The Best New Music: February 2024
A ranking and review of the best new releases from K-pop, J-pop, and T-pop artists!
#20: Daichi Miura, OVER
While some songs have a relentlessly frenzied nature, like “NODO,” other songs on OVER are unassuming at first and then morph into something more momentous. “Pixelated World” is the best example, starting out relatively generic before the instrumentals up their intensity. With OVER, one is never lulled into a sense of predictability for too long before another bold switch-up takes place. The listening experience is a roller coaster, and electronic distortions, echoes, and out-of-the-box takes on vibes ranging from retro to rugged all abound. Standouts include the club-remix-ready “Sukinadake” and the aforementioned “Pixelated World.”
#19: LIM KIM, “ULT”
“ULT” pairs traditional Korean instruments with a bold bass, the clanking of swords, and electronic additions to leave an impact as strong as LIM KIM’s commanding voice. The video is just as captivating, with choreography that incorporates swords and large group movements with astounding agility. The one main downside to “ULT” is how short it is, but even that can be seen as a strength, since the audience is left hungry for more and ready to be transfixed on a loop!
#18: INI, MATCH UP
INI have cleverly piqued interest in MATCH UP with dual highlight medley videos, one isolating the raps and one isolating the vocals from other parts of the songs. An unconventional presentation also defines the main track, “LEGIT,” and its music video. The members wreck havoc in a fire- and graffiti-filled space in some scenes and pivot to dance scenes in matching outfits in others. The bridge coincides with a dance routine change-up, with a partner move replaced with a three-person move and then the return of the full group. Also, the mid-song instrumental break offers an NMIXX-style jolt. Listeners who dislike the two-in-one style of “LEGIT,” however, ought to still check out the full album; the B-sides are less eccentric and brim with old-school swagger. MATCH UP wins with the element of surprise.
#17: from20, “Demon”
Besides being just plain catchy, “Demon” is commendable for the ways it makes clear from20 has increased his performance maturity and charisma. His Michael-Jackson-style moves come across as less of an imitation now, and there is an increased naturalness in his facial expressions and character transformations. Between steamy scenes complete with rapidly-flickering lights are mesmerizing moments when a silhouette of from20 dances by himself, rocking a cowboy getup. Other twists are mythological, as from20 sprouts black angel wings and falls from the sky as a meteor does. In under three minutes, from20 somehow plays three kinds of outlaws! A cowboy, an Icarus-type character, and a modern rockstar each manage to find a place in from20’s world that feels suitable. “Demon” is a testament to how much more sure of himself and of his distinguishable filmmaking style (the video is self-directed) from20 is now.
#16: TRI.BE, Diamond
With Afrobeats roots and an uplifting message, “Diamond” is TRI.BE’s welcome return to form. They sing about becoming diamonds after enduring pressure, and the B-side, “Run,” has a similarly encouraging tone. The songs are filled with refreshing reminders about the need to stay true to oneself (from “Diamond”: “Don’t be afraid of this moment / Stars shine brighter in the dark”) and to see value in one’s uniqueness (like the ability to be the “rugged desert” amidst a “blue ocean,” as they frame it in the title track). Beyond uplifting themselves, though, TRI.BE uplift each other, showing platonic affection and synergistic choreography throughout the “Diamond” music video. Diamond is about how team players can shine both alone and together, a fitting metaphor for this dazzling group!
#15: NCT WISH, WISH
WISH features both Korean and Japanese versions of the title track, and the corresponding music videos have an interesting mix of similarities and differences. Regardless of how one reads into their distinctions, however, the general plot remains the same: NCT WISH play Cupid-like mischief-makers, aiming their crush-inducing radar gun at people. They further emulate Cupid by wearing all-white outfits and starting the action with a fall from the sky. Also, much like Cupid is a clumsier character than some assume, these angels often miss their targets!
One interesting aspect to the angels’ hijinks is that their most effective ones are the ones that do not go according to plan. For example, in a scene in an art museum, one member freezes time, puts a bouquet in someone’s hands, then restarts time, only to see that person’s date grab the bouquet and start smacking him with it! Separately, when one of them hits a dog with the love-triggering radar gun, the dog runs toward a potential new love interest for its owner. When the group tries to meddle in relationships more directly, they fail, but when they meddle in a more roundabout way, they succeed! One possible lesson from that is to embrace unconventional problem-solving, a skill the members ought to hone for their future adventures. After all, the plot outlined in a pre-debut short film hints at many magical, mysterious adventures to come for these cute rascals!
#14: A.C.E, My Girl : “My Choice”
While this pop album plays it safe sonically, the “My Girl” music video takes things in a zany direction. Playing “PETFLIX” startup founders, the members express dissatisfaction with office life. They hit the big time but are still berated and belittled at work. What gives them a much-needed reminder of their worth is their girl, and they go from feeling grief to giddiness at the thought of finding “the one.” After slow-motion running and jumping out of their office building, they smash through a sign that spells out “PROFESSIONAL,” so nothing remains of it except pieces of confetti, symbolically covering their suits. As the members rise into the sky with angel wings and harnesses on, someone loses a shoe, and the others freeze with exaggerated reactions on their faces. The over-acting is followed by a quote on the screen attributed to Charles Chaplin: “That’s all any of us are: amateurs.” My Girl : “My Choice” has a deeper message about chasing dreams and an ego boost underneath its unassuming top layer, and the “My Girl” video’s comedic, over-the-top antics remind people that even those who appear to be outwardly thriving the most end up just as humbled by life’s curveballs as everyone else!
#13: DK, NAKSEO[戀]
NAKSEO[戀] begins with DK recalling nights of feeling great and partying, but reality hits him hard in “Little Bird”: “When everyone applauds / It feels like I own the world / But still, trapped within a small cage / A small white bird / Tries to live insisting on its own way.” The tone of the following songs is noticeably gloomier, and he sings about being “Sick of it all” and “Still in [his]” feelings for someone. The uncertainty and distress in the intro (“If thoughts of us come to mind, just pretend you don’t know”) remain in the final songs, “??” and “Genre” (“A farewell? / Or is it love? / Should we call it a meeting / With a beginning and an end?”). It might feel like NAKSEO[戀] trails off too soon, before DK has even verified what “Genre” his recollections are in, but it is just the first chapter in DK’s story. After all, “nakseo” refers to a doodle or a scribble, not a detailed final draft! Also, the album indicates more closure than what appears obvious. Taken as a whole, these songs compare the broad strokes of DK’s last romance to a butterfly, something that has flown in and out of his life in a beautiful but fleeting way. NAKSEO[戀] offers a rough sketch of what fans can expect from DK’s future musical chapters: more recollections that trigger mixtures of pain and nostalgia, brought to life with wing-related symbolism. The unfinished feel of NAKSEO[戀] appears to be by design, making it more genuine than if it had ended happily with a clear lesson learned.
#12: LIL LEAGUE from EXILE TRIBE, TRICKSTER
With a romp through a carnival and a surprising interpolation of “In the Hall of the Mountain King” by Edvard Grieg, “Lollipop” ensures LIL LEAGUE make their mark! The B-sides on TRICKSTER are equally oddity-filled, from the colorful cacophony that is “Hunter” to the silly, spooky “Monster” and the happy, bouncy “Coloring Book.” LIL LEAGUE’s goal seems to be having fun instead of proving anything. They are in a “league” of their own and trust that is enough to keep listeners hooked. If the explosive ending, “48 BARS RELAY,” is any indication, then mission accomplished!
#11: Cha Eun-Woo, ENTITY
Through repeated references to rain, oceans, flowers, and dreams, ENTITY paints poignant pictures of lingering love. The first couple of songs, “U&I” and “Fu*king great time,” convey the profound pain of a fresh metaphorical wound. Then, “STAY” and “WHERE AM I” go from focusing on the past to the present moment. It remains a painful slog, as shown through the repetitive “STAY” and drowning-themed “WHERE AM I” music videos. Finally, with the guitar ballad “You’re the best” and the CD-only piano ballad “Memories,” Cha Eun-Woo lightens up a bit. His focus turns to appreciating the good times he had in a relationship, rather than the disheartening fact those good times are all in the past tense. ENTITY follows a natural post-breakup emotional evolution, and Cha Eun-Woo’s vocal and acting skills ensure its vividness and effectiveness are absolute.
#10: Moon Byul, Starlit of Muse
Starlit of Muse has a great tracklist order, with slow songs (like “After Sunset” and “Like a Fool”) and dark, attitude-drenched songs (like “DARK ROMANCE” and “Attention Seeker”) interrupted by light, upbeat tunes (like “TOUCHIN&MOVIN” and “NOLTO”). The album also aces the assignment of showing Moon Byul’s multitudes by including many firsts for her solo discography. “GOLD” is her first solo English-language song, “After Sunset” features her first co-composing credit, and her first-time collaboration with the ONEWE members as a full group proves she pairs well with them. She further proves to shine solo with an album intro as personality-packed as the one on a MAMAMOO+ subunit project. Lastly, her vocals undergo many changes throughout the album, from the expected rapping to a delicate delivery and back again. Moon Byul proves to be a multifaceted “muse” and gives her many artistic dimensions time to shine.
#9: Sakurazaka46, Ikutsunokoronimodoritainoka? special edition
This album is a natural extension of the conversation prompted by the pre-release single of the same name. “Ikutsunokoronimodoritainoka?” thoughtfully reflects on how to strike a balance between cherishing and romanticizing the past, and the new songs convey similar internal conflicts. “Nando lovesongnokashiwo yomikaeshitadarou” is like a diary entry in which the group members fantasize about a crush, while also acknowledging the restlessness and sleepless nights that have resulted from that crush. “Manatsuninanika okirunokashira” casts doubt on the ability to actually live out the kind of summer romances they see in movies, and "Kokoronokagee” and “Koihamuitenai” take a fatalistic tone towards finding true love. The final song, “Nakasete hold me tight!,” dwells on the desire to just give up the search, which co-exists with a continued yearning. These songs show cautious, self-protective instincts that make them feel more real and relatable. The music speaks to the messy in-between states of running towards and away from feelings. Crushing is not the only feeling the album addresses, though, and they have a very original way of framing self-empowerment. In “Aburawosase!,” which roughly translates to “Let the oil out!,” they use oil in analogies about revisiting “rusty” memories, shedding a layer of skin, and overall benefiting from an emotional tune-up. Ikutsunokoronimodoritainoka? special edition takes a one-of-a-kind approach to addressing old-as-time feelings, and the songs are anything but skin-deep.
#8: CRAVITY, EVERSHINE
Fittingly, EVERSHINE is a testament to CRAVITY’s everlasting appeal! Each song has a distinct flair, although the most can’t-miss tracks are the EDM “Mr.” and the psych-rock-inspired “Worst Thriller.” Their willingness to dabble in different sounds suits the “Love or Die” music video’s sense of unpredictability. Anguished rapping and a fast BPM rate exacerbate the high stakes the group sings about feeling. They insist they’d “rather die than live without love,” a declaration with a starkness that meets its visual match in the unnerving setting. Sinkholes in the sand, menacing winds, and black crows make it look like their surroundings could become even more ominous any minute now. Some potential symbols of silver linings appear, like a change into all-white outfits, but those moments quickly fade (a downpour soon starts as they wear that representation of a clean slate). EVERSHINE is a high-quality album, but what makes this CRAVITY comeback particularly well-done is “Love or Die” and the ways the video reflects the song’s urgency and uncertainty.
#7: TEN, TEN
Throughout this release, TEN’s identity stays in flux. He is the epitome of boyfriend material and a smooth crooner in “Lie With You;” unleashes his inner rapper in “ON TEN;” breezes through the Latin-inspired “Water;” switches in and out of an impressive falsetto in “Dangerous;” and further proves to be an agile performer with “Shadow,” an R&B-rooted song that layers an ominous tone on top of a lowkey one. Each song has its own colors, but the most memorable one is the main single, “Nightwalker.” Its electrifying instrumental and high notes keep the audience alert, and his music video character is the stuff of movie villains. TEN plays a scientist by day who is a puppeteer by night, using his hypnotizing power over others for no reason other than the fun of it. His desire to exert power with no greater ambitions is what causes curiosity in many movie villains, and he capitalizes on that attention with a physical transformation. This eponymous EP pairs the excitement of a cinematic main character with the chill demeanor of the boy next door. Visually and sonically, TEN maintains interest by having no self-constraints.
#6: P1Harmony, Killin’ It
Read all about this release here!
#5: TAEYONG, TAP
Read all about this release here!
#4: Jeff Satur, Space Shuttle No.8
Jeff Satur is a one-of-a-kind visionary, and “Yellow Leaf,” his newest single and music video, reinforce that. The video corresponds to “Ghost” in ways that are simultaneously obvious and indescribable; they give viewers a sense of direction but let them walk their own paths from there. Both videos appear in the same (presumably) historical time period and focus on the same characters, but their characters’ roles in relation to one another and the chronology of events remain ambiguous. Like a great movie, this romantic historical fiction of sorts is emotionally impactful while leaving much up in the air. “It’s impossible to tell you all, what I’ve penned / Each small detail, can you recall and comprehend?;” “Beyond this life, the tale extends / Will you still listen, as it amends?;” and “After our wedding, the story continues, as fated / Our hair may be gray, but love unabated” are just some of the powerful lines of poetry of which this riveting recollection consists. Again, like a good movie, this monologue in lyric form is able to conjure up a scene in listeners’ minds.
Besides “Yellow Leaf” and “Ghost,” Space Shuttle No.8 features stirring new songs, like the beautiful acoustic number “Almost over you,” and pre-released singles that each have their own profound poetry and corresponding mini-movies. Space Shuttle No.8 is an excellent portfolio of Jeff Satur’s greatest hits and artful intuition.
#3: TWICE, With YOU-th
As always, TWICE amaze with their organic growth. Some songs bring to mind the TWICE of earlier eras, like the sweet, wholesome “I GOT YOU” and “YOU GET ME,” and the tropical-tinged, upbeat “NEW NEW.” Other songs mix things up, like the new-to-TWICE drum’n’bass style of “ONE SPARK” and the flirtatious Jersey-club song “RUSH.” The group sparkles the most in “BLOOM,” with all nine voices arranged in a heavenly harmony. The “ONE SPARK” music video also celebrates past and current TWICE, with cute (albeit perhaps coincidental) nods to past videos, like an aquarium scene that brings to mind one from “What is Love.” Quick scene changes, extravagant decor, and eye-catching finishing touches (like the way rainbows of light reflect off of a shiny surface, and the replacement of the elevator floor number with the word “TIMELESS”) keep the viewing experience fast-paced and interesting. With YOU-th embodies TWICE’s “better together” ethos while expanding their sonic horizons and proving for the millionth time why they deserve their global acclaim and attention.
#2: LE SSERAFIM, EASY
As explained in an episode of 17 Carat K-Pop, the EASY era’s conceptual roots lie in an insightful poem by Maggie Smith, “Good Bones.” Smith writes about treating this broken and chaotic world like a real estate agent treats a client’s less-than-stellar abode: as something that has admirable qualities if one feels obligated to look for and highlight them. She wants to “sell [her kids] the world,” to do her part in making sure future generations see this world as not so flawed as to be beyond repair. LE SSERAFIM apply this mindset to their own lives, magnifying their potential for greatness and subsequently shrinking their room for doubt and worry. After establishing the “Build something useful on top of this good foundation” mission in the first few songs (“Good Bones,” “EASY,” and “Swan Song”), they tack on a “regardless of who is or is not watching” clarification. In “Smart,” they say, “The needed shortcut / I found it… Some say, ‘That’s all luck’ / I say… ‘My sweat is not lying.’” Making things look easy is part of the plan, so LE SSERAFIM treat those who attribute their hard-fought gains to mere chance as fools, falling right into “The trap.” The song “We got so much” summarizes EASY’s main message: “We’ll have many… days to move forward together / They won’t always be good / But I know we’ll get through.” By seeing the usefulness in the “good bones” upon which they build their lives, LE SSERAFIM “sell” their image of having “easy” lives to the audience. It’s a meta application of Smith’s thought-provoking spin on a “fake it ‘til you make it” outlook. The songs on EASY are LE SSERAFIM’s reminders to themselves that those who belittle their work ethic misunderstand how the world works. No one is purely lucky; everyone is just doing what they can with the “good bones” they have been given. EASY impressively taps into the LE SSERAFIM mentality that has always been there, but it does so in new ways and with more universally applicable contexts.
#1: IU, The Winning
Contemplative and clever, The Winning has a remarkable breadth and depth for an era of just four videos and five songs! Yet each song from The Winning raises the same question: What does winning look like? What is a “win” in life? Some define “winning” in the context of revenge and solving a mystery, like IU’s character in “Shh...” Some see “winning” as seeing other people win, like IU in the “Shopper” video, hiding prizes throughout a magical store and going undercover to watch people get them. “Winning” can also look like the opposite, a sense of peace and contentment in not having a need for material things, like her “dandelion seed” character in “Holssi.” There are more overt answers to the “What does winning look like?” question in “I stan U” (which makes explicit the desire to see someone succeed) and “Love wins all.” All these songs include references to winning, reminding listeners that, despite extreme stylistic and sonic differences, each song stays on topic. Pages on pages could be spent dissecting each song and music video, but the overall takeaway remains the same: “Winning” looks different for everyone. Implicit in that message is an appreciation of the diversity of people’s mindsets, preferences, goals, and dreams. With lyrics like “Ballad, disco, hip-hop / It doesn’t matter… I’m stanning” (“I stan U”) and “Take what you want / No matter who calls you a freak” (“Shopper”), IU celebrates how distinct each person’s vision of happiness is and reminds people that one’s win is not another’s loss.
To learn more about these picks and find out who got Honorable Mentions, listen to the corresponding episodes of the 17 Carat K-Pop podcast!
“Best New Music: February 2024”
Stream the episode on Spotify here!
Stream the episode on Apple Podcasts here!
Stream the episode elsewhere here!
“TY for TY Tracks”
Stream the episode on Spotify here!
Stream the episode on Apple Podcasts here!
Stream the episode elsewhere here!
“LE SSERAFIM’s New Era”
Stream the episode on Spotify here!