In the saturated cosmos of Korean pop music, rising stars ONEUS have embraced an ever-changing ethos to weld their identity. It’s a combination of many elements: part inspiration, some dream sequences, and even technical prowess. And while it may seem complicated from the outside, the actual process comes out naturally for them — like a song written easily.
Whether in person or through a laptop screen, the common denominator with Ravn, Leedo, Seoho, Keonhee, Hwanwoong, and Xion, is always candour. When I meet them at the heart of Koreatown in Los Angeles, minutes away before the sunset, their prismatic personalities allow for an open exchange about life, their motivations, and, especially, that recognition as ‘concept chameleons’ they have rightfully earned. It’s been a bustling day of interviews, but they are animated.
“We put a lot of care and detail into our performances,” says vocalist Keonhee. “We think that what gives us an edge is that we put our sincerity [behind our stages], and we feel that would come out across and be well-received.”
His words carry a significance beyond the thrill of personal contentment. Because of precedents set by renowned senior acts, the newer generations of K-pop idols can claim territory over creative enterprises — either inside the recording studio or choreographing. And for the sextet, this autonomy has become an emblem at the length of their musical catalogue and magnetic performances, continuously accentuating that knack for storytelling to leave a lasting impact.
However, since ‘complacency’ doesn’t adhere to their vocabulary, a commitment to growth remains undeterred. “We do feel a limit sometimes because we are pouring ourselves out constantly, and we are always trying to think of newer things as well,” main dancer Hwanwoong, who is known for his beaming personality, explains. “It’s a bit difficult, but because of that, we can break through, and we go higher and bigger with each release. We feel a sense of pride as artists that we can continue evolving for the best.”
At this point, ONEUS’s artistry transforms into a wanderlust because trying to decode it is comparable to flipping the pages of a never-ending tale. Imagine this: You can easily find yourself meandering through the uphills of youth, dabbling in a blazing sea, or traversing the winds of a lunar endearment. That proclivity began in early 2019 with the heavy-hitting ‘Valkyrie’, and it’s been expanded through different ventures such as their first full-length album ‘Devil’, the ongoing project ‘ONEUS: Theatre’, and up until their seventh EP, ‘Trickster’, released last May.
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The group’s eldest, Ravn, owner of a feline gaze and an arresting stage presence, often takes the lead threading ONEUS’s musical compositions, time and again delineating the diverse emotions of life. A penchant that serves him well. “It hasn’t been long since I started writing songs and producing,” he says. “After I have this arduous process of creating and refining my songs to share them with the world, at the moment when fans tell me directly through social media or fan meetings what they think, that’s when I feel the most that music is my life.”
Ravn is also one of the most credited idols of the fourth generation of K-pop, with 58 songs currently registered in the Korea Music Copyright Association. (And it could be more this year.) His original approach to music production has grown to be one of localised sharpening instead of tackling the entirety of the process altogether. “I realised that I wanted to be more involved in songwriting and lyrical composition,” he elaborates later over a video call from Seoul.
It’s a few weeks after the conclusion of their most recent promotional cycle, and we briefly connect again to tie up some loose ends. “I feel that I rather focus on just one part [of the process], and this is something I’ve changed over the years,” Ravn continues. “There are many elements to consider, but these days, my main focus when producing a song is the title of it.”
On ‘Trickster’, Ravn crafted the blazing and defiant ‘Firebomb’ while also penning lyrics to all the songs included in the record. But his creation isn’t the only one that thrives on the spirit of the EP, as main rapper Leedo spearheaded ‘Skydivin’’, a cheerful track mirroring a freewheeling adventure. It’s cathartic, of sorts, bearing in mind the last two years where artists encountered the solitude of performing without an audience because of the pandemic.
During the past year, they have been striding with several globetrotting endeavours — such as tours in North America and Japan — while linking up with the cheering of their fans (collectively known as “ToMoon”) once again. For that reason, the expansion of their discography now goes tinted with an upgraded mindset.
Comparatively, the core of ‘Trickster’, they say, builds on “the powerful performance” that blends with the enterprising attitude they adopt throughout their tracklist. Hwanwoong, regarded as one of the best dancers in the K-pop scene, helped design the intricate choreography of lead single ‘Bring It On’, an audacious, horn-tinged offering where they face the tides of destiny while betting against the mundane.
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The song presents a not-so-subtle turnaround from the haunting nostalgia embedded in their November comeback ‘Luna’, so at first listen, they recognised the challenge ahead of them. “It didn’t feel like it was ‘ours’ [at first] because the style was very new to us,” Keonhee says. “As we started working [on ‘Bring It On’] to make it part of our album, we tried to put our own ideas and with time, it eventually felt like ‘ok, now it’s our song.’”
But moulding their artistic palette for a multitude of genres is part of their narrative as well. As new releases come to life, so do the opportunities for involvement — usually supported by an exchange of opinions with their music producers. It all comes down to a sense of introspection and trust they have built among themselves. Or as Keonhee puts it, “we are free to express ourselves and to voice our opinions, so we are very fair, democratic and involved in a lot of things.”
“We’ve already reached a point where we’ve gotten to know each other pretty well and we’ve come to a place where we know what works and who likes what,” Hwanwoong adds. “I think our synergy and teamwork is at an all-time high.”
Despite the natural bickering that may arise, what prevails is a feeling of unity. Take, for instance, Seoho praising Xion for nailing the “killing point” of ‘Bring It On’. “When we first received the song and listened to that section [in the bridge], I immediately imagined it on the stage and I felt like ‘oh, this is going to be the part where we can grab the attention of the fans’,” he says while looking at the maknae. “Xion did a very good job in performing that part.”
These glimpses of camaraderie can be perceived during the Zoom call with Clash, and also in the lighthearted ambiance of the first conversation in Los Angeles. It’s Leedo giving a jesting remark to Seoho, Hwanwoong occasionally providing more insight — English included — after his bandmates’ answers, or Xion observing each interaction with an attentiveness so characteristic of him.
Xion’s artistic development encompasses conquering personal challenges that have catapulted his abilities every comeback. A remarkable feat, considering he was the last member — along with Leedo — to join the group and had the least time as a trainee. “I was very apprehensive because everything was a new experience, so I didn’t know what I was doing, and I was figuring things out,” he admits, recounting his first days navigating the industry. “I’d like to say to my younger self that, ‘everything will be ok, you have good people around you, and please don’t fear.’”
This last statement finds an echo within the six young men as they nod in agreement and share some pensive glances — the path is taxing for aspiring idols because of the uncertainty surrounding the K-pop landscape, and the probability of reaching the stage is dramatically low. ONEUS’s trail can be traced to even before their debut as most of them — except for Xion — joined survival shows like MixNine and Produce 101, representing their label RBW. These experiences, although platforms for putting trainees in the public eye, come along with frustration, scrutiny, exhaustion, and painful growth. “The good thing is that we’ve grown up as much as we’ve had hard times,” Leedo observes. “Physically, it’s hard, you know, all the training that goes with that journey, but we were able to overcome and gain experience.”
It’s true. Their resilience has endured through thick and thin, and Leedo, who contemplated giving up his dream, knows it well. His baritone voice is deep like a vast ocean when rapping but acquires a velvety and calming texture while singing. And even though his duality shines by way of his distinctive timbre, his level-headed demeanour is an anchor for the group.
In the fabric that enfolds ONEUS’s performances, Leedo’s commanding aura contrasts with the captivating voices of Keonhee and Seoho. Similar to a solar wind, but harmonious. The wave of sentiments both vocalists can transmit follows that interlacing pattern, but each stands out uniquely.
Keonhee possesses a natural elegance that swiftly catches the eye, and his eloquence knits an easy dialogue aided by his quick-witted personality. Then, his vocals are clear and tender, motivated to deliver solace. “I want to be someone who can give a lot of comfort and reassurance to the people who listen to my voice,” he affirms. “When I am going through difficult times, I always turn to music as a source for healing, so I want to be that same source to other people.”
On the other hand, Seoho’s charisma is contemplative, and during both conversations, it isn’t difficult to see how acutely perceptive he is. Translate that emphatic essence to the stage, and he will have you delving into the many layers of life. “When I was young, I was really happy and I wanted to share that happiness with the people around me,” he says. “As I got older, I realised there’s a whole spectrum of emotions, so instead of being limited to just happiness and joy, I think I’m working hard to be a performer who fully conveys all the emotions included in our songs.”
Every component — creative or personal — that is woven into ONEUS’s canvas seamlessly increases their potent vision. The mainstay of their body of work is solid, yet, the rise is still in progress, and new music lies on the horizon. “I cannot say that ONEUS has reached success at the moment,” Hwanwoong says, “but one thing for sure is that this feeling I imagined [of being an artist] when I was a trainee — all the tours and albums — it’s something I’m currently doing. Right now, I cannot really define what success is, but we are on the pathway to reaching it.”
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Words: Ivana E. Morales Moreno // @Iv_Morales
