Pop

P1Harmony rises up the charts chart with each album release, and September’s Sad Song EP didn’t just mark their best positions yet (No. 16 on the Billboard 200 and No. 1 on World Albums), but their most expansive and involved work to date.

The title track/single allowed P1H the chance to play with Latin pop and hip-hop sounds as the members took more creative control on songs they felt would round out their live setlists and become future fan favorites. Intak and Jongseob teamed up for the rap cut “WASP,” Jiung took the lead on rock anthem “Last Call,” as leader Keeho brought light reggae vibes for “It’s Alright.” No sad songs here — just impressive versatility shooting P1Harmony up the charts. – Jeff Benjamin

RESCENE is a rookie girl group to keep your eye on in 2025. Living up to their name, which combines “scene” and “scent,” every corner of their first EP is infused with fragrant nostalgia and glistening melodies. From the dreamy pop ballad “New World” and blissed-out R&B of “Pinball” to their crown electro-pop jewel “LOVE ATTACK,” SCENEDROME is less sensory overload than a smooth spritz of perfume. Opener “Lucky You,” meanwhile, has a regal elegance that seems to signal the arrival of new K-pop queen bees. — Abby Webster

Jin’s much-anticipated first set since being dismissed from military service in June is an impressively realized pop-rock debut. The open-road singalong “Running Wild” sounds like a lost banger from The Killers’ classic period, while “I’ll Be There” could have been a Fitz and the Tantrums favorite 15 years earlier. It’s not all ’00s retro, though: WENDY duet “Heart on the Window” has an ’80s-derived smoothness and modern pop sheen that could actually slot it right between Harry Styles and Sabrina Carpenter jams on contemporary top 40. Like pretty much every solo debut from a BTS alum thus far, Happy shows Jin already firmly in his own lane, and ready to speed toward individual success. — Andrew Unterberger

EPEX solidified their place as a K-pop force to be reckoned with in 2024 with two full-length albums to showcase and expand their musical and conceptual ranges. Youth Chapter 2: Youth Deficiency captures a nuanced message of embracing deficiencies as part of one’s journey, presenting a relatable narrative that can resonate with today’s youth and flip the definition of deficiency.

The LP builds on the foundation laid by Youth Chapter 1: Youth Days (which made Billboard‘s Best K-Pop Albums of the Year So Far list earlier this year), which highlighted the ordinary moments of adolescence. In contrast, Chapter 2‘s eight tracks delve into themes of imperfection, choice and personal growth via standouts like the anthemic pop single “UNIVERSE,” the nostalgic synth-pop-rock gem “1997” and the reflective “Loner.” — J.B.

Anchored by creatively contrasting singles like the rebellious, boundary-pushing “Dangerous” and the self-assured synth-pop anthem “Nice Guy,” BOYNEXTDOOR’s 19.99 encapsulates youthful camaraderie and freedom. The group’s ability to channel real-life experiences into their music adds an authenticity that resonates deeply with fans, helping them secure 19.99 as their first No. 1 on Billboard’s World Albums chart and hit the top 40 of the Billboard 200, previewing the potential of these standout rookies. — J.B.

IVE SWITCH cements the girl group’s status as industry trendsetters by showcasing their versatility and depth. With two lead singles, the irresistible, “No Diggity”-sampling party anthem “HEYA” and the intricate, tempo-shifting “Accendio,” the album balances commercial appeal with creative risk-taking. Meanwhile, tracks like “Ice Queen” and “Blue Heart” further enrich the record and speak to IVE’s larger themes of self-love, the latter being penned by member Jang Wonyoung as a meditation on the challenges of K-pop idol life, metaphorically describing the transformation of an idol’s heart into something icy yet resilient. — J.B.

Stray Kids’ fifth No. 1 album on the Billboard 200 in under three years presents the octet succeeding in an impressive variety of styles. The growling rap-rock of album opener “Mountains” and near-reggaetón thunderousness of hit single “Chk Chk Boom” make for a bombastic one-two opening, but “Runner” starts out marching to a near-militaristic NY drill beat, then takes flight into a soaring drum-n-bass chorus. Meanwhile, “Twilight” marinates on a low-key piano shuffle, and the group’s self-titled anthem plays like a fist-pumping version of Justin Bieber’s “Ghost,” complete with one of the year’s best sing-along choruses.

The Stray Kids might’ve ATE with the eight-track set, but their fans will also certainly leave feeling fed. — A.U.

For the iKON member’s long-awaited full-length solo album, Nakseo makes a deeply personal and versatile record: DK wrote and co-produced every track. From the mellow, guitar-laden vibes of “LTNS” to the irresistible soul of “Groovin,” the album masterfully bridges R&B and K-pop to show his appreciation for both worlds.

Collaborations with artists like Punch and his iKON bandmate Bobby enhance the album’s dynamic range, as do the album’s explorations of electronic and dance elements to add vibrancy to DK’s sonic palette. Closing with tracks like “??” and “Genre” leave the LP as an open-ended invitation for what’s to come and what DK can offer in his future musical moves. – J.B.

While initially establishing themselves as princes of dark K-pop, ENHYPEN has been embracing lighter sounds and tones in recent releases to consistently great results. The initial ROMANCE : UNTOLD album was centered around excellent, experimental pop singles like “XO (Only If You Say Yes)” — co-produced by “Golden Hour” star JVKE — and the Cirkut-helmed “Brought the Heat Back.” The -daydream- expanded reissue tacks on two tracks with “Daydream” and “No Doubt,” which use brilliantly subtle minimalism to show that not every K-pop smash needs to go toward maximalism. – J.B.

D.O. titled his third mini album BLOSSOM to represent his artistic development and growth, which is undeniably felt with his first music project under his independently established agency, Company SooSoo, inspired by his full name Doh Kyung Soo. The personal touches stemming from D.O.’s own label are felt throughout BLOSSOM, which ranges from fanciful to introspective for a cohesive EP.

Lead single “Mars” enchants with its whimsical charm and sounds like it could easily make its way onto top 40 pop radio, while standout album cut “Simple Joys” highlights D.O.’s animated vocal delivery against an ocarina-focused production (both are co-produced by Norwegian singer-songwriter Peder Elias). Meanwhile, the buzz single “Popcorn” delights with its playful whistle hook, delivering a bouncy, earworm-worthy experience. We hear true growth in the EP’s final tracks like the acoustic-led “My Dear” and the poignant closing ballad “About Time,” which explore themes of love, regret and self-reflection. With BLOSSOM, D.O. proves that his journey as an independent artist is just beginning to bud. — J. B.

ZEROBASEONE’s You Had Me at HELLO blends the polished production we’ve come to expect from the mega-selling boy band with satisfyingly complex details. Tracks like “Solar POWER” and “Feel the POP” shift tempos and genres while “SWEAT” has a soulfulness to an otherwise standard party jam. Meanwhile, “Dear ECLIPSE” dips into R&B territory to highlight the members’ soaring falsettos as the heartfelt harmonies in “HELLO” underline a maturity that transcends their origins on the singing competition Boys Planet. These layers make the album both approachable and rewarding for deeper listening. – J.B.

SEVENTEEN deserve a victory lap. Last year, the self-producing K-pop superstars sold a reported 10 million albums globally, with two projects reaching the upper echelons of the Billboard 200. That’s not what really matters, according to them: “I don’t need money or fame,” the guys say in their latest and embody in lead single “LOVE, MONEY, FAME” featuring DJ Khaled. But between seductive disco sashaying (“Rain”) and infectious Miami bass bounce (“Eyes on You”), Spill the Feels is still a toast to their unending ambition. Nowhere is this clearer than on “Water,” a braggadocious trap banger from the Hip-Hop Team: “I stand on oceans,” they rap. “Yet I still feel thirsty.” — A.W.

Trust Me is an apt title for the decade-long wait for the GOT7 member’s project, which acts as a masterclass in blending R&B, hip-hop and pop through its 14 tracks. From the sultry bossa nova opener “LA SOL MI” to the nostalgic ’80s synths of “SHINE” with K-diva Sumin, and the effortless hip-hop hooks in “1 MINUTE,” Trust Me offers one of the most satisfying listening experiences in K-pop this year.

The LP balances moody, sultry R&B moments with brighter, smoother pop highlights. His knack for collaborations shines, particularly on the seductive “Ponytail” with Sik-K and the introspective “Say Nothing” featuring LeeHi. While R&B-pop producer mastermind GRAY is the most frequent collaborator on the record, tracks like the all-English closing cut “Summer Blues” — produced by Korean-music veteran and XG collaborator Chancellor — push Yugyeom to new areas to flex skills beyond any one style or genre.

A project from former LOONA members HaSeul, HeeJin, Kim Lip, Choerry and JinSoul, ARTMS (the name is inspired by the Greek goddess of nature and wild animals) officially debuted this year with DALL under the recently launched label MODHAUS. If you loved LOONA’s melodies but wished the group had enjoyed a bit more leeway to get weird, ARTMS is for you.

“Usually, the company tells us what to do, but now, since we’re active players and debuting again, we wanted to work on the identity of ARTMS. We gave a lot of input in the songs and concepts,” HeeJin told Billboard in October. The pumping pop of “Virtual Angel” shows off their gorgeous vocal blend; “Sparkle,” which the group wrote the lyrics for, has a swaggery ‘90s R&B flavor; “Flower Rhythm” brings to mind Ariana Grande when she’s melding the dancefloor with R&B rhythms; and “Candy Crush” – with its pillowy horns and even a flute – is as irresistible as the game.

The album’s most unexpected moments might be its best. “I’m falling into your kaleidoscope” they sing on the woozy, disorienting “Butterfly Effect,” which sets the stage for the dark electro of “Birth,” an ambitious, marvelous song that evokes Reputation-era Taylor and explores how love can go wrong. — Joe Lynch

Upon release, Fourever marked a triumphant new chapter for DAY6 to solidify the K-pop rock band’s place as a force in both the K-pop and global rock scenes with a reinvigorated sound. The project’s success was underscored by the chart-topping album cut “HAPPY,” which not only hit No. 1 in South Korea but also earned the band their first entry on the Billboard Global Excl. U.S. chart. With revving guitars and anthemic chorus, “HAPPY” encapsulates a universal yearning for joy, as the members plead “May I be happy?” and affirm their resolve with, “So help me / …Tell me it’s okay to be happy.”

Meanwhile, the album’s opening track and lead single, “Welcome to the Show,” signals DAY6’s readiness to take on the world’s biggest stages with stadium-sized, exhilarating hooks (the song seems like an instant crowd-pleaser and future concert staple). “The Power of Love” delights with buoyant synths, while “Get the Hell Out” channels punk fury with pounding drums and biting lyrics, and the haunting “Sad Ending” rounds out the album, blending eerie piano work with layered vocals to create a chilling, emotional closer.

As DAY6 gear up for their 10th anniversary in 2025, this album cements their status as K-rock stars primed for growing recognition. – J.B.

NMIXX lapped a few of their K-pop peers this year, all thanks to Fe304: Break’s artful course correct that transformed the experimental girl group’s signature, polarizing “MIXX pop” genre-mashing into more of a subtle deconstruction. This time, singles “DASH” and “Soñar (Breaker)” kept pace instead of mid-song tempo switches that derail momentum.

Spread out over 20 minutes, this rollicking EP is a rollercoaster ride of country twang and rock (“Run for Roses”), industrial hip-hop (“BOOM”), pulsing Jersey club (“Passionfruit”), delicate R&B (“XOXO”) and more. It’s thankfully not a total revision of their unique sound, which is why this “NMIXX, change up” sticks the landing. — A.W.

A testament to Baekhyun’s artistic independence, Hello, World marks the EXO member’s first project outside his longtime label, SM Entertainment. The album showcases a newfound approach — he told Billboard how he was deeply involved in every aspect, from production to visual storytelling. Tracks like the bossa nova-inspired “Rendez-Vous” and the synth-pop lead single “Pineapple Slice” strike a perfect balance between his signature silky R&B stylings and experimental departures. Meanwhile, the powerhouse vocalist takes on new artistic challenges, like the rap-inspired “Cold Heart,” which highlights his growth as a performer. Hello, World is not just Baekhyun reclaiming his place as one of K-pop’s top soloists, but a reintroduction and a bold new era for his career. — J.B.

Yves has big things on the horizon, and she knows it: “You know I fly high, just feel it/ I’mma go far, just give me a minute,” she bids on the A.G. Cook-inspired lead single “Viola,” a testament to the burgeoning soloist’s serious aesthetic chops. On the heels of that sonic sledgehammer (“Let’s get dumb and break sh-t,” it opens) come silky and sulky B-sides “Hashtag” and “Gone Girl”: “You’re five-star criminal for putting me aside,” Yves grouses with panache on the former. I Did‘s closer “DIM” is truly in a lane of its own — the instrumental outro is a tearjerker even sans words. — A.W.

A new chapter for ONEW following the SHINee leader and soloist’s departure from SM Entertainment, FLOW lets the K-pop veteran step into a more hands-on creative role, writing all six tracks to curate a more personal project in his first under GRIFFIN Entertainment. With a blend of dreamy synth-pop, jazz influences and innovative vocal deliveries, FLOW showcases ONEW’s artistry as both a performer and songwriter, capturing the essence of a seasoned artist unafraid to push boundaries. Lead single “Beat Drum” encapsulates the album’s playful yet profound themes, pairing percussion-driven beats with clever lyricism to reflect ONEW’s nearly two decades of dedication to music. The EP is a testament to his growth as an artist and the opportunities provided by GRIFFIN, a place that can encourage him to flourish to cement his legacy as a K-pop trailblazer but also set the stage for even greater heights in his solo career. – J.B.

A landmark K-pop album of 2024, ASSEMBLE24 proves that a 24-member girl group can craft a cohesive and accessible listening experience. For the first time, every member of the two-year-old tripleS girl-group project united to deliver a genre-spanning record that is as ambitious as it is satisfying. The LP is centered around the empowering lead single “Girls Never Die,” which ingeniously ensures that each member gets a moment to shine and remains true to the LP’s name that all 24 stars are assembled and ready for action.

The album’s sonic standout moments are plentiful: “White Soul Sneakers” delves into Afrobeats and acid funk amid entertaining tempo and musical shifts; “Midnight Flower” charms with a bubbly, ’80s-inspired pop-rock foundation; “Dimension” embodies a New Jack Swing groove; and “24” channels quintessential tripleS with strong synths, playful hooks and groovy percussions. ASSEMBLE24 feels like a celebration of the type of creativity and unity that is especially unique to K-pop. — J.B.

“I’m a bit rusty,” NCT 127 say on “Walk,” though the line isn’t meant to be self-effacing. Rather, it’s a humble brag about the team’s je nais se quois — which has remained strong amid member exits and hiatuses — on full display on their sixth studio album.

As always, the masterful production is in top form thanks to SM Entertainment’s elite squad behind the scenes. There are enchanting details to home in on with every song: saxophone grooves (“Orange Seoul”), dirty basslines (“Pricey”) and noirish, neo-soul flutes (“Rain Drop”). Plus, “Can’t Help Myself” and “No Clue” reassert their status as vocal powerhouses in the K-pop industry, rounding out one of their most cohesive projects yet. “I’m in the studio day and night,” Mark raps on “Intro: Wall to Wall.” And the effort is evident. — A.W.

As a virtual boy band, PLAVE could have technically focused on a number of aspects beyond great songs but the CG-crafted boy band has music at its heart. ASTERUM: 134-1 opens with the smooth,r reggaeton-infused “Watch Me Woo!” — a track that will immediately grab anyone’s attention — before diving into the rock-pop brilliance of centerpiece single “Way 4 Luv.” Emotional highlights like “From” showcase the group’s harmonies over stark piano, while “Our Movie” picks up with R&B production mixed with shout-along choruses. The standout “Virtual Idol” directly confronts skeptics of PLAVE’s artistic legitimacy, flipping the narrative with a self-empowerment anthem built on an infectious hip-hop production.

While PLAVE’s members are virtual, their talents are anything but artificial. Utilizing motion-capture technology, they bring a human depth to their projects, which is mirrored in the album’s masterful songwriting and production, with all five members heavily involved in crafting the sound. — J.B.

“It’s us speaking to each other and encouraging each other,” Jihyo told Billboard in February of With YOU-th. It was clearly a conversation fans wanted to here; the next month, the EP gave TWICE their first No. 1 on the Billboard 200. The six-song project is bookended by tracks that emphasize the nine-piece band’s togetherness: “I Got You” is a sparkling, buoyant anthem with Carly Rae Jepsen vibes about how the girl group’s members rely on each other in a crazy world, and closer “You Get Me” is an uplifting song about a friend who always sees “the best me.”

In between, TWICE flaunt determination and attitude on the thumping, chant-filled “New New,” flex into lightly funky territory on “BLOOM” (written by Jeongyeon) and experiment with Jersey club on “Rush,” which Chaeyoung wrote after finding inspiration in PinkPantheress. And they’re not slowing down – they recently dropped Strategy, featuring Megan Thee Stallion on the simmering title track. – J.L.

IU did something rather unique when it comes to her (immaculate) discography: She released an album full of positivity. While the K-pop queen has released some of K-pop’s most devastatingly beautiful and masterfully melancholy songs, The Winning explores IU’s internal growth and personal satisfaction.

Anchored by the poignant ballad lead single “Love Wins All,” which stars IU alongside BTS’s V in its cinematic music video, the anthemic track provides a grounded sense of hope. From the groove percussion on “Holssi” where IU confidently declares, “Fly high to bloom/ …I’m gonna go to win,” to the aspirational synth-pop of “Shopper,” plus the seamless blend of musical generations and styles for “Shh..,” featuring NewJeans member Hyein, rock singer Wonsun Joe and narration from 86-year-old Korean music legend Patti Kim, the project epitomizes IU’s ability to innovate while maintaining a timeless essence.

As we approach the end of 2024, The Winning is particularly apt title for IU’s latest project after the starlet sold out her first-ever U.S. tour this year, hitting six arenas across the States in support of the EP. — J.B.

RM’s Right Place, Wrong Person is not just the best K-pop album of 2024 — it’s one of the year’s most daring musical statements across any genre. Across a tight 34 minutes, RM lays bare his psyche for listeners to enter, navigating themes of identity, vulnerability and liberation. Tracks like the introspective “Come Back to Me” (the English pre-release single would sound right at home on alternative radio) and the boundary-pushing “Domodachi,” featuring Little Simz, (boasting a blend of languages, emotions, sounds and cultural aspects) highlight his willingness to experiment to the point that the LP is as intricately sonic as it is emotionally personal.

Building on the excellence of his 2022 solo debut Indigo (which Billboard named the best K-pop of that year), this latest effort is a monumental leap and spits in the face of genre confines. RM effortlessly shifts from hip-hop to jazz, Afrobeats to punk while maintaining an artistic coherence uniquely his own. The album’s lyrics—balancing self-interrogation with poignant social commentary—find their perfect counterpart in lush productions crafted by his trusted TEAM RM collaborators, showcasing RM’s growth as both a musician and a storyteller.

Beyond the music, RPWP gains added resonance through its companion documentary, RM: Right People, Wrong Place. The doc captures the BTS leader’s creative journey and the dichotomy between RM, the global superstar, and Kim Namjoon, the ordinary young man. This pairing of album and film solidifies RM’s position as a pioneer in making K-pop more personal and accessible today, but also as a vital voice in contemporary music. Whether he believes it, RM is indeed the right person in the right place to blend raw authenticity with visionary artistry to create a masterwork to transcends cultural and genre boundaries — and push us toward living in a less divided world. —J.B.