Good Songs, Wrong Format: A Take on Lee Seung Gi’s 7th Album, THE PROJECT
The first stop of my reviving project is the latest album, THE PROJECT (with help from a random picker app). You may visit the first review of this album when I reviewed it back in 2020 here.
The Project (Stylized as THE PROJECT) is Lee Seung Gi’s seventh regular album released on December 10, 2020. It was worked on for two years. He initially teased the album with a cryptic message on his Instagram on October 31, 2020, which was followed by the official announcement on his website later that day.
Having been absent from the music scene for so long, it’s easy for people to forget he exists as a musician. To make things worse, in a 2018 interview, he shared that he’d damaged his vocal cords from excessive shouting during military service. For those who watched Master in the House at the time, he often sang on the show — whether for fun or in serious moments. In many episodes featuring singers, he always participated, and in episode 146, he revealed why: he wanted to remind viewers, as well as the general public, that he hadn’t forgotten his roots as a singer. Although there were setbacks and uncertainties around the timing of this album’s release, it eventually came together.
This album set a record for the longest gap between releases, taking 5.5 years between And… (2015) and THE PROJECT (2020). It also marked his first collaborations with Kim Jong-wan of Nell on The Dreamer’s Dream and Yoon Jong-shin on The Ordinary Man. (Side note: I was thrilled to see both names on the tracklist because I love their work — it was a delightful surprise back then!)
Four years later, I find myself standing by my initial review of the album. The Dreamer’s Dream truly deserved to be the title track (we were so robbed!). For one, it has a stronger compositional structure that brings the whole piece together beautifully. Additionally, it has that climactic buildup that everyone hopes for, creating an emotional crescendo that makes the song feel complete and fulfilling. And, perhaps most importantly, the lyrics are universally relatable, resonating with listeners of all ages, genders, and backgrounds.
On the other hand, the chosen title track, I Will, fell flat in comparison. Although he made an effort to return to his pop-rock roots, the track felt messy from the get-go. I listened to it once and haven’t revisited it since; it just didn’t capture the essence that made his previous pop-rock songs so enjoyable. Fans have always appreciated his ability to deliver powerful, high-pitched pop-rock performances (think Circle), but unfortunately, this track missed the mark.
The Ordinary Man was a title track worthy of praise, largely due to its well-crafted composition. It includes all the essential elements of a classic Korean ballad — intro, first verse, chorus, second verse, second chorus, bridge, third chorus, and outro. There’s even a memorable line where everyone can sing their heart out at karaoke (아마도 이러다가 말거야/세상 수많은 이별 중에 하나일 뿐). The stability of his low tones in the first part of the song might be his best yet; in the past, while his low tones were pleasant, they could be a bit shaky. Meanwhile, he’s always mastered high-pitched notes. It seems he’s adjusted his vocal technique, moving from a “cow-herding” style to something softer and more refined. The dramatic final chorus brings back the powerful, soaring ballad style he was known for, reminiscent of songs like Words That Hard to Say and Love Taught Me to Drink.
Another (very) underrated song, Your Eyes, Your Hands, Your Lips evokes a captivating blend of Broadway flair and Disney magic, reminiscent of a Korean traditional ballad. The song paints an autumnal landscape, with its gentle melodies and poignant lyrics reminding listeners of cherished memories and dreams from the past. Its orchestration weaves together rich, emotive harmonies that reflect the beauty of the season, creating an atmosphere that feels both nostalgic and dreamlike. Each note seems to echo the sentiments of longing and reflection, transporting listeners to a place where past dreams intertwine with the present. This unique fusion of styles not only showcases his vocal prowess but also evokes deep emotions, allowing everyone to connect with their memories and aspirations.
So, move into the format (Well.. album format)
After some consideration, I’ve concluded that it would have been better for this release to come out as a mini-album rather than a full-length album. Technically, it meets the criteria for a full-length album, yet it somehow doesn’t feel like one. This stems mainly from the imbalance between new and re-mastered songs, which prevents the album from having the cohesive sound that listeners expect from a full-length release. While I understand the intention to reintroduce hidden gems from past albums to a broader audience, the result leans more toward a compilation rather than a fresh, unified work. If the goal had been to revisit his previous works, he could have taken a page from Taylor Swift’s book, re-recording and re-releasing each past album in its entirety with an updated style. The one complication might have been his debut album, which stylistically differs drastically from his later works and could present a challenge in a re-recorded format.
Interestingly, I realized recently that this album marked Seunggi’s first time serving as a music producer, a role that gave him complete control over the production process. He could make creative decisions, choose collaborators, and ultimately shape the direction of the entire album. This level of involvement was long overdue and something that should have happened much earlier in his career. Unfortunately, his previous agency often undermined his music career, limiting his creative freedom and preventing him from fully exploring his potential as an artist. Now, as he finally takes the reins of his work, the album reflects a more personal and direct expression of his vision, even though it may not align with the traditional expectations of a full-length release. This shift signifies a major step forward for him, allowing him to reclaim his artistry and create music that truly resonates with his voice and style.
