Xennials (MP, 2021)

“Hipster”, “Flex”. “Trend Setter”, “influencer”, “YOLO”. “MZ Generation”… Do the people who made these words know how to spell them? “Twitter”, “Instagram”, “YouTuber”, “V-Log”, “ASMR”, “Hashtag”, “Facebook”… My head is getting complicated.

These phenomenal words that dominate the 21st century bring us to a factory-brick buffet, illuminated by colorful gelatin filter lights, listing various, food-free “taste” and forcing us to choose.

In the middle of a table, someone picks up a plate called “trend” that is most visible, and starts to talk with saliva around their mouth. There’s another one who was delaying their choice heads to the “trend” dish table, which is already in a long queue. And there’s someone standing behind the 45-degree angle on the left would ask oneself, “But why should I be listening to that?” And finally, there’s that person behind with folded arms who doesn’t pick anything. “Why would you eat something that you know isn’t delicious?”

Love X Stereo noted those who did not choose a plate called “trend.” Some of them are called the “Xennials” in the 21st century language. Of course, it’s a name that they have never given to themselves. The new word “Xennials” refers to the generation born from the late 1970s to the early 1980s, and they experienced both the rise and fall of the analog era and the introduction of the digital era.

With its album “Xennials,” Love X Stereo sweetly stimulates those who still want to be boiled but have not been able to push themselves into the waves of the 21st century. Like making irresistible offers to those who only know how to be burnt.

The first track, “Sixteen,” full of nostalgia, faces the dawn of a bright tomorrow, not the cold darkness of winter, with the calm and loneliness as the Christmas carol “The Drummer Boy.” As they say, it is not the passage of time, but “me” and “my generation.” If you interpret Johann Sebastian Bach’s “Christmas Oratorio” in electronic band sounds, wouldn’t it feel like this.

What else is the wonder of “Wondrous,” which stands out with a cheerful beat with a distinct texture and weight unique to Love X Stereo. We can get a glimpse of their stubborn wit that even particles of syndicated sound will be displayed in analog form analog.

The title song “Push the Play,” which seems to melt the luxurious and soft touch of a robe made of golden silk when it touches the body, fully contains the skill of the band, which expresses even the sorrow in a sophisticated way of speaking. Annie’s vocals, which are like silk textures that determine the overall mood of the song, and Toby’s bass performance, which penetrates the song and pulls the song from the front, made a golden ratio. The groove of the moderately speedy song is reminiscent of Michael Jackson’s first album, Off the Wall.

The fourth track, “Rebel Dress,” reminds words like “Madonna,” “New Wave,” “80s,” and “Black Leather.” You can easily imagine hearing it on a runway of unconventional designer brands such as “Jean Paul Gautier,” which the song is relatively aggressive. The way of speaking that reveals Love X Stero’s unique determined, non-rough, sophisticated voice aggression was outstanding. The song, which reminds me of studded leather goods from “Christian Louboutin” or “Alexander McQueen,” points to the diversified but uniform fashion and culture of the 2020s.

“Kid From the Future,” which contains the culturally rich 90s nostalgia, raises the question of what the 21st century’s convenience of becoming “smart” is equivalently exchanged. The aggressive vocals with effectors and nervous bass with fuzz represent the voice of the “Xenniel Generation.”

Track 6 “Cell Theory” adds aggressive rap to the drive-filled punk rock sound, stepping on the top of aggression. The scientific approach based on the theory of ‘cell theory’ is also interesting. Although I don’t think they can live a life separated by zeros and ones in the system.

Through “1984,” George Orwell predicted the era in which information becomes power, the emergence of “Big Brother,” and the society under surveillance. The darkness of the last track “VS” is in touch with the gloom that has been placed between damage and harm in the era of various social networking lovers. Through social media, people have learned social virtues such as “false happiness,” “disclosure,” and “empty apologies.”

Meanwhile, the album is verified by Adrian Hall, an engineer from the Metropolis Studio in the UK who has worked with superstars such as Britney Spears, Alicia Keys, Robbie Williams and Black Eyed Peas. Those who worked together on Love X Stereo’s EP in 2016, “We Love We Leave, Part 2” are once again united through this album.

Woo Jung-ho (Weekly Seoul reporter)