THE BOYZ transformed the “Whisper” of their previous mini-album into a “Roar,” flaunting their sensual swagger through six new tracks in their mini-album, “BE AWAKE,” on Feb. 20.
The cover art of this new mini-album shows the title printed over a grayed-out, x-ray-like apple core, reminiscent of the forbidden fruit that got Adam and Eve expelled from Eden. It’s a fitting image, as THE BOYZ follow a similar trajectory in “BE AWAKE,” chasing a temptation — a forbidden love — that results in their fall from grace.
On Jan. 29, the group released a trailer titled, “LET YOUR WHISPER BE ….” The video opens with rapper Eric being asked, “What was that sound?” He stutters, “Um …. it was …” as the scene switches to a title card displaying only one word: “ROAR.” THE BOYZ are shown in various states of disgrace, flaunting bloodied cuts as they roam through a dystopian hellscape.
The trailer reaches its climax when main dancer Q holds his glasses up to the sky; the right lens shatters on its own. Jacob, Kevin and vocalist Younghoon narrate the events depicted earlier in the video: “When I woke up, I was on the stairs. I heard a sound — a sound like a whisper.” The tension builds as rapper Sunwoo completes a jigsaw puzzle of an angel, and vocalist New awakens next to a caged bird. Kevin knocks down the house of tarot cards, rejecting fate, and he narrates, “I followed that sound. It was like a … roar.” The mood changes sharply; THE BOYZ seem to become masters of their own destruction, starting fires, knocking over glasses of water and flinging baseballs at the camera.
There is a sense that something has shifted — that this roar has prompted an awakening of some kind. This awakening is explained in the album opener, “Awake,” which invites the listener in: “I’ve got a growling thirst inside of me / A desire to be real / Lend me your ear.” Over whining synths and pounding percussion, THE BOYZ describe an internal unrest that leaves them vulnerable to a temptation, which “breaks down everything [they have] solidly built inside of [them].” “Awake” makes heavy use of autotune, to the point of distortion; this creates a wispy, uncertain feeling — a facade of forced perfectness that musically mimics the growing discomfort sung about in the lyrics.
This sets the stage for title track “Roar,” a dark, dance pop song built on skittering percussion, heavy bass and the sound of a whistle. “Roar” opens with said whistle, descending unexpectedly, as if being dragged down by gravity. The song leans into this, with each line of its chorus ending lower than it begins, punctuated by Sisyphean leaps that are doomed to descend once again. “Roar” is pretty straightforward in its message, comparing THE BOYZ’s “hungry thirst” to that of an animal, declaring a desire that causes them to take on the name “fallen angel.”
Directed by Rigend Film, their music video is where “Roar” really shines by perfectly capturing the recklessness of their want. The video takes on a sort of voyeuristic quality, as THE BOYZ revel with the bravado of someone who knows they’re being watched. They dance in an abandoned convenience store for an invisible audience watching through the glass windows. Their hungry stares focus on something past the camera.
Their awareness of the camera becomes more explicit as the song progresses. At one point, all the lights turn off as the members shine their phone flashlights on vocalist Hyunjae who smizes and dances, staring directly at the viewer. In other scenes, THE BOYZ run towards the camera with eyes that glow red like wild animals. There’s a rebellious, almost taunting nature to this — they know what choices they’ve made and don’t care who may be privy to them.
The bridge offers a reprieve from the rest of the song, as THE BOYZ gather in a heaven that feels more like a studio set. They reach for each other in rippling motions reminiscent of a Renaissance painting. The song’s tension builds with Eric and Sunwoo’s verse, in which they declare that no matter the consequences, they will not regret what they have done. The song quite literally breaks down for the dance break, with synths that sear like a mechanical roar and percussion as heavy and rapid as gunshots. Main dancer Juyeon rockets upward in a simmer of flames, transforming into the fallen angel that THE BOYZ sing about.
The tone of the EP shifts abruptly with “Blah Blah.” From the start, the pleasant, bubbly harmonies backing Q’s gentle voice provide a sharp contrast to the unabashed sensuality of “ROAR.” “Blah Blah” is sweet, without rough edges; it’s easy listening, with the building melodies of the bridge drifting past like clouds in the sky.
The fourth track, “Savior,” takes influence from R&B ballads, embedding interesting rhythms into its melodies. Its first verse is deceptively languid, taking on an unanticipated intensity as the percussion enters in the chorus. Its synths ebb and flow, pulsing unexpectedly, as THE BOYZ directly address the “savior” whose forbidden love brought them a sort of freedom.
In “Horizon,” THE BOYZ let their voices shine, backed by guitar, piano and gentle strings.
The ballad reaches its most dazzling point in the outro, where THE BOYZ’s voices swirl upwards, crescendoing with the strings, punctuated by pounding percussion.
The final track, “Diamond Life,” has a mechanical repetitiveness that feels less like an ending and more like unfinished business. THE BOYZ chant, “On my, on my way,” enjoying the bliss of their forbidden love and growing accustomed to life after “fall[ing] with two torn wings.” They soar on the high of their “diamond life,” aware of the fact that they’re in too deep but not seeing any repercussions for it.
“BE AWAKE” is strong in its concept, though it lacks cohesion. The insidiousness established in “Awake” and “ROAR” is forgotten as soon as “Blah Blah” begins — this may be in part because “Awake” and “ROAR” were produced by the same people, while “Blah Blah” was not — and the leap from “Savior” and “Horizon” to “Diamond Life” feels barely deserved.
Regardless, this is one of THE BOYZ’s most gripping concepts since 2020’s “The Stealer,” and in addition to being good in its own right, feels like a stepping stone for good things to come.
Teresa Pham is an Arts & Entertainment Staff Writer. She can be reached at teresaap@uci.edu.
