What You Missed in K-pop 2024: First Half Pt. 2
Reviewing and ranking 10 noteworthy releases from January to June. This is #6 to #2. Inside: YtrueK, 'I Saw the TV Glow,' witches, and rage… K-popified.
It’s what it says on the tin. You can find Pt. 1, featuring the longer prologue, here.
#6 NMIXX - “BOOM”
I closed last week’s piece talking about ITZY’s “lost plot” and their most engaging musical moment since, probably, 2020. It’s no secret that JYP’s girl groups haven’t been in the best place from an artistic standpoint recently — ITZY’s lack of conceptual direction aside, even TWICE, the company’s backbone since 2015, are currently facing the challenges of maintaining a presence outside of the domestic market with noticeable impact on the quality of their latest recordings.
NMIXX, the youngest of the lot, have been seemingly building their career towards wherever the wind blows. Straight out of the gate with one of the most universally hated debuts of 2022, the group attempted to introduce the idea of “MIXX POP” in the polarizing title track “O.O,” a back and forth between baile funk and pop-rock so audibly influenced by the “Frankenstein” model of aespa’s 2021 hit “Next Level,” yet missing the conceptual groundwork and self-awareness that made the latter transcend the camp realm into pop juggernaut. MIXX POP, then, was a frilly term for packaging JYP’s aim to capitalize on the appeal of overstimulating music, which had been the go-to for 4th gen’s entry period and which, by that point, ITZY were beginning to leave behind in favor of redefining their audience. That summer, however, saw K-pop’s turning point into its least flamboyant era to date, where relatable narratives, reimagined Y2K nostalgia, and easy listening ruled over concept boards and tracklists.
For a powerhouse group like NMIXX, skillfully trained on all things traditional pop such as vocal and breathing technique, energetic dancing, and an entertaining stage presence, the balancing act among the initial promise of an experimental sound, shifting trends that encouraged whisper-singing and TikTok-optimized choreo, and a natural talent at pulling off… Beyoncé, would become a challenge. Like ITZY with the late producer SOPHIE, NMIXX saw their “24HRS” in “O.O”’s B-side “TANK,” a collaboration with NCT 127 godfather Dem Jointz which, itself, more than hinted at JYP’s SM-related aspirations at the time. A discography standout, “TANK” was mysterious, eccentric, and sticky; wilder than your typical K-pop song yet distinguishably tamer than the patchwork frame of MIXX POP’s proto-definition. Complete with a performance packed with dynamic moments that didn’t stretch the group thin at all, “TANK” may have been just the path to follow for the effective realization of an ambitious pop concept. Still, NMIXX eventually found their footing by pulling back, two singles later, with 2023’s “Love Me Like This” and its bouncy, 2010s pop sensibility.
2023 was the reset year for the act, where radio-friendly singles like “Roller Coaster,” and “Party O’Clock” (both dabbling in the UK garage trend of the season without getting snoozy) covered NMIXX’s bases, allowing them to start reintroducing MIXX POP with a vision much clearer than before. This January’s “DASH” may be the highlight of this new era; its jazzy hip-hop fusion ebbs and flows between tight grooves and theatrical deliveries structured as far more welcoming to the ear than previous efforts, while utilizing the girls’ prowess in all aspects of performance. Nonetheless, the most exciting album cut comes in the form of “BOOM,” a spirited and gritty, experimental pop banger. Throughout the song, snappy beats and resolute, rhythmic verses sometimes blossom into melodic sections echoing Disney princess charm, and others, descend into dark, trappy bass fit for the club. “BOOM”’s structure play is unprecedented even for NMIXX, its several transitions almost seamless, with the cherry on the cake appearing right at the end, where the track bursts into a half minute of breezy, uplifting UK garage.
#5 YOUNG POSSE - “Scars”
I told you I was going to reveal it. The 11th spot on this list technically belongs to a little song called “Magnetic” by HYBE’s newest prodigies ILLIT. No. 12 would be another song called “Deja Vu” by TOMORROW X TOGETHER — BTS’ little brothers whose spectacular run in their first three years was followed by a sluggish walk for another three, until said release. The latter, blending rage beats with a dramatic pop topline, coincidentally arrived just as I was beginning to wonder what it would take for rage music to eventually get on K-pop’s radar. Borrowing from Western music trends, aesthetics, and subcultures is an idea that’s been embedded in K-pop’s DNA since the scene’s inception. But besides HYBE who, as the company with arguably the strongest grip on the US climate in the K-pop sphere1, has recently churned out tracks inspired by the likes of PinkPantheress and Tyla and tapped into SoundCloud microgenres with “Deja Vu” and “Magnetic” (touted as pluggnb-infused house, debatably), other corners of the industry are showing know-how in adopting internet-pervasive sounds.
What I hadn’t caught wind of earlier was that 10 days prior to the TXT release, DSP Media x Beats Entertainment’s YOUNG POSSE had dropped their second EP XXL, featuring opener “Scars” which operates on robust rage production and package-deal, autotuned raps combined with true-to-K-pop, girly flair. This thing is undeniably catchy, a mark YOUNG POSSE proved they can hit both in title track “XXL,” which draws from Seo Taiji and Boys’ 1996 classic “Come Back Home,” and last year’s debut song “MACARONI CHEESE” — most known for coming under fire due to suggestive lyrical and visual cues that embroiled the then mostly underage five-piece in a public dispute similar to NewJeans’ “Cookie” controversy in 2022.
Hardly any of the latter is present in this XXL B-side, a piece about overcoming growing pains that employs old school hip-hop grooves and aegyo-sprinkled stage presence for its performance, with the group’s baggy, tomboy-ish styling reflecting a certain anti-polish sentiment, 5th gen to the core. It’s an essence that is personified in 20-year-old leader Sunhye, who cites 21 Savage and Travis Scott as go-tos, and whose deep, nasal timbre and laidback delivery evoke a style favored by various Korean female rappers outside of the more clean cut frames of K-pop.
YOUNG POSSE, after all, despite their young age, seem to be cultivating an affiliation to the K-hip-hop scene. At the start of this year, the group released a remix of drill/jersey club-fusion debut EP track “POSSE UP!” renamed “YOUNG POSSE UP” in which they collaborated with Korean rappers Verbal Jint and NSW yoon, alongside American rapper Token. When held next to their latest project’s explorations of ‘90s hip-hop, rage, afrobeats, boom bap, and drum and bass, as well as the members’ writing contributions, this is credit not to go unnoticed. I’ll get a bit bold here and say that last time I saw this film, I believe it had BTS as protagonists. Speaking of HYBE, one could argue that YOUNG POSSE bridges the gap between a BTS and a NewJeans — whether DSP has all the aces necessary for a similar amount of domestic or international reach up their sleeve remains to be seen.
#4 KISS OF LIFE - “Midas Touch”
Has KISS OF LIFE reinvigorated K-pop? One perspective would allude to the timeframe for which nostalgia waves are allowed to pose as novelty. Of course, for the last few years, the ubiquity of nostalgic concepts in popular culture worldwide has led to quick redundancy for every decade-aesthetic that has graced charts, magazines, and all kinds of digital media. After deciding its season of moodboarding Dua Lipa’s 2020-defining, ‘80s-inspired synthpop and disco visuals was over somewhere in 2022 (here), K-pop started taking Y2K revisionism very seriously. Among a plethora of ramblings that played dress-up with the Y2K “vibes” of check print miniskirts and pink flip phones, the era’s standout products became ones that managed to convey nostalgia’s universality, either by leaning into constructing its true narrative essence, or drawing directly from the early 2000s for their sound. In 2024, younger generations still love reminiscing about the near past — regardless of whether they’ve actually lived it or not. And thus, acts who aspire to refresh should know when a smart pivot within the main structure is due.
S2 Entertainment four-piece KISS OF LIFE tried a bit of everything on their 2023 debut project. The results of what ended up sticking with the audience would come in swiftly: at the moment I’m writing this, among alt-rock sensibility, sparse-beat, poppy rap, and dated K-pop productions, the group’s debut single “Shhh” and member Natty’s solo “Sugarcoat” boast a gap of around 50 million streams higher than every other song on the self-titled EP. The latter — the first KISS OF LIFE song to be released — wears its ‘90s R&B influences on its sleeve, emulating Brandy and Toni Braxton almost as much as it does Lee Hyori and BoA, both South Korean divas who dabbled in the genre in their early ‘00s beginnings and contributed to shaping the fabric of K-pop as we know it.
Title track “Shhh,” stands at an interesting intersection between ‘90s hip-hop and 2010s pop, combining the familiar, sky-high belts of Ariana Grande’s My Everything era and later Pharell-inspired production with a break straight out of a Missy Elliott record on its backhalf. The streak was continued in the quartet’s first comeback with the single “Bad News”; heavy-handed in its country stomp and power vocals which recall trademark Carrie Underwood and Christina Aguilera, and complete with “misunderstood villain” branding that added dimension to feminine rage tropes by commenting on the scrutinous ways in which media targets famous women’s “wrongdoings.” The storyline, there, was enhanced by noteworthy B-side “Nobody Knows” which echoes “Sugarcoat” from more of a SWV point of view, adjacent to the updated take on ‘00s-style R&B that UK unit FLO is bringing to the current mainstream.
What was missing from KISS OF LIFE’s pastiche-adoring catalog of predominantly American pop references was a nod to none other than thee American pop star in Y2K enthusiasts’ minds. “Midas Touch” is Britney to a T; though, ditches the scene’s opted-for “...Baby One More Time” R&B pop and schoolgirl aesthetics for the unadulterated sultriness of “Toxic” and “I’m a Slave 4 U.” While legibly given away in the song by unmistakeable, high-pitched, nasal phonetic placement and a telltale “Baby, I’m so toxic” line delivered by Natty speeding through a dark tunnel on a motorcycle with the music video’s male vixen attached to her back, the Britney-ness KISS OF LIFE are tapping into, here, possibly extends to reflecting something more about the group. Similar to Spears, three out of these four idols had been years in the making, training under some of the biggest K-pop agencies and working behind the scenes of the industry. Particularly notable is the amount of experience under Thai main dancer Natty’s belt, undebatably the star of the ensemble, who had previously participated in the survival shows behind TWICE and fromis_9, moving in and out of the industry since 2015 with another miniature solo career in 2020, and whose 180 transformation into a fierce, sensual performer immediately caught eyes. KISS OF LIFE didn’t have to graduate from rookie status to make headlines, going from a “...Baby One More Time” to an “Oops!...I Did It Again” in less than a year. Perhaps everything they touch does turn to gold.
If you’re even slightly familiar with noughties commercial pop, there is no doubt that “Midas Touch”’s prominent synths, playful whistles, and punchy percussions will take you back in seconds. The track is packed to the brim with sparkle, moxie, and diva-isms, clocking in at 2:43 having not once loosened its commitment to the bit even when it comes to choreography. Its biggest highlight? The girls referencing their debut EP solos over campy, backing chants of “Bridge! Bridge!” And while on the topic of “YtrueK” K-pop in sonic terms, as well as taking into account KISS OF LIFE’s almost uncensored, mature presentation as a group, “Midas Touch”’s specific brand of blast from the past perfectly parallels Nayeon’s freshly unveiled “ABCD” (honorable mention, see here), stirring the ‘00s trend onto a more hopeful trajectory2. Debut ages might be decreasing in this industry, but a new era for the more seasoned women of K-pop seems to be afoot. The girls are shockingly sexy and stepping on men again3. It’s about to be a blast.
#3 ARTMS - “Virtual Angel”
You may have noticed that the title of the music video linked above hilariously reads “Human Eye Ver.” and that’s because I would like to avoid giving my readers seizures if it’s within my power. However, if you’d like a peek into the fascinatingly ambitious music video concept that was chosen for the official version, you can find that here. At your own risk.
Do we think someone at MODHAUS had the chance to attend an early screening of I Saw the TV Glow (2024) before coming up with ARTMS’ debut concept? In Jane Schoenbrun’s entrancing film, suburban teens Owen and Maddy become enthralled by fictional fantasy TV show The Pink Opaque which, at times, feels like it borders on reality, within far closer reach than a screen should allow. Through the two main characters of the show, the two leads are able to identify selfhood, struggles, and wishes on the television’s elevated plane, to a point of intensity which causes their sense of reality to warp. TV Glow illustrates its allegory for transness by acknowledging parasocial identification and projection as a vessel for inner self-discovery. It’s a kind of quasi-supernatural power that K-pop fans are all too familiar with, and that the industry itself deeply understands and cherishes — despite often not in the most reverent of ways.
The post-LOONA unit’s first endeavor as a quintet, “Virtual Angel,” wears this knowledge proudly on its wings. Transcending realities is as easy as blinking to the tempo of a song that assures you of the unwavering, protective presence of your object of affection or admiration, the official music video says, through fleeting, interspersed clips of ARTMS performing in the cosmic realm and a group of their doubles navigating a romanticized version of the real world — doubles who pose as none other than you and me. These guardian forces, or “virtual angels” are pop stars, friends, idols — projections on screens that shouldn’t feel as tangible as they do. They are The Pink Opaque, where the idealized version of life and selfhood is realized; a hyperreality where everything is tinted pink and neon, enveloped in a bright, bewitching glow.
The meta interrogation of the nature of fan-idol relationships has been entering the conversation more and more when it comes to themes embedded in modern K-pop. NewJeans’ floor-sweeping sensation from the tail end of 2022, the single “Ditto” whose echoes are still reverberating left and right in the industry, is the most noteworthy example in recent years that casts its familiar shadow here. Camcorders and screens serve as mediating devices between the confines of the real world and romantic, parasocial ideation, underlining certain hints of sadness trapped within that elusive, liminal space. Melancholy is palpable in the stimulating, technicolored maximalism and glamorous yet emotional synthpop of “Virtual Angel” as much as it is in “Ditto”’s hazy sepia tones and wistful vocals over heartbeat-drum Baltimore club beats. But while the latter is a reminder of these relationships’ ephemerality and their tendency to dissolve into thin air with age, the former lets us take in the transformative power of the fantasy for just a little bit longer; feel seen from the other side, and — why not? — even loved.
ARTMS’ debut album <Dall> is triumphant, a stunning kick-start to the five-piece’s journey and a more than adequate follow-up to the 2023 top spot of ODD EYE CIRCLE’s reboot EP, <Version Up>. With MODHAUS CEO Jaden Jeong having been significantly involved in the production of LOONA’s earlier discography — held on a pedestal by fans to this day — the group’s new material harkens back to the beloved sounds of [++] and [XX], as well as ODD EYE CIRCLE’s debut project, where synthy R&B, hyperpop, dream pop, and delicate electronic weaved together the tapestry of LOONA’s musical character. All of these elements are aptly updated, here, meeting the club genre trends of the current K-pop landscape in the middle with UK garage and drum and bass touches, while B-sides “Flower Rhythm,” “Candy Crush,” and “Air” interestingly sample some of the members’ 2023 releases under MODHAUS.
#2 IVE - “Accendio”
I hope we can all agree that a song whose first line is “Dear priest,” is rendered instantly iconic right then and there.
IVE barely need introductions at this point. Arguably the post-IZ*ONE unit attracting the most pairs of eyes at the moment, the six-piece that became a new home of members Yujin and Wonyoung after the Produce 48 group’s disbandment in early 2021 has been taking K-pop by storm for the past couple of years. Much of the intrigue, I am inclined to guess, relates to quite a special, refreshing facet of their conceptual identity: as mentioned above, with relatable meta-narratives and anti-polish sentiment permeating the 5th gen, who was left to fill in the gap BLACKPINK would leave behind in the scene on their way to indefinite hiatus? Not being afraid to look and act expensive, flawless, and untouchable could be seen as a badge of honor in the climate of “idols are just like you,” almost as much as singing predominantly in Korean resists the “removing the ‘K’ from K-pop” movement. As audiences’ increasing demands for authenticity in pop stars clash with the era of “coquette” fashion and pre-teens raiding Sephoras, the room for Wonyoungism still seems plenty — and charts say the same.
IVE left Starship Entertainment’s womb with a “chaebol” image — old money, “you can’t sit with us” attitude, blasé stares, siren-like allure, and playing God’s favorite. The star power of Jang Wonyoung, who placed No. 1 on Produce 48 at the age of 14 and proceeded to become a poster child for borderline humanly unattainable perfection as far as looks and a public persona go, is, of course, at the center of it. Yet, however bright the singular star of Wonyoung shines, IVE’s synergy works, and the ensemble keeps proving it with hit after hit.
IVE SWITCH, funnily enough, comes after the actual switch-up in the group’s trajectory, which took place in the I’VE MINE EP last October. IVE, who up until that point had spoiled their audience with glitzy, bonafide pop bangers like “LOVE DIVE” and “I AM,” pointed the spotlight to the struggles of being an idol and a public figure in lead single “Either Way” and adopted definitive girl crush elements for main title track “Baddie,” a release which, although divisive, opened their discography up to wider accessibility through its effortlessly catchy hook and healthy dose of danceability. In the latest EP, the sextet continues experimenting, yet re-emphasizes the trademark IVE charm people have come to know them by. Opener “HEYA” (which in Korean stands for the sun IVE threaten to… eat?) notably employs in-demand producer Dem Jointz for strong 808s, grandiose, brassy synths, and quirky piano hooks, featuring one of the most intricate toplines in the group’s catalog — all packaged with a neat bow in a pastel-hued music video straight out of a fairytale. Among highlights such as the Wonyoung-penned “Blue Heart” where the girls’ robotic, autotuned delivery of lines about giving away “frozen smiles” reflects the doll-like behavior the idol industry often requires from female celebrities, and “Ice Queen” which combines hip-hop-indebted bass and whispered hooks with dreamy, stacked harmonies, second single “Accendio” undoubtedly takes the cake.
It’s true that IVE’s elegance isn’t missing from this record in the slightest, though what truly amps up the appeal, here, is their ability to fully lean into eccentricity this time around. “Accendio”’s immaculately staged music video tells the story of IVE meeting their evil witch doppelgangers after member Gaeul, having run into the coven on a bike ride, steals a magic wand which transforms the group themselves into the “good witch” troupe. When the coven comes knocking at IVE’s door to acquire the wand back, the final showdown recalls equal amounts Sailor Moon and the dance battle scene from White Chicks (2004), eventually resulting in a hilarious turn of events where the item ends up transported to a beach across the ocean and randomly picked up by a little kid.
The song itself emulates the plot’s sequences by utilizing playful 8-bit sounds, action-signaling drum and bass, rhythmic hooks, and choral sections, where the girls take turns tapping into their characters’ duality, sometimes through icy talk-raps and others through theatrical crescendos. IVE’s “Accendio” is a sonic adventure of stakes thus far unprecedented in the 5th generation that somehow manages to pull itself into an ultra-poppy pocket, offering saccharine, punch, and epicness all at once.
Thank you for reading!
Check out Pt. 3, featuring placement #1, here.
You can find all mentioned songs in the Of The Moment playlist:
Comments are always appreciated! Feel free to reach out to me in any way you prefer. I would love to hear from you. Have a wonderful week!
Note that the recent announcement of Scooter Braun's official transition into his role as CEO of HYBE America comes in the midst of online fan protests against HYBE Chairman Bang Si-hyuk's decision to partner up with the openly pro-Israel ex-music manager.
thank you for not giving us seizures that bit made me laugh 😭 another interesting, thoughtful and witty read!!!