“Where to Now? (Part 2)” is Flawed, but Unmistakably KARD

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In early July, DSP Media announced that KARD’s album Where to Now? (Part 2): Nowhere and subsequent world tour would “mark the conclusion of KARD’s journey as a group.” The KARD members have since denied they are disbanding following the end of their contract with DSP. What is clear is that KARD’s time with their company is ending, and their future is yet to be determined.  

Reflecting upon their career, Somin shared that the group started voicing their opinions about their creative direction after “Bomb Bomb,” stating, “I think we fought a beautiful fight”. In several respects, Where to Now? exemplifies KARD’s “beautiful fight” to realize their vision despite company constraints. KARD had never released a full album until this point, and even Where to Now? contains only five new songs, repurposing previously released solo songs and filling out the tracklist with an instrumental version of the title track “Back to Life”. With KARD’s contract drawing to a close, it feels like DSP Media tried to squeeze out one more release with as minimal financial and structural backing as possible. 

For better or worse, DSP Media’s lack of investment ensured member-led production, with BM taking a major role in writing, composition, and arrangement, and all members contributing lyrics to “Back to Life” and “Always”. And so KARD have the opportunity to close this phase of their career on their own terms, even under the time and resource limitations.

“Back to Life” in particular feels like quintessential KARD, drawing upon the moombahton, tropical house, and dancehall influences that shaped their early sound with “Oh NaNa” and “Don’t Recall”. The song hardly breaks new ground (in fact, it sounds like a World Cup song), but it is not intended to evolve KARD’s sound. Unlike many slow, sentimental “disbandment songs,” it is an upbeat, swelling anthem with a thumping instrumental post-chorus. While it feels celebratory, “Back to Life” also reflects on KARD’s past (such as BM’s early days “living’ out of a hatchback”) and reassures listeners that they can rely on the group. As an opening statement for the album, “Back to Life” honors everything that has defined KARD over the past decade.

The new B-sides, meanwhile, strive to push aspects of KARD’s artistry forward. “Signal” is one of their boldest terms of composition and production, with a beat drop in the middle of the song shifting from melodic pop with moombahton and dancehall inflections, to a more hard-hitting Brazilian funk sound. The song then thrillingly accelerates in the outro. “Signal” displays KARD’s desire to experiment while still remaining grounded in their signature genres.

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While the group songs continue to balance BM and J.Seph’s rap verses with Jiwoo and Somin’s vocals, the vocals particularly stand out in “Armor” and “At Least.” “Armor” showcases the strength of the vocalists by stacking Jiwoo and Somin’s vocals, depicting their readiness to face adversity. Meanwhile, “At Least” effectively combines Somin’s airy, dynamic vocal runs with the driving beats and Jiwoo’s lower register. The emotive vocals convey the frustration and heartbreak of being blindsided with a breakup.

“At Least” particularly distinguishes itself as a song where KARD make effective use of their status as a mixed-gender group, depicting male and female perspectives of a breakup. Somin’s opening line reveals that the woman “thought that we were solid,” while J.Seph’s metaphor-filled verse likens the relationship to a “flower that never fully bloomed” that “fades and withers.” BM interjects “I’m sorry” into the chorus, showing how the man and woman answer each other’s thoughts even if it does not portray a face to face conversation. 

Unfortunately, KARD lose that unique synergy in the solo tracks, which is one reason for disappointment about their inclusion on the album. While they stand out far less than the group songs, the solos highlight each member’s distinct colors, such as Jiwoo’s husky tone and J.Seph’s smooth flow in the pocket of the reggaeton-inspired beats. Of the solos, Somin’s confidently executed “Backseat” is the most memorable for its booming bass and Somin’s wide vocal range.

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The back half of the album similarly loses focus once it hits the solos. On one hand, the midtempo, groovy “Always” fits as a closer, promising fans “I will always be your light in the dark.” As a final group song, it feels appropriately warm yet bittersweet. However, “Always” follows Jiwoo’s unabashedly horny solo “Home Sweet Home,” which is an abrupt thematic and tonal shift. The album’s track arrangement thus undercuts its effectiveness as a listening experience. 

With its uneven sequencing and song quality, Where to Now? has its flaws as a fully realized album. Yet in spite of its compromises, the album reveals many strengths: BM’s increasing sophistication as a composer and producer; J.Seph’s intricate lyricism, flow, and delivery; Jiwoo and Somin’s vocal prowess — and ultimately, the group’s chemistry. Whatever the group’s future looks like, Where to Now? serves as a reminder of what sets KARD apart as a group and makes them worth remembering.

(YouTube. DSP Media. The Korea Times. Lyrics via Genius [1][2]. Images via DSP Media).