SEVENTEEN’s recent comeback is their most ambitious yet, and if anything, it’s got people talking for a myriad of good reasons.
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K-pop boy group SEVENTEEN’s success reaches new peaks every time they drop an album, and their latest release is not only a compilation of new tracks and old bangers, but also a commemoration of how far they’ve gotten as a group. SEVENTEEN BEST ALBUM ’17 IS RIGHT HERE’ is a compilation album that journeys through the group’s previous musical eras as they set the stage for something new. The title track MAESTRO is an intense, powerful song infused with techno beats and a never-quit energy that SEVENTEEN is known for (just listen to Super). They really have done it again.
More than that, it’s a discussion-starter of sorts, as the album set the foundation for some relevant conversations to be had. Nothing major-scale in the sense that the entire world isn’t having them (though maybe we should), more confined to fandom, but that doesn’t make them any less relevant.
IN THIS WORLD OF AI
Screenshot from Maestro teaser
When the album’s first teaser dropped, fans were surprised to see the involvement of artificial intelligence (AI) in the video—not for the sake of it, but rather included as a questioning and criticism of the way generative AI continues to be unregulated and used in harmful ways, especially in the art community. And especially now that AI covers are becoming more and more popular, which not only takes an artist’s voice (literally and symbolically) and uses it in a way that they didn’t consent to (also potentially misinforming others), but also removes the authentic human element from the art.
SEVENTEEN puts into question the dynamic between humans and AI, asking who is the real maestro? In these days where AI shows up in most aspects of our lives, who has control?
#woozi press conference excerpt
— 🌌 (@woozimedia) April 29, 2024
🍑 of course i’ve tried ai producing/composing and practiced doing it. rather than just complaining about a new developing technology i thought i have to match with it. i found the negatives around it and also tried to find the positives as well.… pic.twitter.com/gDCo2SwvFj
The MAESTRO music video features SEVENTEEN going against robots in a dark future, as well, sending a message that no AI could ever truly capture the essence of humanity. Member, composer, and producer Woozi revealed during a press conference that he’s tried working with AI before as well, finding the positives and negatives of it. But he emphasizes that, in this rapidly advancing world of technology, they often consider how to protect their identity as artists and humans.
A myriad of opinions emerged, primarily centered on questions such as why do you have to use AI at all if you’re critiquing it, as well as what harm even the smallest use of AI brings to communities of artists.
bc using ai to criticize the use of ai weakens your argument 💀 hiring a vfx crew who could’ve easily replicated the look of ai would add a layer of integrity. real artists would be getting paid to make this valid argument. we’ll have to see the full mv to cast judgement tho https://t.co/EvNdXwmNE7
— nora 🍉 (@irrisvt) April 24, 2024
Though implicit that they are critiquing the rampant, widespread use of AI in a harmful way, this aspect of SEVENTEEN’s comeback sparked much debate on social media, and fuels the ongoing discourse about the harms of unmitigated AI use and its impact on human work and artistry.
CHARTING THEIR OWN PATH
woozi on face the sun
— 🌌 (@woozimedia) April 30, 2024
🍑 honestly there were a lot of company staff who disagreed with the story of this album. because we kept talking about youth and love [in our songs], why do you all of a sudden want to talk about becoming the sun? why do you want to become the sun? but… pic.twitter.com/j5jofT6xud
Another surprise included in this comeback was a livestream where member, composer, producer, and backbone of the group, Woozi, talked about SEVENTEEN’s greatest hits and the inspiration behind them with some behind-the-scenes stories (who knew they clashed with the company, and sometimes each other, so much?).
These stories gave people a rare peek behind the curtains, behind the glitz and glamour of what SEVENTEEN shows us they are. This realistic view into the imperfections and issues that affect the group—who are, after all, simply humans, doing their jobs—breaks the illusion that idols are living the high life 24/7. They also go through some rough patches, doubt themselves, worry about public perception, and so much more. Having Woozi talk about their journey in this candid way was very much appreciated by fans who now know more about what goes into the things they consume.
MAKING A MARK
17 IS RIGHT HERE is an anthology album. The 33-track album features four new songs and 29 of their greatest hits. Coming out with an anthology album amidst the looming “enlistment era” (SEVENTEEN members start their mandatory enlistment soon) is a marker of change for the group, and everyone felt it.
Now, to even have a greatest hits compilation, you have to have had some great hits. Thankfully, for SEVENTEEN, one of the most prolific K-pop groups, that came easy. With hits like Don’t Wanna Cry, Aju Nice, Clap, and Left & Right, among others, SEVENTEEN BEST ALBUM ’17 IS RIGHT HERE’ is a journey through time and years of hard work and endless support.
The album is now the best-selling compilation album in first day sales by a K-Pop artist, a history-making feat for the band.
THE BUYING PROBLEM
random pcs are the biggest issue but buying more albums than you can keep to win fancalls and the obsession with breaking previous records with every new release also contribute… and it’s not one fandom that’s guilty of this; the whole culture needs to change https://t.co/St9bAUxC67
— 〰 (@SaraOT5) May 1, 2024
With all these album sales, though, it continues to add to the discourse regarding another aspect of the music industry. Mass producing, bulk-buying, and throwing albums away continue to strike the wrong chord with plenty of people growing more discontent with current fandom practices—and with good reason.
The problem with consumerism in terms of music and albums comes to head as we see more and more instances of albums ending up in the trash or on the street because people bulk-buy them only to collect photocards or acquire the benefits that come with them (for instance, a chance to talk to their idols at a fansign event). Plenty of idols’ albums, from BTS to NCT, have met this same fate, and it’s brought up relevant conversation about the consumerist practices exacerbated by industry shifts and current fandom culture.
@wingyu_kpop ♬ sonido original – WINGYU KPOP
People have brought up many times that it’s wasteful to produce and consume an inane amount of albums, and have called for a shift in both production practices and buying culture among K-pop fans. Boy group VICTON proves it can be done. They released a more eco-conscious way to buy their album in 2022, where you could buy the album and receive only the photocards, as well as a way to download the tracks you purchase.
This problem with albums isn’t unique to K-pop, as we can see more versions of albums end up in different stores, with different perks like vinyl editions with exclusive tracks. Even Billie Eilish has spoken against the wastefulness of this practice. While collecting has become an integral part of music culture, the commercialized, mass consumption aspect of it all also does need to be scrutinized and talked about.
Continue Reading: SEVENTEEN’s BSS Is Enjoying Every Second Of Their Comeback
