Over the last couple of years, f(x) have become one of the few K-pop groups with real international appeal and a sizable fan base in the States. The group's sophomore album, 2013’s Pink Tape, was a pop collage of ambitious sounds and ideas that tinkered with K-pop formulas, and it still stands as one of the best records the genre has ever produced. Last year’s Red Light offered a decidedly edgier synthpop sound that leaned more toward the club, though it didn’t quite meet the standard set by its predecessor. And during the promo for Red Light, group member Sulli, an actress and star for the conglomerate S.M. Entertainment, was noticeably absent from scheduled media events. After talk of mental exhaustion and a temporary f(x) hiatus, Sulli officially withdrew from the group in August, leaving K-pop’s most consistent act in a state of flux.
4 Walls is f(x)'s fourth album and first with four members—hence the name—and it lands right where Pink Tape and Red Light intersect, creating a sleek electropop fun-house filled with an eclectic group of generation-spanning pop singles that fit together as a long-playing piece. It’s also the first K-pop comeback to fully acknowledge a lineup change—going as far as incorporating it into the album's marketing and lyrics—but it doesn't change much about the group’s sound. This is a superficial rebirth; though the album’s lead single and title track has veiled references to changing and becoming new, f(x)’s synthpop bounce remains steadfast and uncompromised. And though Sulli was undoubtedly a standout among the group, her departure allows others to grab the spotlight: Now, not only does rapper Amber have the opportunity to rap more, she also gets the chance to use her alto range to flesh out harmonies and bring greater balance to records like "Rude Love", an ambitious, hook-heavy tune that rivals the group's most infectious songs.
Many tracks on 4 Walls are sourced through Jam Factory, a music publisher that uses American musicians to create lyrics and melodies for Asian markets. The company’s strength lies in penning sounds without borders, and some of 4 Walls’ strongest collaborations involve producer LDN Noise, who creates pop songs with bridges that function as hooks and transitions that overlap to keep songs stimulating. Album closer "When I’m Alone", meanwhile, was originally co-written by Carly Rae Jepsen for her recent E•MO•TION album. But the real X-factor is longtime f(x) collaborator, writer, and K-pop superproducer Kenzie, who wrote two of the album's most curious songs: "Papi" and "Cash Me Out". A Berklee School of Music grad, Kenzie navigates the cultural divide better than anyone.
Listening to any K-pop record (or any foreign language record, really) can prove to be a challenging experience for casual listeners simply due to the added communication barrier. You can also lose some key information in translation—even when you know what's being said, there's a layer of context missing. Still, just like any other type of music, a listener has the opportunity to fill in some of that context on their own; stripping Korean of its code is no different than reinterpreting a really dense English lyric. 4 Walls is even more accessible because f(x) songs tend to have a lot of Western cues: Many of the melodies recall songs from the American pop canon and, as with many K-pop songs, there are English lyrics spliced in throughout (at one point, Amber raps, "I was low key/ That’s the old me/ Now there’s Top 10 honeys tryna phone me").
Western pop fans don’t need to be heavily invested in the K-pop world to get the appeal of f(x)’s music, and 4 Walls is an enjoyable listen even for those not looking to broach the language gap. Korean is a beautiful language with long multi-syllabic words that unspool in clumps and it carries American-stylized pop melodies fluently, breaking up long vowel sounds to fit into sonic phrases. There are few better introductions to K-pop than f(x), and 4 Walls is a strong introduction to f(x) 2.0.
