TRI.BE Jia is the new ambassador for streetwear brand REBORN

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I’ve seen a lot of albums get criticized for not being cohesive but I personally don’t really care about cohesiveness. Sometimes it’s nice but not being cohesive doesn’t hinder my enjoyment of the album if I like most of the songs. I usually listen to playlists instead of just the albums so that plays a factor for me. I’m interested in hearing what others think about this. submitted by /u/Winter-Net-2669 [link] [comments]

Just to clarify: I know that charts don’t really matter, I’m simply pointing out a trend I’ve noticed. I know that album sales are also a measure of success but they tend to increase regardless of a group’s success. Streams-wise, it seems like a number of 4th gen groups have already peaked which is unsurprising considering that many of them have been active for 4+ years at this point and had explosive debut eras. But strangely enough, 5th gen groups haven’t really filled the gap. It seems to be a more general trend of weak international performance, rather than 4th gen groups losing relevancy. Not a single 5th gen girl group has debuted with more than 450k streams on their most recent release apart from BabyMonster. For reference, Stereotype by STAYC outstreamed ILLIT, MEOVV and Hearts2Hearts when comparing first day streams of their latest comebacks. I don’t keep up with 5th gen boy groups but they seem to be in the same boat with 100k-500k per release, not a big gap surprisingly and RIIZE is doing better than their female peers apart from BaeMon. Groups that used to chart on Spotify global semi-consistently or at least had good performance now often debut with less than 800k streams or in several recent cases, less than 500k. IVE is the craziest to me. ELEVEN, LOVE DIVE, AFTER LIKE and I AM was an insane title track run both sonically and success-wise. Kitsch and Baddie performed quite well but Attitude wasn’t nearly as strong. I also can’t believe that Know About Me by NMIXX didn’t become much more popular internationally considering that some of their more experimental releases did better. It’s worse considering how much K-Pop companies appeal to the West now. Friday releases, multiple versions for Billboard, American festivals, SNL performances, fluent English-speaking members yet the decline continues. I can’t tell if this is necessarily reflective of K-Pop becoming less popular globally. From what I’ve seen, a group releases one song that doesn’t quite resonate with the international audience and they don’t recover. On the other hand, there may be less genuine interest now. I did see a claim that K-Pop reached peak global interest in 2023 but I can’t find a source or article that goes with it. I also don’t know much about how K-Pop groups are selling in their global tours so feel free to add any statistics on that. AFAIK, no group is selling that poorly. I also suspect that this might be coming from a decline in popularity in Southeast Asia? The region is typically K-Pop’s biggest stronghold so maybe the decline stems from there but I’m not sure. BTS, BP, Aespa, SKZ and LSFM seem to be the last ones standing. submitted by /u/DowntownFee1 [link] [comments]

Do you have a song that at first didn't vibe with you at all, but after watching the MV It kind of changed perspective and now you like it also when just listening to it? For me it's Work by ATEEZ, musically speaking it's not my genre at all and also the lyrics (English parts) sounded a bit "meh" to me, but then I watched the MV and It was so non sense and funny that now the song became one of my "boost my mood" favs. submitted by /u/vibe2code [link] [comments]

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AHOF - WHO WE ARE Release Date: 1 July 2025 Track Lyrics by Composed by Arranged by 01. 소년, 무대 위로 넘어지다 (The Little Star) (Intro) / Audio Vendors (KELSI, bodega cat), Kwon Si Ha, Lee Kyung (wavecloud) EL CAPITXN, Vendors (Arte, Abim, Coll!n), Didrik Thott, Robbie Jay EL CAPITXN, Vendors (Arte, Abim) 02. 파랑 학교, 초록 잔디, 빨간 운동화 (The Universe) Vendors (KELSI, bodega cat), Kwon Si Ha EL CAPITXN, Andy Love, Vendors (Louis, NARA, Coll!n, CHILLER) EL CAPITXN, Vendors (Louis, NARA) 03. 그곳에서 다시 만나기로 해 (Rendezvous) / Audio EL CAPITXN, Vendors (Coll!n, BEL, KELSI, CHILLER, Owl), Woongki, wavecloud (Doyeon, Lee Kyung) EL CAPITXN, Vendors (Zenur, Louis, BEL), Kwon, Rence, Alex Schwoebel, Lukas Costas, Ninos Hanna, Ebenezer EL CAPITXN, Vendors (Zenur, Louis) 04. 미완성은 아닐꺼야 (Incompleted) EL CAPITXN, Vendors (Coll!n, TOOD, SEØRIN, bodega cat), Doyeon (wavecloud) EL CAPITXN, Vendors (Louis, NARA), Rence, Lukas Costas, Kwon, Alex Schwoebel, G06 Beatz, Cube EL CAPITXN, Vendors (Louis, NARA), G06 Beatz, Cube 05. 우주 최고의 꼴찌 (Cosmic Underdog) Vendors (NASON, KELSI, SEØRIN, CHILLER), Kwon Si Ha, Doyeon (wavecloud) EL CAPITXN, Vendors (NASON, Arte, Revin) EL CAPITXN, Vendors (Arte, Revin) 06. 아홉 우리가 빛나는 승자 (AHOF) (Outro) Vendors (KELSI), Kwon Si Ha EL CAPITXN, Vendors (Zenur) EL CAPITXN, Vendors (Zenur) STREAM ON Spotify / Apple Music / YouTube Music submitted by /u/perochan [link] [comments]

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I need to discover more music other than title tracks and b-sides with MVs won't be counted submitted by /u/Adventurous-Dog5560 [link] [comments]

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Now that all seven BTS members have completed their military service, we’re officially entering the post-enlistment era. For years, we’ve been imagining what “BTS in 2025” would look like. Well, we’re here now. And honestly, it raises a lot of questions about what comes next. There’s no doubt that the anticipation is massive. Some fans are expecting a full album drop, a world tour, maybe even a return to their chart-topping momentum. But others (myself included) are wondering if things might look different this time more reflective, more careful, maybe even slower than we’re used to. During enlistment, every member carved out a distinct solo identity. We saw a huge range in style, message, and personality across their projects. They didn’t just experiment musically, they grew up, in real time, in front of us. So when they reunite as a group, the question is: will BTS pick up where they left off… or will they redefine themselves yet again? And then there’s the industry. The K-pop landscape is not what it was in 2022. Newer groups are dominating global conversations, music consumption has shifted even more toward virality and short-form content, and competition is more intense than ever. But BTS doesn’t need to compete like that anymore; they’re in a different category now. The question is whether they see it that way. I also keep thinking about tone. Will their comeback be explosive, like a declaration of power? Or will it be understated, a quiet but intentional return that prioritizes reconnection over spectacle? I wouldn’t be surprised if their first move is something simple but deeply symbolic, rather than loud. And as excited as I am, I also wonder how fans will respond if BTS chooses a softer or slower path. Are we ready for a more mature BTS, one that doesn’t necessarily chase hits, but focuses on meaning and longevity? Or are expectations already too high for anything less than another “Dynamite” or “Butter”-level rollout? All that said: it’s an incredibly emotional moment. They've completed a major chapter as individuals and as a group. Whatever they do next is going to carry weight, even if it’s not what everyone expects. What are your thoughts? submitted by /u/Seesawey [link] [comments]

Not just kpop but in general, I’ve seen a lot of discourse about how stadiums are just not fit for the full concert experience and I completely understand. Sound issues, terrible views, crowd control and what not. All those issues are valid but it gets to a point where some people that complain and demand for arenas instead of stadiums come off as selfish and entitled, especially for really huge artists. For these artists, stadiums may be the only venues that can accommodate the amount of people who want to see them and if they were to do arenas, it would mean having to do several nights. I can imagine what a logistical nightmare that would be. On top of that, I think what a lot of people don’t take into account is the fact that these artists would have to perform for 3-5 nights in a row, performing the same set lists over and over again which can take a toll on their health, especially for kpop idols who have to dance almost constantly, when they could instead book stadiums and only have to do 1-2 days give or take. And yes, the tickets are expensive and it earns you a certain level of entitlement to the type of service expected but if you don’t like stadium shows, no one is forcing you to buy those tickets. And also, I think stadiums allow more fans to have a chance at seeing their favorite artists. I’d imagine there’d be the same people buying tickets to multiple stops if they were to do arenas over several days, which may take away the chance of another fan who can only see them for one night. All in all, nothing too serious. It’s just something that irks me every time it’s brought up. Yes, some stadiums could be really shitty but instead of calling for arena stops, I think it’s better to demand quality set ups and organization from these stadiums because there are instances where a stadium show is really well done and everyone leaves with a good experience. What do you guys think? submitted by /u/SomewhereOnEarth37 [link] [comments]

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