May 2026 K-Pop Roundup
This is late because there was a LOT of music in May, okay? Plus, end of spring semester etc etc. Oh, and I was preparing my first conference paper on k-pop, which is now turning into an article that I hope to submit to a journal before the end of summer…fingers crossed!
Solo
Jinyoung, “Everlove”
Group
Heart of Woman, “Lost in Proof”
Release
NMIXX, Heavy Serenade
I can’t say anything except that “Everlove” (and honestly this whole Jinyoung EP) may have been created in a lab for me. It may be a bridge too cheesy for some of you but this 70s funk-style cheese is exactly my flavor. GOT7 hasn’t been terribly active as a group recently, so I haven’t really had a chance to dive into their discography, but this EP has me curious. I know that the solo work often doesn’t line up too much with group work (I mean, see any BTS solo for confirmation of that) but I’m thoroughly enjoying Jinyoung’s voice here just as much as his musical style. It’s sweet and grounded in a way that feels special to a certain school of k-pop vocalists – Onew is probably the most recognizable of this cohort, but I’d put Apink’s Jeong Eunji in there as well. It seems like I’ll be getting to know more members of GOT7 this year too; group leader Jay B just released his first EP in three years last week.
A girl group debuting with a full album – 13 whole tracks! – is unheard-of in k-pop, but Heart of Woman may just have pulled it off with Heart Byte : Legacy. Maybe they’re benefiting a little from the unexpected crash and burn of the similarly promising Kiss of Life. Both groups are R&B-forward and have marketing that leans into “skilled and sexy” rather than “fresh and innocent.” Musically, though, I have to say that I’m finding HOW much more compelling already. The title track of their debut, “Lost in Proof,” truly sounds like the contemporary version of a 2008-era Girls Generation single in all the best ways, and the b-sides remind me strongly of the deeper cuts on iconic girl group albums like The Writing’s on the Wall and It Was All a Dream.
Recently I hit on a comparison that will maybe only read for a few people but I’m still going to put it out there: NMIXX for me is the Carly Rae Jepsen of k-pop in that literally everything they release is better than the last thing they released. With Carly Rae I thought that The Loneliest Time couldn’t be topped…and then she hit me with The Loveliest Time. Similarly, NMIXX’s first studio album, Blue Valentine (released last November), was both musically impressive and commercially successful, so the pressure for their follow-up was huge. As they are wont to do, NMIXX hit it out of the park. We’re also finally seeing significant songwriting contributions from the members. The album’s bookends, appropriately titled “Crescendo” and “Loud,” both feature lyrics by main vocalist Lily and are simultaneously tender and anthemic. In “Crescendo” she writes,
We don't need anyone's permission, not even a single word
This burning heart goes higher, overflowing with desire
And in “Loud” –
Why do we have to hide it? Can't act like I don't like it
You know I'm a bad liar, our love should be
The brightest thing in the room
We're the centerpiece in this room
It’s hard not to entertain a queer reading here, especially in the case of “Loud,” where the group also sings about how the “gorgeous gorgeous girls, gorgeous boys” will have to “wait in line” – and never genders the song’s addressee. Oh, and there’s the central track, “Different Girl” (lyrics by singer/rapper Bae) –
Lock eyes with me, see it, see it, pockets facing each other
Our hearts stuck together like magnets
So I fell in love
Different girl
So…yeah.
Elsewhere this month: I mean, I could write a whole post on the ZB1/AND2BLE re-debut/debut but 1) I am still processing and 2) I think it needs to settle but ANYWAY, both EPs are good and somewhat play to the new groups’ strengths, though I think 5-piece ZB1 is more successful in that regard; Billlie first full album is fun as hell but I miss when they were Strong Girl Athletic Dancers, especially face icon Tsuki; however, Billlie’s “Work” pairs really well with XLOV’s latest unapologetic vogue anthem, “Serve,” and we got to see them exchange dancechallenges which is always welcome; the unfortunately-named but extremely promising rookies of QueenzEye released a bop; I found Flare U’s debut EP pleasantly surprising; and the “Bompala” bug got me and I am thoroughly delighted by it (actually, I like the whole album, especially “Sonder”).
