This is one of the hardest intro paragraphs to write each year, because it’s the list most intensely personal to my tastes, and yet is often the one that lasts the longest, as it tends to get the most attention late into the following year and beyond. Most years all I can really point out is the pattern of album types making the list each year, so here we go:
Oh my word; the boys sure did come out to play in 2024. Seven of the ten total albums on this sub-divided page (honourable mentions aside) and all five of the full-album entries come from male acts, which I’m pretty sure is unprecedented. In addition, for the first time ever there are no girl groups on either of the two top fives. I don’t know why that is; I wasn’t trying to do that as I worked on the lists. It just so happened that I liked more of the lads’ work throughout the year.
Predominantly English/Japanese albums don’t count for this page, so Rose’s much-hyped rosie won’t be here, but it’s pretty good – and you should also check out Milena’s Foggy if you enjoy relaxed R&B.
1-3 tracks = not eligible
4-7 tracks = mini album
8+ tracks = full album
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VR BEST OF 2024 DISCLAIMER
This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. Nobody ever agrees with me 100%. Respectful disagreement is most welcome.
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– – – – – – – – MINI ALBUMS – – – – – – – –
5. ACT – Kang Daniel
Kang Daniel’s 2024 EP puts its MV track in the crucial third track slot, which is such a rare move even this far into K-Pop’s globalised album production era that I had to take notice as soon as a mate recommended ACT to me. But it turns out it’s no quirky, showy play: that very song, the catchy bounce and double-keyboard drive of Electric Shock, needs a full track’s worth of distance between itself and opener Losing Myself, which is simply one of the best B-sides of the year and was at risk of overshadowing the lead single. That chorus build-up and the chaotic ensuing breakdown takes over any pair of headphones, threatening to collapse upon itself with a gloriously cacophonous breakdown. The rest of the EP is no slouch: soft harp vibes contrast with crunchy garage beats to beautiful effect in Chung Ha duet Come Back to Me, and closer 9 Lives turns up the bassy synth as Daniel proudly declares he’s “leveling up”. I’ll say.
4. The Winning – IU
Another *ahem* winner of an EP from one of the most reliable artists in the business, IU not only makes The Winning sound effortless, she gives off the unmistakable vibe that she’s enjoying every note. Trademark wispy vocals saunter through Holssi over the kind of offbeat backing not seen since her Chat-shire days, and the way everything harmonises together should not come as a surprise – but it still sounds so fresh. Immediately afterwards comes Shh.., one of the most indulgent songs at its conservative BPM level I have ever heard. Jazzy, sassy and fabulously supported, the track has the gall to end with an acting segment even though the EP is nowhere near over – which still works because Love wins all starts real soft. That’s an IU power ballad, though, so you just know it’ll be swelling with sheer orchestral scale soon enough – and it sure does. If anything, the opening and closing tracks are the most vanilla of the package, but of course they’re still produced and performed to the highest standard.
I may have celebrated a decade of K-Pop appreciation a couple of years ago on this site, but 2024 marked a less glamorous – though no less important – milestone for me: it has now been ten years since a slate of Korean label drama that felt no less than calamitous at the time knocked the proverbial scales of fandom off my eyes and I began to listen to K-Pop without loyalty to specific groups, or without even really taking into account music videos until a song or album had already lodged itself in my brain. So basically how I approach the hobby now.
2014 also brought about enough real-life situation shifts that my curated sources of new K-Pop dried up for the majority of the year, and I had to rush my countdown; despite a few time-honoured bangers at the top, that 2014 Top 15 list is still the playlist I repeat the least in my personal listening time. Though nowhere near that dramatic, 2024 at times felt functionally similar: indefinite podcast hiatuses, changes to curated public playlists, and simple differences in the people I see regularly had me scrambling to do a lot more of my own legwork than usual to find the songs I liked.
But 2024 is not 2014; there are a lot more decent tracks around these days and an awful lot more sources to recommend them.
To make this list, a song has to either have a music video or be the clear lead release from its album or EP. To clear up increasingly blurry fringe examples, only songs containing Korean lyrics count, but you should still listen to H1-Key’s Thinkin’ About You and from20’s Demon. It’s also worth mentioning that much of this year’s playlist is defined by simple audio elements produced well, so I recommend the best set of headphones you’ve got.
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VR BEST OF 2024 DISCLAIMER
This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. Nobody ever agrees with me 100%. Respectful disagreement is most welcome.
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15. APT – Rosé feat. Bruno Mars
We are immediately stretching technicalities for this first inclusion, as the relentlessly catchy single-word repetition coursing through the chorus of viral worldwide hit APT seems both too basic and yet too significant to ignore with my “inclusion of Korean lyrics” eligibility rule. So here it is, in all its irrepressible ear-worminess. The song starts with a crunchy beat that doesn’t overcomplicate itself, and Melbourne’s own Rosé is having so much fun it’s infectious, but the track isn’t much to write home about until Bruno Mars appears to add those famous ad-libs and then triple the impact of the chorus with some of the most satisfying harmonies of the year. By the time the bridge arrives APT is firing on all cylinders, and it has solidified itself as one of the most successful western collabs in K-Pop history.
14. Funk Jam – n.SSign
There’s some interesting distortion echoing around the background of the verses in this one, but the core appeal of the song is simple. In fact, it’s so simple that the title – and the pivotal chorus line – pretty handily tells you everything you need to know: you’re listening to a funk jam. It’s not a world-changing funk jam, but it still slaps pretty hard. In the ongoing race to find the worst K-Pop group name of all time, n.SSign put in a strong effort when they debuted last year, but none of their early music moved the needle in quite the same elite way until the boys boiled it all down to a simple keyboard / guitar setup and started messing around with blues-y sliding notes.
As we head into the home stretch and say goodbye to 2023, we have a good chance to look at the output of some of the bigger names in K-Pop that skipped this year’s singles list; a few of them land here with unexpectedly stellar longer-form work.
Right after a year where all five LP entries came from soloists, the groups are back in full force after an unusually strong year, but it’s business as usual for the mini albums: 2023 brought a bloodbath of quality EPs and most of them came from girl groups.
Though all-English songs on albums are no big deal here, all-English song collections aren’t eligible, but I’ll give a quick shout-out to ex-SNSD vocalist Jessica’s unexpectedly great solo EP Beep Beep.
1-3 tracks = N/A
4-7 tracks = mini album
8+ tracks = full album
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VR BEST OF 2023 DISCLAIMER
This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you agree with me 100%, go buy a lottery ticket. Respectful disagreement is most welcome.
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5. ASSEMBLE – TripleS
The whole song and dance around how TripleS functions mechanically is enough to give anyone a migraine, but their first album effort as a “full group” is a doozy; you just have to love the bravado that had to power the decision to do both the classy standalone tone-setting opening song AND the trendy nonsense-syllable salad designed to build up the title track. Rising thus sits comfortably in the Track 3 nook, where its inherent choppiness is improved by the warm, wide sound of Beam and the even choppier Before the Rise in almost equal measure.
Though the success of that little trick is the most standout characteristic of the EP, there is certainly more to enjoy here, as Colorful and New Look both push accomplished synth flourishes through the listener’s headphones in different flavours – the former buzzy and brash, the latter covered in gloriously city-leaning 1980s confidence. The Baddest serves as the palette cleanser between them, and the quality of the production ensures it comes out better than that threatening title – and some misplaced sing-talking – might suggest. Short-and-speedy closer Chowall lends the kind of symmetry I will probably always over-reward to the mini, and TripleS are off to the races.
4. OO-LI – Woodz
The man who can’t seem to leave this mini-album list alone brought more of the goods in 2023, although the way OO-LI shakes out is a bit different from Cho Seungyoun’ prior best. Rock influences continue to creep into his work – this 7-tracker feels fully half electric guitar-powered – but the more interesting characteristic on show here is that rather than a tracklist comprised of just hard songs and soft songs, OO-LI positions almost every track as a ‘builder’.
Only straight-roller Who Knows stays at one level the whole way through; the rest make sure to ramp up on their own individual terms. Smooth tunes like opener Deep Deep Sleep and closer ABYSS start with minimal instrumentation and add layers until they reach a fuller sound, while the choir vehicle Journey, saloon jam Ready to Fight and Nirvana-inspired Drowning go much harder with the marked goal of reaching a vocal tornado on the chorus and an absolute hurricane at the crescendo. No track goes bigger than the centrepiece, however: Busted is a stone-cold platinum star for Woodz’ career highlight reel, almost stopping itself dead in the final minute just to maximise the impact of a shred-and-growl finale.
Crawling into my second decade as a Korean music listener feels, well, a lot like I expected, actually. The signs were there from as early as 2017 that as I got older, I would likely float away from the scene’s glitzier offerings and gravitate more towards the R&B side, where the production is often just as good but the vocal talent shines through more and the moods vary more widely. This is still unquestionably a K-Pop list first and foremost, but you may notice the soloist-to-group ratio increase and the overall energy mellow a little this year.
It’s just as well, because among other garbage news 2023 gave us a record-time collapse of the most promising girl group in years – Fifty-Fifty went from viral worldwide hit to Barbie movie soundtrack to contract lawsuit to 75% member exodus in well under a year. Not that there wasn’t plenty to enjoy at the forefront of mainstream K-Pop this year, but the increasing brutality of the business is making it more difficult to invest in newer groups over time.
To reflect my growing appreciation for the less mainstream corners of the industry, I’ve decided to relax my decade-long rule that songs have to be accompanied by music videos in order to count for this list; but if they don’t have one, then they need to be the lead track off their respective album or EP.
As always, only songs with Korean lyrics count, but you should still definitely check out Le Sserafim’s Japanese song Choices, Jungkook’s all-English effort Standing Next to You, Riot Games’ Baekhyun-backed PARANOIA, æspa’s remix-friendly Better Things, and everything Forestella released this year.
Put on your good headphones, turn off those pesky auto-captions (if you want), and let’s step into the groove.
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VR BEST OF 2023 DISCLAIMER
This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you agree with me 100%, go buy a lottery ticket. Respectful disagreement is most welcome.
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15. What’s Happening – Min Kyoung Song
We start a little bit spicy in 2023. “This isn’t K-Pop!” you may cry, “It’s clearly a traditional Korean trot song!” Well firstly, over eleven years into this hobby I kinda find all the melting genre lines to be almost pointless; secondly, this isn’t even the first time I’ve included trot stuff on this list; and most importantly, that chorus breakdown is just full-steam modern K-Pop anyway. The trot strings in the background may as well be stylistic window dressing by the time the full EDM sound wall hits, and the combo goes surprisingly hard. There’s even some simple point choreography at the chorus, and because Min Kyoung Song doesn’t have much else to hide behind in her field, you get uncommonly powerful vocals to go with your filthy drops. Give it a go.
14. Boogie Man – LUCY
We transition from a trot song to a band that includes among its ranks an honest-to-goodness violinist unafraid to show off; Lucy’s Boogie Man is a touch of Halloween on Christmas for you. K-Pop bands are usually a bit hit-and-miss for me, but Korean band songs I’ve enjoyed have historically had the kind of bouncy rhythm that Boogie Man provides. But there is oh so much more to enjoy on top of that rhythm: the funky guitar lick after each chorus, the Persona 5-esque violin response after the chorus call, the two separate incidents of headphone-trick knocking, the full violin solo bit, the ghostly wails in the back. No one is going to accuse the creepy music video of being low-effort either; top effort from the Lucy lads.
As we head into the big three countdowns to round out the year, here’s a cool dose of quality K-Pop and K-R&B song collections that flowed better than anything else I heard in 2022. It was a banner year for veteran SM soloists, a couple of familiar voices and some exciting new talents. A couple of cheeky classification instances in there this year, but that’s hardly a new phenomenon. That said:
1-3 tracks = N/A
4-7 tracks = mini album
8+ tracks = full album
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VR BEST OF 2022 DISCLAIMER
This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. To agree with me 100% is as likely as avoiding MCU fatigue. Respectful disagreement is most welcome.
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5. SMiLEY – Yena
It is once again a minor crime that my formatting insists on keeping the mini album list down to five entries, but despite the plethora of fantastic options for fifth spot this year I can’t help but remain attached to the very first one I heard in 2022.
January saw former Iz*One member Yena begin her solo career with the first of two EPs, but the oddly-titled SMiLEY has almost none of the hallmarks of a debut effort; almost a year after the mini’s release the gumption to kick off a five-track piece with an acoustic slow jam is still stunning (and essentially unique among the idol scene). Said jam Before Anyone Else is immediately captivating, and though the title track is no Smartphone, the high register touch makes Lxxk 2 U one of 2022’s more palatable punk-pop attempts. Pretty Boys is a masterful staccato delight worthy of anyone’s top B-Side list, leaving Vacay to carry Yena home on a light breeze. A promising start to be sure.
4. Colorful Trauma – WOODZ
Three years in, three entries on this list; the artist currently known as WOODZ isn’t slowing down. With this fizzing EP he packs more bombast and bravado to ice the considerable producing chops now expected of any of his album releases. The multi-layered talent sets up the rockier, almost country-tinged tone of Colorful Trauma with a guitar lick so starkly unusual among WOODZ’s close contemporaries it may as well be a fanfare. Thus starts Dirt on my leather, yet another out-of-the-park smash of an opener to add to the WOODZ collection. HIJACK proves the guitar goodness no fluke, buzzing like an Advance Wars CO theme song underneath growling vocal ad libs. The third-track appearance of punky title I hate you almost sounds toothless in comparison, but it does have a killer melodic pre-chorus that pairs nicely with the wailing lead guitar behind Better and better. Committing to the full strumming quintet, it’s a pop-acoustic accompaniment that brings the album to a gentle close on Hope to be like you.
As far as this site is concerned, 2022 has essentially been about looking back over the last decade of entertainment media; that is, of course, purely a coincidence based on my decision to start a blog at the beginning of 2012. But for some reason, more than any other year-end countdown list this year, this particular one really seems to want to match the nostalgic mood. Whether it’s the sound, the visuals, or shockingly the acts themselves, increasingly large swathes of K-Pop are starting to sound like they did ten years ago, and I for one am thrilled. Don’t get me wrong, there’s plenty of stuff on this page unbeholden to the past; but if you’ve ever called yourself a lapsed casual K-Pop fan, this list might just be worth your ears (and good pair of headphones, and probably your removal of automatic captions, but that’s up to you).
A shout-out to the community of the Diggy’s Dungeon K-Pop podcast for their knowledge and recommendations, and as always a quick disclaimer that I base this very personal ranking on the music first and foremost (well entirely, really – most of these music videos were completely new to me this week).
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VR BEST OF 2022 DISCLAIMER
This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. To agree with me 100% is as likely as avoiding MCU fatigue. Respectful disagreement is most welcome.
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15. Forever 1 – Girls’ Generation
Welcome back SNSD!
Way, way down on the list of things I didn’t know I wanted to hear in 2022 – because I genuinely didn’t think it was possible – was the return of a full (well, as full as possible after all that 2014 business) Girls’ Generation line-up. But not only did they somehow make it happen, they put out the best track in the history of the eight-member edition. Packed with cheesy touches like that cavernous stadium clap effect on the chorus, and utterly unafraid to overfill your headphones with a wall of sound, the chorus line still manages to soar over it all, and the Into the New World reference in the background of the bridge? Stop, please. I’m not afraid to admit I got real emotional the first time I heard this one.
14. Alone – Highlight
The former B2ST boys brought back the bass in 2022 – and not much else – but that minimalist sound just works wonders on the ever-confident Alone, which extracts maximum value from a single slap line, a bit of cheeky distortion and the mature charm of the group’s four remaining vocal veterans. It’s a clean dose of throwback K-Pop listening, and that’s before you even lay eyes on the gloriously 2010-style video. Dance-in-a-box, ambiguous collapsing scenery, neon lights and expensive car all present and accounted for, thank you.
This was somehow my tenth year following the Korean music industry, but not all of those years have been the same in terms of interest levels – as you may know if you’ve read any two or more instances of this top 15 list in the past. Sometimes I’m all-in for most of the year; some years I do a big catch-up binge every three months or so, and some years I do all my listening in a dense, borderline-overwhelming chunk at the very end. After an exhausting 2020 where I was back on the week-to-week release grind for the first time in ages, it turned out 2021 gave me a new listening pattern: almost nothing for the first half of the year, then a gradual ramp-up from July onwards.
This meant I got to skip a fair amount of the garbage-wading of last year, and perhaps this year’s list isn’t as authentic as a result; maybe it won’t last as long when I listen to it later. But right now it feels light and fun and I’m digging listening to it on repeat as I write this. On that note, as always it’s worth mentioning that this is always audio-first thing for me: I had seen precisely four out of these twenty-five music videos before I started formatting the list.
It’s also strictly for songs that have music videos and feature at least some Korean language lyrics, disqualifying fantastic songs like Adoy’s Baby. I recommend turning off the YouTube subtitles if they end up automatically playing for you on this page; I’ve just never thought they added anything worthwhile to K-Pop, but that’s a matter of opinion of course.
However, only your best headphones are allowed while you’re here.
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VR BEST OF 2021 DISCLAIMER
This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. To agree with me 100% is beyond unlikely. Respectful disagreement is most welcome.
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15. Beautiful Beautiful – ONF
I daresay a whole lot of people around the world looked to K-Pop for an injection of positivity in their lives, and so I can think of no better way to start this playlist than with a relentless dose of just that. Mid-tier boy group ONF’s breezy Beautiful Beautiful uses a basic 2010s pop template to great effect with a sticky main hook that kicks off the song and comes back with verve time and time again, briefly stopping before the last chorus for a lovely harmonious pseudo-in-the-round session that I wouldn’t mind to hear revisited in a longer form. It’s hard to mess up a backing track like this, but ONF’s vocals elevate Beautiful Beautiful to the next level.
14. BEcause – Dreamcatcher
The year after dropping what I still think is the young decade’s best K-Pop album, Dreamcatcher returned to making powerful standalone title tracks with BEcause, which is nominally a summer track but sure brings plenty of the dark sonic elements that are often associated with the colder months. Opening with suitably creepy nursery rhyme vibes brightened up by Leez and Ollounder’s world-class production, it’s not long before the track is going harder than the operatic pop-rock outfit has for a couple of years: Punchy chants, strangely satisfying note slides, double-time breakdowns, an ethereal piano bridge; this is quality vintage DC and I’m here for it.
Yes, this is where I’m putting that extra point from the shortened consoles list.
2019 was in my estimation the craziest year for quality K-Pop mini albums I’ve yet experienced. For a significant chunk of this year I toyed with the idea of outright replacing this list with a top ten purely devoted to the EP format. With the extra point and more honorable mentions I’ve pretty much ended up with one anyway, which is great because thanks to an expanded K-Pop recommendation circle I did uncover a good amount of worthwhile full albums in the end as well. I may have bent some rules, but I’m really happy with the list this year. Happy listening!
1-3 tracks = N/A
4-7 tracks = mini album
8+ tracks = full album
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VR BEST OF 2019 DISCLAIMER
This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. To agree with me 100% is rarer than an EA game without microtransactions. Respectful disagreement is most welcome.
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6. Kill This Love – Blackpink
Yes indeed, once in a while a YG girl group actually releases enough songs at the same time to count as an album! In Blackpink’s case, the loooooong time between drinks just about paid off in 2019, because Kill This Love brings three A-game B-sides and a pretty decent remix to slot in under the bombastic title track and create a winning EP. First-change rumbler Don’t Know What To Do leverages the drop-happy stylings that have helped slide Blackpink out from under 2NE1’s shadow, while Hope Not finally brings back the all-too-brief magic from the group’s debut year acoustic B-side Stay. The sealer is the middle track, however: Kick It is a low-key better song than the actual lead single, Kill This Love, which is no dud itself. Uniting big drop with strumming flourish, it rocks.
We back with an eighth attempt at summing up the year in K-Pop, as I bring you my fifteen personal favourite songs deemed worthy of music videos. As always, that’s the distinction: These aren’t my favourite music videos per se; I hadn’t even seen most of these MVs before starting to write the list. I rank these songs based mostly on the songs themselves.
A massive shout-out has to go to the community of the recently-reborn This Week in K-Pop podcast, which is now a Twitch call-in show airing weekly on Sundays at either 3pm or 8pm CST depending on the week. Those lovely people are responsible for just over a third of the list, as I once again spent about two thirds of the year not listening to a lot of Korean music. They know how to recommend the good stuff.
And for what it’s worth, this might be my favourite list of honorable mentions ever. There wasn’t much separating them all in the end. It was a good year for K-Pop, particularly for pop-adjacent rock bands and emerging solo artists. Let’s dig in!
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VR BEST OF 2019 DISCLAIMER
This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. To agree with me 100% is rarer than an EA game without microtransactions. Respectful disagreement is most welcome.
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15. Umpah Umpah – Red Velvet
We begin with yet another Real Summer Jam from what is now my most featured K-Pop act ever. Red Velvet brings those unchallenged layers of harmony and that quirky bass sampling as brightly as ever, but now featuring late stage vocal ad-libs and references to their own half-decade career (Wasn’t it just yesterday they debuted?) By RV standards Umpah Umpah is actually rather straightforwardly produced – I guess after going B-side-level weird with earlier 2019 single Zimzalabim they needed a palette cleanser – but it’s still got that wonderful flavour you expect from the group’s upbeat output.
Here we are at the big three, and my most difficult list of the year. Seriously, I had more trouble ordering this one than I did any of the others (It’s always the biggest effort to format too). There are so many different moods that albums are capable of putting you in – or sustaining – so every time I came back to the draft I shifted, added or removed something. This is the most accurate representation of my favourites that I could come up with at this point in time. Turns out it’s the poppiest album list I’ve put together for several years. I usually like to highlight song collections and/or artists that didn’t make my singles list on this page, but this year there are quite a few albums containing singles that either made this year’s main Top 15 or the honorable mentions. Also, I may have just realised while typing this that literally half these albums are from SM Entertainment. Whoops.
For the purposes of this list, a mini album is between four and seven non-instrumental, non-remix tracks long. Eight or more of these makes a full album instead.
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VR BEST OF 2018 DISCLAIMER
This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s odd, but let’s have a beer. Respectful disagreement is most welcome.
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MINI ALBUMS
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5. Blooming Days – EXO-CBX
As always, I love a good attempt at a structural gimmick when it comes to albums, and Blooming Days has a doozy – seven tracks, one for each day of the week and its corresponding mood. Though title track Blooming Day – sitting in the Tuesday slot – is not one of the strongest products to come from the EXO family stable, the rest of the album does a reasonably good job of putting together an aural week that you can experience in less than half an hour. The strongest three tracks, neatly enough, are the opener, the exact midpoint and the closer. Monday Blues is just so good at nailing the bleary-eyed feeling of staring at a week of work ahead, Thursday evokes that knowingly premature daydream of a fruitful weekend and Lazy takes the album’s best backing track and uses it to transport the listener to a sun-soaked picnic. The first of several SM Entertainment albums on this page, I can recommend Blooming Days wholeheartedly to any listeners out there who like to count tracks in their head.
Vagrant Rant 