Eve are credited with being a prime South Korean visual kei act, and they fit the bill, at least nominally. The band doesn’t have the knack of Luna Sea or L’Arc-En-Ciel to do a seamless mix of several styles, but even though the separate influences do stick out, it’s still the same blending of many kinds of Western rock that’s labeled v-kei. There’s a quasi-gothic metal track (“Goodbye”), some power pop numbers with U2 guitars, a bluesy kind of song (“Lost”), and even forays into alternative rock: “Hwisaeksup” sounds like a song off Radiohead‘s The Bends remade for mainstream charts. That could make for an adventurous, if not cohesive, listen, but Seventh Evening is neither: the influences are just construction bricks, used to craft pleasant but pedestrian pop hits. The soundtrack-like melodies have already been overplayed by a host of Eastern bands, and, to add insult to injury, Eve hardly ever changes the tempo, let alone the mood of the music. There are a couple of tracks that stick in the memory pretty fast, mostly concentrated in the latter half of the album, behind the sappy ballads: the prerequisite disco-rock song (predictably titled “Saturday Night”) or (“Sad Paradise”), where the band finally dares to put both feet into alt pop territory (again, an early Radiohead vibe here). But for the most part Eve plays it safe — pretty literally. This defies the purpose of going visual kei and drawing on a lot of influences, but in the end the worth of Seventh Evening depends on the perspective: it falls short of a good rock album, but taken as a pop record, it’s pretty daring and cutting edge. Actually, Eve have the potential to earn some less restrained praise than this record gets them, but it’s still up to the band to realize it.