Rescene debuted last year as the first and only group from their company, The Muze Entertainment. Despite coming from a small company, they have built a reputation for a no-skip discography among K-pop fans in the know. Their debut single “UhUh” previewed a style of stacked soprano vocals over a slinky bassline, with layered instrumentation. Meanwhile, “Love Attack,” the title track from their first mini-album Scenedrome, featured one of the most stirring choruses of 2024’s K-pop releases.
As a whole, the group’s second mini-album Glow Up holds up to their previous work, though it takes a more laid-back direction. No song on the album has melodies quite as immediately appealing as those in “Love Attack” or promoted B-side “Pinball,” but Glow Up has nearly impeccable composition and production that provides a satisfying, cohesive listening experience.
Glow Up may arguably be the best execution so far of Rescene’s concept. The Muze has explained that the name Rescene is inspired both by “scene” and “scent,” as well as the “Proust effect.” Alluding to Marcel Proust’s Remembrance of Things Past, in which tasting a madeleine cookie triggers vivid memories of the past, the Proust effect refers to the association of memories and the senses. Rescene has at times presented this concept overtly, such as with perfume-spraying choreography in “UhUh.” On the new album, “In My Lotion” contains the refrain “dreaming of Proust.”
Rescene’s lofty literary and psychological inspirations are less interesting on their own, but are impactful for the soundscapes that they produce. For songs like “In My Lotion” and opening track “Crash,” choices in arrangement create an ethereal atmosphere. “In My Lotion” combines airy vocals with guitar strums and garage beats. The song contains fascinating changes, such as isolating vocals and guitar in the line “dreaming of Proust.” In the chorus, the rhythm of the vocals sometimes hits the beats of the percussion and synths, and at other times feels almost syncopated. The transition out of the chorus starts with an audible breath, followed by a pause right before the drop into the post-chorus of “I can’t breathe.” The subtle dynamism of “In My Lotion” makes it particularly immersive.
With its lush vocals and production, “Crash” most effectively creates a transportive listening experience. As with the best Rescene songs, the chorus in “Crash” utilizes harmonies to evoke nostalgia and other emotions. The song takes its time to build, peaking emotionally with gorgeous polyphony in the last 40 seconds, as some members continue to sing the lines from the post-chorus while others repeat “Crash into me, crash into us.” The outro, isolating the synth line and putting reverb on the vocals, opens up space, making listeners feel like they are floating.
“Crash” transitions well into the title track “Glow Up,” which brings lighter and more infectious energy. The vocals mostly stay in Rescene’s dreamy style, full of harmonies in the chorus. The post-chorus, however, brings an electropop flair, especially the glitchy line “that, that, that, that, that glow up.” While catchy, that recurring line feels more in Illit’s wheelhouse than Rescene’s. Fortunately, its placement in the post-chorus makes the line a counterpoint to the delicate sounds of the chorus.
For better or worse, “Glow Up” follows recent trends of repetitive hooks and short song length. The structure, however, detracts most from the song. One expects Zena’s airy “ah’s” after the second post-chorus to constitute the bridge, but instead the song abruptly—and frustratingly—ends.
The next track “Going On” also relies on repetition for catchiness, but feels more complete despite having the shortest run time on the album. For one thing, after a short intro, the song launches into the chorus, providing listeners with three rounds of it. “Going On” also features more vocal variety than “Glow Up”, contrasting and harmonizing different registers in the verses. Liv and Minami’s soaring delivery of “I love my life” brings momentum from the pre-chorus to the chorus. Ad-libs in the outro (mirroring the intro) bring the song to an enjoyable finish, despite the lack of a bridge.
While “Going On” displays the members’ wide vocal range, album closer “Cotton Candy” showcases members smoothly singing in the pocket. One could easily picture the members grooving along to a live band in performances, particularly during the bridge when the instrumentation focuses on percussion and guitar. Adding some jazz and even funk influences to their usual softness, “Cotton Candy” feels relaxed yet full of life.
Glow Up is a worthy addition to Rescene’s discography, establishing a clear sound and vision for the group. Even as rookies, Rescene have displayed remarkable consistency in their vocal layering and intricate arrangements that create immersive musical experiences. At the same time, they are not afraid to explore different facets of their signature sound. Rescene may aspire to evoke memories through their music, but Glow Up makes the group memorable in their own right.
(YouTube, The Muze Entertainment. Images via The Muze Entertainment).
