With 2023, another dynamic K-pop year ends. Our writers Janine and Elif got together to reveal this year’s most notable comebacks. This year marks a first as our writers reveal their honorable mentions, which did not make the final ranking, but still left a mark this year.
Janine: So Elif, we’ve got pretty similar lists with a few exceptions. I felt spoiled for choice for popular, culturally relevant releases. Many of my choices had an inescapable social media presence this year that I did not resent. I’d say NewJeans had a monster run with “Ditto”, “OMG”, and then “Super Shy” catapulted them into a new level of influence. “Ditto” was a late December 2022 release but I must acknowledge it now because it was the beginning of an era-defining moment.
After a popular group’s debut, there is always a chance that they can lose impetus. NewJeans caught the Y2K wave at the exact right time. The world needed earworms with easy-to-learn choreography and ADOR took advantage of that all year. The music itself is addicting. They’ve got those kinds of hooks that you can’t stop humming until you hear the song again. TikTok’s influence on popular music can be criticised but I’ll thank the platform for the return of hooks.
NewJeans did not miss for me and you’ve rated them highly too. So what made you pick them?
Elif: As you stated, NewJeans had a huge year solidifying their status as one of this generation’s leading artists. I really enjoyed the freshness and versatility of their second EP “Get Up”, but the length of the songs slightly put me off. The whole album is merely twelve minutes long and while I understand that not all songs require a bridge, some of their tracks like the exceptional “Cool with You” felt incomplete.
But this is where the first comeback comes in for me. Simply put – I love “Ditto”. It’s simple and nostalgic and Hyein’s unnerving “woo” part evokes a weird feeling in me. It was the perfect song for the winter and most importantly – slightly longer than three minutes. The gritty and retro MV with the unique perspective the girls shed on idol-fan relations completed the release for me. “OMG” was equally strong with its’ infectious chorus and creative MV. There is no doubt that NewJeans bring a fresh breeze to K-pop and I am excited for what the girls have next in store. Janine, I see that you also picked Ive. What did you enjoy about their releases this year?
Janine: Ive has had a few really interesting releases this year. The group’s sound typically features grandiose instrumentals and ambitious choices geared towards highlighting the members’ glamorous personas. “I Am” is one of those anthemic pop songs that stamped their identity. I loved how they used high notes and beautiful harmonies to get an effect that is both elegant and lively. “I Am” felt like a victory lap and a rallying cry opening a year of experimentation. Ive’s versatility and uniqueness were big reasons why they made my list.
“Off The Record” was an unexpected sojourn into city pop. The dreamy, nostalgic “Off The Record” was an intriguing and emotional release. I didn’t connect with “Baddie” or “Kitsch” but I think the members did admirably with what they were given.
Despite having to promote some challenging tracks, I think Ive’s confidence is warranted. Which Ive comebacks caught your eye this year?
Elif: I included Ive for similar reasons. I feel like Ive is quite big, yet gets slightly overshadowed by NewJeans despite delivering equally strong releases. My favorite – and the reason why I put them on my list – is “I AM”. Expectations were sky-high after the mega success of “Love Dive” and the girls absolutely delivered. “I AM” is well-produced, catchy and the high notes are a standout that deemed the song irresistible for me. The Pre-release track “Kitsch” also worked quite well with the contrast between the disruptive chorus and the verses.
Ive’s second comeback has not blown me away like their first, but I think taking the risk and going for a different approach paid off. I know fans tend to be reserved about ballads, but both “Off the Record” and “Either Way” are beautiful tracks that showcase the girls’ versatility. I can see that we both included Jungkook in our list. What did you like about his highly anticipated debut album that earned him a spot in your ranking?
Janine: Jungkook was a choice I felt was inevitable. Golden is aggressively competent pop. The album has been criticized for being generic. I think Jungkook showed his competitive approach to the male solo pop star trajectory. The songs aren’t deep, they are clever – with references to BTS, and Jungkook’s long-known influences Michael Jackson, Justin Bieber, and Bruno Mars. The choreography is tailored to his strengths, and the live performances showed off his skills as an entertainer. He tries his hand at different genres that all could slot into a setlist. And just like many other things, he’s really good at it.
Is it soulless commercialism as some have accused BTS of being in their global era? Jungkook definitely isn’t trying to promote “Amazing Grace,” but the songs are well-written pop music. I don’t hold disdain for music that is designed to appeal to many people. There’s an art and a skill to it and he has both in spades.
What did you find compelling about Jungkook this year, Elif?
Elif: I enjoyed the releases of each BTS member this year because of how different they were. Jungkook is my bias and criticism was inevitable due to the insane hype surrounding his debut. Yes, Golden consists of quite generic pop songs, but this is exactly what Jungkook said about the music he wanted to release and he absolutely delivered. The three singles nailed it for me – the Justin Timberlake influence on “3D”, the catchy chorus of “Seven” and the grande “Standing next to You”, it was all well thought through and showcased Jungkook’s outstanding performing and singing talents. The album is an easy listen and an amazing debut for a promising solo star. I see that you put Le Sserafim quite high on your list whereas they didn’t make my ranking. What did you enjoy about their releases this year?
Janine: Le Sserafim was a close contender for my top spot! I have to update my bias list after 2023. I am an “Unforgiven” apologist, despite our reviewer calling it out for being more of the same sound and underutilising the legendary Nile Rodgers’ artistry. I enjoyed the yeehaw cultural exchange and I thought it was kind of random. The album is packed with bangers although the inclusion of already released songs can be frustrating. Of the new releases, I loved “Eve, Psyche, and the Bluebeard’s Wife” and “Perfect Night”.
Le Sserafim has an unshakeable grip on my driving and workout playlists since May. Their performances combined with bold production choices pulled me in. And then the styling of this era was intriguing. From the Western rebel looks of “Unforgiven” to the luxe apocalypse activewear in the performance videos there were moments that tied into the music and the group’s own lore. I found it satisfying to watch them build a unique identity in a really strong year. Before we talk about our last shared pick Seventeen, tell me what you liked about Aespa!
Elif: SM Entertainment is to blame for killing some of Aespa’s hype by giving the group a lengthy break and putting Karina and Winter in that super unnecessary unit group Got the Beat (no one asked for it). So my anticipation for their first comeback this year was rather low, but I realized I was being prejudiced! Once I listened to “Spicy” a few times and most notably to the whole EP My World, I realized how strong of a comeback this was. “Spicy” is a song that grows on you, but once it does, it becomes irresistible. The album is a versatility feast – from the bass-heavy “Salty and Sweet” to the smooth R&B number “Thirsty”, it’s an album that perfectly showcases Aespa’s adaptability to various concepts and their powerful vocals. Aespa stepping out of their trademark conceptual style and going for something entirely different was thus the strength of the album. “Drama” was almost equally great for me, but I did not enjoy the EP as much as its’ predecessor.
So, before moving to our honorable mentions, let’s talk about our final common pick and the only male group we both picked, Seventeen! How did they end up on your list Janine?
Janine: Seventeen’s “Super” was the unstoppable force kicking down the door of the year. Or maybe it’s more accurate to say BooSeokSoon sounded the alarm with “Fighting” and then Seventeen blew the house down. FML was a highlight of the year for me: I thought it was a bold step for a bold era. “Dust” was a surprising little city pop gem and I was touched by the sentiment behind “I Don’t Understand but I Love U”. Then “God of Music” brought cheer and an irrepressible spirit of confidence to the latter half of the year. A big part of the year belonged to Seventeen. What put them at the top of your life, Elif?
Elif: I agree with absolutely everything you mentioned about Seventeen‘s comeback. I have a weird relation to Seventeen — although I admire their performances, funny personalities and dedication to their craft, their music is usually a miss for me because I don’t particularly enjoy upbeat music. They had a few strong releases over the years, but something was always missing for me. But not with FML and “Super“! The album felt like one great track after another and “Super“ as the lead track was a phenomenal choice. Everything about the song felt grand – from the MV and the choreography to the outfits. But while the song was already amazing, the outro and last portion of instrumental catapulted “Super“ to the top spot for me. It’s really impressive to see how Seventeen continue to thrive after all these years.
This year marks a first for us and we included several honorable mentions each. What made you include XG and Fifty Fifty?
Janine: My honorable mentions are both groups who’ve had crossover success with retro songs. Fifty Fifty’s “Cupid” fit in with the Y2K resurgence and played into hyper-feminine aesthetics that gained traction and suddenly it was everywhere. XG, a boundary re-defining group, is my other honorary mention. XG has been described as “a pickle” because of their borderless strategy of promotions. A Japanese company and group promoting songs influenced by American 2000s R&B in Korea is certainly a new mix. The songs are decent and moreso, I think the group is shaping a new era of global pop. Tell me about your honorable mentions.
Elif: Suga’s solos are always a hit for me and his debut studio album was no exception. I enjoy his hard-hitting rap and profound storytelling. (G)I-dle has been having a run since “Tomboy” and they know how to pair a catchy tune with an important message.
“Queencard” was all about female empowerment, being self-confident and embracing your appearances. My biggest complaint, however, is the inclusion of English language in their songs, because it’s straightforward horrible. They always butcher the pronunciation and unfortunately “Queencard” is no exception. The enunciation of “sexy”, “Ariana Grande” and more really impacted the song in a negative way, which is why (G)I-dle is only a honorable mention for me.
XG on the other hand, would have been second if not first in my ranking, but it remains hard to classify them as K-pop. Especially their first comeback this year blew my mind. “Shooting Star” is a phenomenal track from the rap to the honeyed vocals, but it was the music video and concept XG went for that was in perfect synergy with the song and made it the best release for me. While thinking it couldn’t get any better, they dropped another masterpiece with “Left Right”. As you mentioned, the influence of early 200’s R&B paired with the vocals was a fantastic combination and the result is a track which feels fresh on every listen. I really love XG’s approach and am looking forward to seeing what they have next on their palette.
Readers, what were your favorite comebacks of 2023? What kinds of comebacks are you hoping to see in 2024? Let us know in the comments!
(YouTube[1][2][3][4][5], Images via SM Entertainment, Cube Entertainment)
