Learn what went into weareoneEXO's Obsession album from the producers and songwriters who worked on it
When you're down two members thanks to mandatory military service, what's a K-pop boy band to do? Answer: Bring out your evil clones and craft an album drawing upon their unsettling energy.LP, EXO went further into the dark, daring territory they touched upon in past B-sides such as"Artificial Love," introducing us to X-EXO and adding atypical sounds to their deep discography before diving straight into feel-good funk and ballads.
"Obsession" -- that's not based off the hook or the chorus. It was based off of a foundation of [the] sample. The main part that I fell in love with initially was the verses in the pre-chorus. Of course, I knew that I had to change it up and go somewhere else --"Let's go ahead and figure something else out in terms of the hook, let's get more musical on that side" -- but that didn't happen until we set the foundation of what that beat was.
It was definitely going to be grimy; it was definitely going to be dark. I think that, for the most part, if we're looking for a big record, I always go to something that's going to be hard-hitting, something dark, disturbing. Anything else that's gonna be melodic or beautiful, we'll add on top. I always wanna be grimy, I always wanna be muddy, I always want [my music to be] a real punch in the chest.
Jin is one of my favorite producers in the world, period, and I've worked with a bunch of different people from around the world. When I hear his stuff, I feel like I'm in his world. Jin knows with me, as soon as the chord's great, I don't even need drums, I can start writing, 'cause that's what I instantly do first in the music.
[In terms of songwriting,] Bobii kind of writes his verses by himself, and I was involved with the pre-chorus and chorus, and I had the idea of the title. It was total teamwork -- we all had our say in the topline. EXO -- in terms of the characteristics of their musicality, it's very wide. As a producer, it is always a challenge, but still, it is always fun. When it comes to production, I always start with the"what if?" My first credit was [as] a film composer for film and documentaries and commercials.
So the month of May comes, and he gets all these really talented singers and artists and other producers from all over the planet that he knew personally for a songwriting camp in Korea. Prior to the camp, I had made all these tracks and the one that they used for"Jekyll," I remember I started that idea way back in January of [2019]. It just [was on] the back of my hard drive. Didn't really think anything of it -- it wasn't even fully built.
My other homie Jordan recorded one other memo for the hook as well. And then I was like,"Alright, let's just call it a night." Literally the very next day we had all these other songs with a bunch of other writers that we were working on. The last day comes for the songwriting camp, and we're about to have a listening party where all the people from the A&R, basically the higher ups that manage the whole company, came in. I remember that same exact night, all the other song writers had finished their songs. I had ended up working on the song with another singer -- his name is Aaron, Aaron Fresh. I worked on the song with him the day prior for literally 24 hours.
Listening party comes. I was like,"Play them 'Bullseye.'" And that was all she wrote. After that we ended up working on the song continuously. They wanted me to make the drums punchier, they wanted me to add more bass. I was like,"A'ight, cool, I'll do that.
We do [music] from our hearts, and one of the things that we're really trying to be different about is using [a] flute solo after the bridge. After we had the verse to the chorus, we knew that we [felt] we should go for it. We were really dancing in the studio, we're just like brainstorming --"Yeah, it would be so cool if we had some flute sound at the end!": I think it was easy because it mirrored the main melody that we already came up with.
When I write songs for myself, it comes from my personal experiences. I talk about my emotions, my feelings. When it comes to songwriting for [other acts], it's very important to understand their point of view rather than giving my point of view.
The bass and drum sounds lend to the nostalgic sound in the production. The Moog analog bass synthesizer was used a lot in pop music from [the] '70s and '80s: Songs like"Flashlight" by Parliament and"Autobahn" by Kraftwerk really feature that bass synth. That same synthesizer can be heard in a lot of current songs too, like in songs by Kendrick Lamar and The Weeknd.
It was a trip hearing it back. The original track was in all English -- I didn't know how they were going to do it. I didn't know that they were going to flip it. They kept the flavor, the style, and a few English words, but they flip[ped] it. This is the most [a] song has been changed from the original demo out of anything I've written.This song was made [in] summer 2018 in Seoul at the SM Entertainment song camp. It was written by me, Daniel"Obi" Klein, and Charli Taft.
Obi comes from an R&B, hip-hop background, I like R&B as well, and Andreas is a jazz guitarist -- you can probably hear the section that has the guitar solo. With being able to co-write with him, we drew on his guitar skills, [and] we made that a feature of it.: And we juxtaposed it with horns that would normally be featured in a funk song. There's a specific part of the song that actually highlights those two very big differences. The guitars are live, the bass is, too.
All of the tracks Mike brought were amazing and rich, but [for] some reason, [I] couldn't feel them 100% at that time. So once all the A&Rs went out of the room, I asked Mike if he had [a] rough track, such as [an] only guitar one. He played this track, and immediately in my head, the melody for the chorus was already completed at the listening of the first part. I was like,"Yes! This is the one!" and recorded the melody on my phone.
When I'm thinking 'bout [EXO], I'm thinking about their live show, so for me it's kinda -- there should be a song where they can break down and really sing, not have to dance so much and perform so much. It's broken down -- I think there's only a live guitar, a live bass, and a couple drum elements to it, so it definitely would be [a] cool stripped-down concert song.
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