
There’s a high drama moment on “I’ll Be Alright (I’m Still Here),” the closing track on Uju’s second LP “The Sun Is In Our Eyes,” where vocalist Leeju Jung repeats the lyric “I’ll Be Alright.” It’s a chorus trying to convince itself with pop psych self-affirmation, a miserablist’s credo at once a “woe is me” sigh and a survivalist’s mental fluffing against future anxiety. It’s absolutely sweet. And the song clocks in at more than six minutes too but it never gets boring.
Trying to be grounded in the present while emoting to high heavens has become Uju’s stock-in-trade. A gloomy riff paired with delay-drenched singing may be a formula that’s been deployed many many times before, yet still conjures power in capable hands. In this sprawling 12-track album “The Sun Is In Our Eyes,” this Dumaguete City band makes grasping at undefinable sadness incredibly beautiful.
Formed in 2018, Uju means “galaxy” in Korean and aptly enough, the shoegaze duo is led by Leeju Jung. She prefers to be called Judy, who is Korean-born, is a transplant from Seoul who came with her family to the islands when she was four and has since grown up in the college town of Dumaguete.
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Uju’s debut album “Dream of Better Days” (2020) made heads turn, introducing the band to the world thanks to a strong marketing campaign by Melt Records of Cebu.
Notable on this second album is the departure of founding members David Chu and Diosem A. Dagaas, who used to play guitars and drums respectively. Recording and writing the newest album, it’s now only Jung and guitarist Kenanaiah Jo who’ve decided to forge ahead with the Uju name.
What I can clearly scope out from the richly textured post-rock, intersecting with vintage dream pop, is there’s no sophomore slump here.
They’ve left the first record’s whimsical dipping of toes in the water, instead choosing to ascend the tallest structure around, feet on the ledge, testing the wind shear at the edge to wave to clouds and sun, while asking where their childlike delight has gone.
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“[This album] is about the present, about the feeling that the best days of our lives may be behind us and how we go on from here,” said Jung.
Ambition is good and they wear it well. The album is a joy to the ears, something for a lights-out trip, when you’re feeling utterly down, glass of wine in hand to make the emoting session feel classier. This is that soundtrack you put on.
The track “Anywhere Everywhere” brings Uju’s sound of whirling-in-a-sundrunk-daze to cooked perfection, pleasingly melodic and driving at the same time. The great thing though is how Uju have learned to edit themselves. That skill of knowing what to leave out is just as important to cultivate as knowing what to play when. Hence, a song like this is devoid of the usual, cloying aftertaste. Exactly enough earworm calories. Less than the required amount of drama.
Ditto with “Summer’s Gone And So Are You.” A gem of a track that combines miserabilist lyrics with melancholy chord work that harks back to vintage dream pop. It doesn’t even crack the three-minutes mark but I looped this four times and, wonder of wonders, I still didn’t get tired of it.
Something this sprawling is rarely perfect and “Vulnerable” may make a cool entrance, a nice opening for sets with its media res feel. Yet it offers nothing new in the shoegaze toolkit, really isn’t quite original. It also got boring after the two-minutes mark, something that could’ve been easily left on the cutting room floor.
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