‘Revisiting K-pop Debuts’ are posts where I look back at the debut songs of my favourite groups, reflecting with the benefit of hindsight on how I grew to love them so much in the present.
I am not sure how many times I have already mentioned this in my blog, but ENHYPEN was my gateway into K-pop. The survival show from which they originated from, I-LAND, had an incredibly unique and compelling concept compared to most reality-TV shows. Although it was a painful experience to watch, it truly gripped me from minute to minute. I will never forget the moment when now Enhypen’s leader and my very first bias in K-pop, Jungwon, made an incredible comeback, from being almost eliminated in the penultimate episode to ranking number 1 in the finale. And since my bias made it to the debut group, there was no question that I would end up stanning them. To this day, while I did explore several other K-pop groups over the years, ENHYPEN have remained one of my most favourites, due to a combination of their engaging personalities and probably most importantly, their music.
While I was quite sure that I would commit to checking out ENHYPEN when they debuted, I still had doubts on whether I would be a long-term fan. I-LAND and ENHYPEN was my first flirtation into the world of K-pop, and a bad first experience would have probably turned me off from the industry altogether. Yet, it was in ‘Given-Taken’ where I saw the potential and magic that K-pop can create, its innovation, its creativity, both concept-wise and music-wise.
When I first finished listened to ‘Given-Taken’, I thought to myself, there is no way that there is any other song out there that sounds like this, right? 3 years later, after listening to thousands more K-pop songs, my thoughts were proven right. It stands distinct amidst the sea of songs in the increasingly saturated industry who love to follow trends- be it ‘noisy’ music in the early 4th generation to ‘easy-to-listen’ songs in the last year or so. ‘Given-Taken’ has truly aged like fine wine.
The foundations on which the song was built were really the key to its glorious success. The interpolation of the harp melody paired with the back-up vocals clearly established a distinct creepy, haunting atmosphere that characterises the whole song. Though it does creep up on you, it also feels somewhat restrained and tentative, which leads one to want to know more and see how it develops.
As the verses begin, the opening line starts strong- both melodically and conceptually. “Wake up in day one” not only references their debut album name (Border: Day One) and the literal idea of ‘waking up’, but also establishes their concept as vampires (the resetting of one’s days as one begins life as a new being, for one cannot wake up in ‘day one’ as teenagers if they were still human) and makes for a stupidly catchy line. The layers of parallelism imbued into the intro leaves me fascinated to this day. Not to mention, its melody and those that succeed it follow strong logical sequence, smoothly transitioning one into the other. By the time the pre-chorus hits, the song drops in energy while simultaneously amplifying the sense of mystery and anticipation.
It is then that the song suddenly experiences a surge of energy as the chorus blooms, paired with a strong beat to ground this new rush of energy into a higher constant. At the same time, the producers capitalised on this rush by incorporating background vocals that inject a burst of energy to further uplift the chorus as the melody rises in pitch. The interplay of these elements together creates a euphoric rush to the listener.
Just as it I thought it couldn’t get any better, the post-chorus kicks in. Something about its melody and the way it was sung at an ‘o->a’ vowel gives it a sense of openness as if it swallowing you whole. It is truly a fascinating experience, and easily one of the best sections within the whole song.
While the second verse and chorus aren’t much different from the first, years of listening have shown me that the song’s distinct sound requires time for the brain to fully absorb and appreciate the rush it provides. Hence, the lack of variation does not take away from the overall quality but rather provides the space and time for the song’s goods to sink in.
When I first listened to the bridge, I was initially a bit disappointed because it seemed to be pretty tame and ‘normal’ within the grand scheme of song bridges in general. Within the few months of waiting for ENHYPEN’s debut, I had explored a lot of songs from SM (the company) which all had rather experimental and mind-bogglingly good bridges. They set the standard for them. In comparison, the bridge of ‘Given-Taken’ seemed inferior. However, within the context of a song which had already established a pretty distinct sound and atmosphere like ‘Given-Taken’, it would not be helpful to compare it other bridges from other songs, but rather see how it adds to the rest of the song built around it. With time, I have grown to realise that an outlandish bridge like those that SM groups have would not suit the mood of ‘Given-Taken’ and ultimately detract from its quality. Rather, it maintained its hopeful, uplifting, yet melancholic quality that the song has been promoting from the get-go. Better yet, the transition into the final chorus is very smooth. This is especially because of the bridge’s final lyric, “I’m gonna go”, moving into the chorus opening line, “To you.” This gives the song a sense of finality, making it sound complete and satisfying.
Addressing some weak points, I had been critical of the vocal processing of the song upon release, which made the members quite robotic. Hence, when they released the much cleaner-produced Japanese version a few months later, I hailed it as the ‘superior’ version. To this day, I think the Japanese version of ‘Given-Taken’ is one of the best Japanese versions of any K-pop song. However, I ended up also developing a bias to the Korean version because it matched the concept of the song more- being dehumanised and the very becoming of a ‘vampire’. The heavy vocal processing delivered a ‘colder’, more impersonal vibe, yet the melodies still maintain the yearning and uplifting mood especially in the chorus. Not to mention, some lines, I had felt, could be delivered better, but in retrospect, it was their debut, and they had improved since. Ultimately, the vocal delivery does not impede my listening experience currently, and I don’t think it would be fair to penalise them for this.
In conclusion, “Given-Taken” stands out as a remarkable debut song due to its intricate blend of haunting atmosphere and euphoric energy. Its unique melodies and well-crafted production create a captivating listening experience that feels both restrained and expansive. The song’s strong conceptual elements, like the “wake up in day one” line, tie seamlessly into ENHYPEN’s vampire concept, adding layers of depth and meaning. The interplay of vocals, particularly the use of background harmonies in the chorus, amplifies the sense of anticipation and thrill. Even the initially underwhelming bridge has grown to be appreciated for its smooth transition and alignment with the song’s overall mood. Despite some early critiques, the vocal processing enhances the song’s eerie, otherworldly vibe, making “Given-Taken” a timeless and distinct piece in the K-pop industry. This debut track not only set a high standard for ENHYPEN but also showcased the innovative potential of K-pop music.
Hooks – 10
Production – 10
Vocal Delivery – 10
Overall – 11 (factoring in the passage of time)
K-pop Evaluated 
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