For every reason someone has to remain in a relationship, there are a thousand reasons they will tell themselves to forgo it. The skin in the game is necessary, not just to learn whether our partner is meant to be ours, but whether we are ready to commit to what is in front of us. Love can become an extension of ourselves if we’re open to it. Thus, the exploration of concepts by former Detroit suburban metalcore vocalist, Christian Koo, today known as “Yueku.”
“Little Less Noise” is the second EP by solo, alternative pop artist, Yueku, released July 28, 2023. The release itself is exclusive to streaming platforms, though some songs are available via YouTube. Yueku’s exploration of modern love is exceptionally transcendent and vibrantly textured to offer any listener a melody to grab ahold of. While the music videos are not necessarily part of the review in this case, there is a relevance to the musical exhibition.
Yueku’s experience previously being the frontman for post-hardcore/metalcore band, Alive In Standby (previously reviewed on Killer Klassix), which turned into alternative pop outfit, The True Blue. This experience shines to culminate in his solo effort. Throughout his career and to this point, Koo has remained emotionally vulnerable, capturing emotion’s turbulent nature and how we as individuals are rarely able to process them. In the same vein, he uses his medium as an emotional outlet.
“Paradise” is a lovely experience track. Wonderfully layered with ‘80s-esque powerpop production. Truly it’s a light-hearted track you could dance to. Though subtle, the track does a great job at capturing the haze of being in love, not knowing whether the one we feel like we are on clouds with, is the one we necessarily want to be with. While you are close, there is a place, a world one shares where things are easily worked out and you think the same way. It’s different than being over-reliant or co-dependent. It’s a best friend, a ride-or-die, a type of connection that can only exist between two people that is sacred. Lyrically the song encompasses these sentiments with Koo’s bridge, “Maybe we’re there baby maybe we’re already there/Maybe we’re there and we just didn’t know yet/Maybe we’re there baby maybe we’re already there right now.” Wrapping the experience in a relative environment and grounding it in a condition excisable from the sentiment to the body.
“One Sided (Feat. Abby Holliday)” is a fast-paced, cute track, further anchoring the theme of the track. While at first listen, the track sounds as though it’s insecure, but subtly refers to the compromise required for any relationship. The openness of the track highlights the manner in which the EP was composed, extending the concept of love and relationships beyond romantic relationships to include friendships as well. Though coming in at about the two-and-a-half minute mark, the brevity of the track and inclusion of Holliday once again add a relative note to the track.
Holliday’s contributive performance is composed of the verse, “Feels like I’ve/Been backseat driving this whole time/Do you feel sick/From all this swerving left and right?/Out of control/And all-time low/And I’m scared to know just when/The whole thing’s gonna break/This is more than I can take.” While emotionally weary, the verse itself brings to life a checkpoint in a relationship where individuals should honestly take a look at the relationship they are building with one another.
“Median” offers more than just a midway through the EP, but it is problematic as far as accessibility. I usually either own the music I review or will seek out the album via YouTube, to be a proper music fan and make sure the artist receives their view and passive income. This song is exclusive to streaming services and while the track itself is enjoyable, this is one of the things that drags down the experience of trying to make the music accessible. Part of what makes music particularly enjoyable is how accessible an artist makes their work. That being said, the song is good.
While vinyl sales seem to be the only representation of what the sales of physical media are, making music even more exclusive by restricting access and relegating listeners to those who can afford streaming services counteracts the act of attempting to gain recognition and notoriety as an artist. Given Yueku’s explicit attempt to sign to a major label based on the music he is releasing, while he may be in the eye line of producers and executives, in turn, Koo neglects to make himself available to struggling creators; students, screenwriters, filmmakers, anyone who have the potential to accelerate his career by using his.
“Marathon” was the leading single on the track for a purpose. Koo’s production is once again rooted in The Weekend-esque, ‘80s-powerpop background and successfully nurtures the track’s melody and allows Koo the vocal control to create another phenomenal track. Thematically, the track is a departure from the EP and places a thematic emphasis on loving oneself. Koo sings “I’m at a 100/You’re less than 80/You know I’m too good/To be your maybe.” Koo uses the verses to build up to his melodic self-imposed value, proving more impactful as an entity the listener can anchor to and provide enough material for the listener to enact on the track’s theme.
“Dizzy” is another exhibition of the EP’s exclusivity, but personally sounds very underdeveloped. Having heard a lot of Koo’s music prior to his transition into pop, my expectations are set relatively high. The track lacks a lot, with the repetitive nature of its lyrics, as well as its underwhelming chorus. While minimalistic and simplistic, Koo’s previously delivered and precise effort is diluted in filler noise rather than a quality track that he is capable of delivering. The EP suffers as a result.
“Kodak” is a beautiful way to end the EP with what I think is an intimate look at how Koo’s personal enactments of love have resulted. The song is vulnerable, clearly to Koo’s girlfriend, from the looks of the music video. It’s composed of a hazy audible texture. More than just a stylistic choice on Koo’s part, the track emotes the sentiments of a long-standing wonderfully healthy relationship. Thematically both lyrical and musical material support the EP’s narrative, closing out the EP and welcoming the listener to seek out their own iteration of love.
While Koo has yet to have a terribly unlistenable EP, his sophomore EP had some of the most solid footing of any pop artist of today’s repertoire. The dedication to the craft is there. The talent is there. The experience and backing are all there. The thing that drags this EP down is the exclusivity and sub-par tracks. Koo’s artistry is well-supported and completely seduces the interest of the audience to the point of fragility. However, as an independent pop artist, the necessary fan consideration has to remain primary to form an adequate fan base that will definitely carry him to a large record debut, taking the love for his craft that much further.
3/5
