the kind of Pop star that will devour musical trends to keep herself current. She’ll probably toss in much more dubstep in her next album, who knows. She’s a pop chameleon who wants a piece of ten different pies that aren’t necessarily hers. That goes for both her music and her stage persona. It is what it is, though, and Lee Hyori mimics a multitude of styles really well, so I give her credit for that.
There are moments in this 14 track album when you’ll feel like you’re on a boat without an anchor. Despite the plethora of mayhem, however, lie moments of refinement, high quality and classic sounds. By the way, whomever masterminded “Memory” just gained a fan.