Whether it’s holding a finger with a moustache on it above their lips, their radish light stick, or proclaiming that even with greasy hair and panties sticking out they are “hip”, K-pop girl group MAMAMOO have never been your typical idols. Across their seven-year long career they have suffused their music with vulnerability, defiance and a sparkling sense of humour (see their ode to dad jokes “Aze Gag” or their rap song about being overworked “Sleep In The Car”). Last year saw the group reach new pinnacles of success with their second full album, Reality in Black, featuring off-kilter hit single “HIP”.
Amidst this increased success the group’s company RBW made the unconventional decision of letting the members release solo projects for most of 2020. Indeed, Moo-Moos (the name of MAMAMOO’s fanbase) were fed with albums from Solar, Hwasa and Moonbyul which gave a deeper glimpse into their individuality, as they tackled themes of determination, public criticism and heartbreak. Still, as this year crawled towards its end, many were anxious if a group comeback would happen. Thankfully, MAMAMOO heard the prayers of their fans and the album has finally arrived for everyone to hear.
Travel is their agonisingly long-awaited (by K-pop standards, at least) and aptly-titled 10th mini-album. Similar to their 2019 release Reality in Black, this album defies cohesion and goes for a more varied sound. It casually hops from dreamy pop to slick funk to Latin-infused R&B without a blink, while lyrically exploring the importance of leaving toxic relationships, self-love and following your own path. While still a mature effort as expected, MAMAMOO have created balance between the edgier pop that has expanded their fan-base and the classic sounds that defined their earlier albums.
The album opens with “Travel” – a nostalgic, guitar-driven pop song that is begging to be added to your road trip playlist. Reminiscent of The Cranberries’ song “Dreams” (and if you are surprised to find an intersection where K-pop and The Cranberries meet, this is just further testament to MAMAMOO’s versatility), the song hits the emotional bullseye between bitter and sweet so effectively that you cannot help but be moved. Although a track about leaving troubles behind and going on a global trek might seem a tad ironic given the pandemic situation this year, it is a declaration of hope that better times are ahead for us all.
However, if “Travel” seems sentimental and sepia-toned, then following track “Dingga” is all bright neon and kaleidoscopic sounds. A pre-release single for the album, “Dingga” is a funky ode to “drinking like a fish” and having fun with friends, yet still manages to be in sync with what the world is going through. Moonbyul raps about having a lack of vitamin D and spending a lot of money on delivery fees, while Whee-in drops a line about being isolated from society. The song is not encouraging people to gather in groups so much as invoking the fun feeling of partying and letting loose that has been missing this year. MAMAMOO’s wink to quarantining with their trademark wit in such a bombastic, retro package will have you dancing happily in your home.
Travel also has classic-sounding tracks like the jazzy “Chuck”, which could easily be a cut from their first album Melting, and seems like a grown-up sister to “Cat Fight” in how they could both soundtrack a Pink Panther-type heist film. Even the chorus where they powerfully sing “I love myself” invokes the iconic opening line of their hit song “Yes I Am”. Album closer “Good Night” is a classic R&B ballad that feels like a comforting hug while you cry against somebody’s shoulder. These tracks feel catered towards their fans who have been there from the beginning; they are not necessarily as exciting as the other tracks, but feel like a respectful acknowledgement to their beginnings.
The artistic growth of MAMAMOO, however, shows in their willingness to experiment. “AYA” equates falling out of love with the removal of a rotten tooth, and is perhaps their most complex single to date; dark and minimal, it feels like a sinister collage of their previous tracks “Gogobebe” and “Egotistic”. When the mysterious flute starts playing in the chorus it feels like we are the snake that is being charmed out of a basket – and perhaps off the edge of a cliff. What makes “AYA” so tantalising is the fact that it can’t be absorbed in one listen– when that sudden tempo change happens in the last 30 seconds, you realise you want to come back for seconds and thirds and perhaps fiftieths.
Meanwhile, “Diamond” is one the most mysterious and sexy tracks the group have ever recorded. The production consists of a deep thrumming bass guitar, epic drums and distorted vocalisations, before swelling into a sensual chorus. It seems to foreshadow an epic adventure ahead; lyrically, it speaks of being open to romance yet never losing sight of individual ambitions and purpose. Rare is a love song that healthily encourages co-existence with a partner rather than being completely eclipsed by them.
In a very uncertain year that has been tragic and life-altering, Travel is a testament to how music has been an escape for us. Although the inconsistencies in its sound can make the album feel uneven as a whole, it’s more enjoyable to just let the music take you to new places. MAMAMOO can easily boast a discography that is virtually flawless, and this album is another great entry into the pantheon. To be twelve albums in and still have the power to surprise and please is something not many artists can claim, yet every release from the group always reinvents and sharpens what makes them so good. It may be a while before the world can come back to normalcy, but Travel proves that empathy and encouragement can be reached simply by putting your headphones on.
