USPEER debuted, moved companies, and reorganized their lineup over the span of a year.
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K-Pop continues to experience a resurgence of second-generation artists coming back, and Secret will be making their comeback a little differently than their peers.
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It’s not often that K-Pop groups debut with a full album anymore, but HEART OF WOMAN assures that this older-generation strategy is not a lost art.
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With so many global groups emerging out of K-Pop, H//PE Princess’s debut shows that they will try to cultivate a niche.
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Playable web-browser games have been popping up more frequently as ways to keep K-Pop fans invested.
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WOOAH has recently returned with two digital singles as part of company-wide initiatives from their management.
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With every QWER title track, listeners can expect two things: a song that sounds like a coming-of-age theme song and a creative music video that can be watched time and time again.
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The title track “It’s Me” evolves ILLIT’s sound while keeping touches of what made their earlier tracks so viral.
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As If and its title track “Hazy (Daisy)” bring the first look at a potentially new direction.
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Years of hopeful wishes got fulfilled through Rolling Quartz’s latest single featuring Siyeon from Dreamcatcher and her rock band ChRocktikal.
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Before April consumes online discussions with its large number of releases, it’s worth looking at some March songs that deserve more discussion.
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The newest virtual K-Pop group has entered the industry with the release of OWIS’s first EP, MUSEUM.
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After ITZY kicked off their third world tour in Seoul, an unexpected song took the Internet by storm—a B-side from their rookie years went viral for its brand new performance.
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When YENA settles on a concept for her music, she expresses it perfectly.
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Despite not finding a new home in a separate company, Weeekly’s members have continued to make music and find their way as individual artists.
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On February 27, RESCENE released “Busy Boy,” the first single in a unique move integrating music and intellectual property (IP) ownership through blockchain networks.
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Before Bloom hour drops, there is no better time than now to revisit parts of WJSN’s career.
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Nayeon, Sueun, and quinn_ of the K-indie band Tomatomat bring a specific J-Pop-inspired 2000s influence to their music.
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Evolving from a K-Pop trainee into a K-Pop producer and now Grammy winner, EJAE is building on her new solo career.
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After decades of success with SM Entertainment’s K-Pop artists promoting in Japan, this debut represents the company’s latest move in music market localization.
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