Uproxx's Best K-Pop Albums of 2022

The Shirelles and The Supremes. Spice Girls and Destiny’s Child. Girls’ Generation and, now, BLACKPINK officially enter the pantheon of history-making, culture-defining girl groups. Since debuting in 2016 with YG Entertainment (the company also responsible for launching the careers of BIGBANG, 2NE1, and “Gangnam Style” hitmaker PSY), the K-pop quartet—rapper/singer JENNIE (Jennie Kim), rapper/dancer LISA (Lalisa Manobal), singers JISOO (Jisoo Kim) and ROSÉ (Chae-young Park)—have broken records and changed the face of modern pop. They have collaborated with Lady Gaga, Dua Lipa, and Selena Gomez while rocking Celine, Chanel, Dior, and Saint Laurent, major fashion houses for which they are ambassadors. They were the first K-pop girl group to perform at Coachella. They have become, without a doubt, one of the most popular K-pop groups across the globe—all with only a few singles and one full-length album to their name. Well, until now: *BORN PINK*, the group’s highly anticipated sophomore release, heralds a new era for the band and a chance to stake out a real legacy. From the familiar raucous rap and hyperpop of single “Pink Venom” and the ROSÉ-led 2010s pop-rock “Ready for Love” to the haunting violins-meets-trap of “Shut Down” and the fully English-language piano ballad “The Happiest Girl,” *BORN PINK* boasts a new eclecticism. The trick is in how the group succeeds without sacrificing any of the hallmarks of a classic, idiosyncratic BLACKPINK song: bombastic raps, nostalgic EDM drops, larger-than-life harmonies, multiple melodies stacked one after the other, and unbridled enthusiasm. When ROSÉ shouts, “I’m so rock ’n’ roll!” you believe her. Prior to the release of *BORN PINK*, some fans (lovingly labeled BLINKs) were concerned about BLACKPINK’s material. With so few songs between them (and understanding that exclusivity breeds intrigue), what would their latest evolution look and sound like? How could they play into a pop landscape now devoid of BTS, the biggest K-pop group on the planet? Their pleasures are found in their indissoluble relationship with one another and how that manifests in each performance, harmony, and comeback for the group—and they have the potential to grow still. In a saturated pop and K-pop music market, BLACKPINK distinguishes themselves from the competition. They’re adaptable: unafraid of traversing new genres, styles, or fashions, somehow managing to make them all their own.

On their debut EP, *FEARLESS*, the six members of K-pop girl group LE SSERAFIM exude a suave, runway-model poise, one that should come as no surprise given their background; members Kim Chaewon and Sakura honed their idol elegance from their time in IZ\*ONE, the three-year project group that launched both of them into global fame. But the entire group’s confidence is exhibited in their name itself—LE SSERAFIM is an anagram of “I’m fearless,” a lyric part of the EP’s sleek electro-pop title track that exemplifies their bold demeanor. “Blue Flame” highlights the girls’ bright vocals as they harmonize together through a fluttering bass line. On the exuberant “The Great Mermaid,” they sing with a focused power, tackling whirling synths and crashing cymbals as if surfing into an ocean wave. And while the sweet-sounding “Sour Grapes” takes the EP into softer territory, the members assert they have no need for the bitter taste of love—even as their voices dip into a gentle hush.

In May 2022, SEVENTEEN released their fourth studio album, *Face the Sun*, a romantic nine tracks spanning genre (and sweet fan service in the form of an audio message from the 13-member boy band as its coda). Now they’ve shared a deluxe repackaging of the album, titled *SECTOR 17*, in Spatial Audio, featuring four new tracks. S.Coups, Jeonghan, Joshua, Jun, Hoshi, Wonwoo, Woozi, The 8, Mingyu, DK, Seungkwan, Vernon, and Dino have never sounded so tight: “CHEERS” is full, breathy hip-hop swagger delivered by the group’s leaders; “Circles” is a heartfelt piano ballad à la John Legend—complete with stacked harmonies from children. “Fallin’ Flower (Korean Ver.)” is an updated take of “Maiochiruhanabira,” the group’s second Japanese single, from 2020. Most notable is the addition of the single “\_WORLD,” written as a sequel to “Ash,” the final track from *Face the Sun*. Conceptually, it’s a new world born of that end; sonically, it’s elating pop-rock, all sugar and glee.

Since debuting in 2017, JYP Entertainment boy band Stray Kids have separated themselves from their contemporaries—Bang Chan, Lee Know, Changbin, Hyunjin, Han, Felix, Seungmin, and I.N are unafraid of taking musical risks, which means every comeback of the group brings unique pleasures. On *ODDINARY*, the thesis statement arrives in the single “MANIAC,” with the opening line “Relax, everyone, stop pretending to be normal” introducing the listener to a collection of songs that celebrate the everyday nonconformist. That’s mirrored in the musicality: “MANIAC” features techno trap production so jagged it borders on industrial, save for a chorus of bird sounds; it’s out there, but without sacrificing melody. “Lonely St.” is lovelorn emo-trap; “VENOM” is elastic, drippy hip-hop-pop. No matter your peculiarity, there’s something for you here.