The 20 Best K-pop Albums of 2023
K-pop hasn’t been this exciting in a long time and we’re not just saying that because this is our very first year-end roundup of the best K-pop albums here at Paste. Neither BTS nor BLACKPINK recorded albums together this year, yet K-pop has become more prevalent on the world stage than ever, even with the absence of new music from these reigning kings and queens (solo efforts aside).
2023 was the year where a seemingly endless influx of exceptional music from newbies and veterans alike broke new chart records in both the West and South Korea too. At present, only the biggest names like Taylor Swift have been able to fend off these K-pop giants in terms of sales, and even that could soon change if this year has been anything to go by. Clearly then, the future is K-pop, but what does that future entail exactly? It’s only by looking back at the best of the best this year that we can begin to understand what’s in store for Korean music, and music as a whole, moving forward.
Full disclosure: There’s every chance that your fave didn’t reach the top spot, and that’s because every single artist on this list is someone’s favorite. In fact, you could pick anyone at random and they’ll have a die-hard fan base willing to sell everything from their soul to their gran so their pick comes out on top. With that in mind, we think you’ll find that there’s plenty here to enjoy (and argue over), as we rank the 20 best K-pop albums of 2023.
20. SHINee: HARD
SHINee’s enduring success over the past decade-and-a-half needs to be studied by science and, honestly, we should be grateful that they’re still gracing us with their combined presence at all. That being said, the group’s eighth studio album, released to celebrate their 15th anniversary as a band, doesn’t rank as one of their strongest releases. Still, even a weaker SHINee effort is better than the majority of music released today, which is a testament to their skill rather than a reflection on the industry itself. The lyrics especially continue to be a strong suit with the usual high standards we’ve come to expect from SHINee. Now, if you just combine songs like “Satellite” with “Identity” and a few others, there’s a really special EP tucked away here in this longer tracklist.
19. fromis_9: Unlock My World
Despite having released bangers like “DM” and “Love Bomb,” fromis_9 were still a bit underrated prior to 2023. That all changed this year, though, with the release of their first full-length album, “Unlock My World.” It took five years, and Jang Gyu-ri—the most recognizable member of the group—even left during that time, but, thankfully, it’s still been worth the wait. With that title, it should come as no surprise that Unlock My World is more introspective than anything fromis_9 has released prior and nowhere is that more evident than on “Attitude,” both a mission statement and also a reintroduction to this new octet in the wake of so much change.
18. MONSTA X: REASON
It’s almost been a whole year already since MONSTA X released their 12th mini album back in January, but songs like the kinetic rap monster “Crescendo” and “Beautiful Liar,” with throbbing rock baselines, have been in constant rotation for us ever since. Special shoutout to Lee Minhyuk’s vocals on “Daydream” and pretty much everything the whole group does on “Lone Ranger,” a truly wild ride on an already interesting, ambitious album.
17. NCT 127: Fact Check
Picking your favorite NCT sub-unit is truly the Sophie’s Choice of K-pop, so we’re not here to pick favorites overall. Saying that, NCT 127’s second comeback of the year, continuing on from Ay-Yo in January, has to be 2023’s standout pick. Lead single “Fact Check” sets the tone with exactly the kind of catchy dance vibes you might expect from one of K-pop’s most innovative bands who combine synths and Afro rhythms here to addictive effect. The rest of the album plays with their signature sound too across tracks like “Space” and ‘Yacht,” yet nothing feels out of place still. In fact, this positions NCT 127 exactly where they need to be right now: more confident in their sound than ever.
16. Jimin: FACE
Following in the footsteps of fellow BTS bandmates RM and J-Hope, Jimin has crafted his most personal music yet with FACE, an EP that is anything but surface level. On songs like “Face-off”—an ethereal RnB opener—and “Set Me Free Pt.2″—an abrasively grandiose yet divisive hip-hop track—Jimin mines angst and self-torment to great effect. Throw in audio snippets from life on and off stage, plus a surprise cameo from Jennifer Lawrence, of all people, and you’ve got yourself one of the year’s most exciting and endlessly creative solo efforts.
15. ATEEZ: THE WORLD EP.2: OUTLAW
It’s rather fitting that ATEEZ landed their first #1 on Billboard’s album chart with the second chapter of The World album series—because they’re now entering a whole new realm in more ways than one. But while real life keeps getting better for them, the eight-piece have swapped out one dystopian world for another in this storyline that takes ATEEZ to an extremely intense place, sonically speaking. Angsty and despairing yet also rich and cohesive, Outlaw represents the group at the peak of their powers, yet we have a feeling that the best is still yet to come.
14. Taemin: Guilty
Taemin joined SM Entertainment at the age of 12, and since then, he’s worked non-stop, be it as a key member of SHINee, as part of the supergroup SuperM, or on his own extremely successful solo efforts. It wasn’t until Taemin recently completed his mandatory military service that he was able to take some time away from the industry for himself, but thankfully, his artistry has lost none of its shine in the interim. In fact, Guilty is one of his most cohesive releases yet. Beyond the grand theatricality of the title track, a song which soars thanks to its 30-piece string ensemble, the rest of Guilty reminds us why Taemin is essentially the blueprint at this point when it comes to dramatic yet gentle and even sultry K-pop.
13. ENHYPEN: DARK BLOOD
More sparkly Twilight than gory Blade, the first chapter of ENHYPEN’s “Blood” series embraces the romantic, gothic sex appeal of an Anne Rice novel in K-pop form. The result is a hypnotic, story-driven effort that sinks its teeth in with exactly the kind of addictive refrain that the group’s become best known for. “Bite Me” is the glittery centerpiece, a monstrous mix of teen vampire lore and late nineties/early noughties boy-band appeal. It’s far better than that combination has any right to be, and that also goes for tracks like “Fate” and “Sacrifice (Eat Me Up)” which combine to create ENHYPEN’s most mesmerizing body of work so far.
In the build-up to Chill Kill, Red Velvet’s first studio album in six years, the title track proved to be a bit divisive with some fans left feeling underwhelmed. They needn’t have worried though. Not only is the lead single a perfect synthesis of their signature “red” and “velvet,” switching effortlessly between dark, gothic verses and a more upbeat chorus, but the rest of the album is even stronger. There’s a reason why Red Velvet are known as the Queens of the B-Sides, after all. ‘Knock, Knock,” “One Kiss” and “Nightmare” delve into the macabre with chilling storytelling that sparks something dark and even dangerous out of the group’s usual flawless harmonies. But the real horror story here is anyone doubting Red Velvet in the first place. Let’s just hope they don’t wait another six years to release their next studio album.
aespa usually lean into hard-hitting EDM sounds more than most of their contemporaries, but My World, the first of two EP’s the quartet released this year, represents a softer switch for the band into something a tad more poppy. “Spicy” led the way with vibrant synths and a fire chorus, but it’s the B-sides that stuck with us most, including “welcome to MY world”—a smooth vocal showcase—and “Thirsty”—a dreamy R&B number that’s got us “sipping” up those harmonies all night and day.
Over a decade into his career, EXO’s Kai continues to surprise on his third solo album, Rover, which opens with a title track that interpolates vocals from a Bulgarian singer named Dara because sure. Why not? The result is a deeply addictive lead single that’s been a mainstay on social media and playlists alike since March. It’s the back half of the album that impresses most though thanks in large part to “Bomba”, a reggaeton-inspired earworm that could have just as easily led the rollout. And then there’s “Sinner”, the album closer which uses a combination of piano, synths, and deliberately monotonous vocals to slink into your brain and never let go. To sin has never been so sexy or appealing.
While some of his bandmates went off to complete military service, the youngest member of BTS released his first English-language album in a bid for global pop stardom. Without any writing or production credits to call his own on GOLDEN, Jungkook adopts a chameleonic approach that sees him shifting between styles and genres alongside Western collaborators including Latto, Jack Harlow and Major Lazer, as well as songwriting credits from Ed Sheeran and Shawn Mendes. The result is an infectious, singles-driven collection of undeniable bops we’ve been listening to seven days a week, which proves Jungkook has the Midas touch on anything he sets his mind to. With clear influences from the likes of Justin Timberlake, Usher and Justin Bieber, Jungkook is clearly vying for that pop king crown—and if Golden is anything to go by, the throne could very well be his.
“Ready To Be” is exactly the kind of brash, confident comeback that TWICE needed to return with just as they break the seven-year curse and venture into brand new territory. That said territory is decidedly more sophisticated and mature than ever before with assertive claims of control and defiance made throughout the lyrics. Music-wise, “Set Me Free” is the perfect opener, branding this mission of intent with a slinky baseline and Jihyo’s standout vocals. That’s before we even get to “Moonlight Surprise,” the pre-release English single, and “Got The Thrills,” two of the most compelling and even euphorics songs this group has ever recorded.
The third release from Agust D—aka Suga—completes his solo trilogy with more fiery commentary on societal norms, yet there’s also room for more personal contemplation this time round as well. “Amyygdala” hits as hard as Agust’s flow with a heart-wrenching look back at past traumas yet the album’s true centerpiece is “Snooze”, a collaboration with The Rose’s WOOSUNG and late Japanese composer, Ryuichi Sakamoto, whose haunting melody accompanies Agust’s most vulnerable music yet. That alone would earn D-Day a spot on the list, but this is an extremely accomplished body of work regardless, one which cements Agust D as one of the greatest Korean rappers of his generation.
When the sweet, buoyant verses in “Kitsch” switch to that anti-drop chorus, it’s not just one of the most thrilling moments in K-pop this year. It also exemplifies the sheer confidence and talent that’s propelled IVE to contenders for K-pop’s crown, just a couple of years into their career. The rest of the group’s first full-length album cements this with songs like “Lips”—a playful joyride—and the self-assured “I AM”, which just gets better and better with every line and each new vocal inflection. As their name might suggest, IVE has always possessed everything they need to thrive in this industry, and this effortless self-belief will carry them forward as rival bands continue to rise and fall around them.
Naming your album 5-Star is bold to say the least, but when you produce a no-skips effort as successful as this, you’ve earned the right to be a bit cocky. It’s not like Stray Kids haven’t worked hard for it. In fact, the group’s third studio album is their best yet. 3RACHA’s fluid production incorporates everything from ’90s hip-hop to throbbing electro bass, which the eight-piece band pull together with a cheeky wink via their usual gritty raps and sultry vocals. Who else could get away with lines like “Finger lickin’, yeah, we cookin’ up a Super Bowl / In the kitchen, Michelin, irresistible”? Put it in the “Hall of Fame.”
TXT’s fifth EP, Temptation, is perhaps their most dream-like yet, drawing on themes from the story of Peter Pan to signal the group’s evolution with extra writing credits and a more mature sound as the boys say “Farewell” to Neverland. Between the bossa nova vibes of “Happy Fools,” the slithering “Devil By The Window” and, of course, the Afrobeats style of “Tinnitus (Wanna Be A Rock),” TXT have never been more daring with their artistry. It’s this experimental edge that helps set them apart from their many, many boy-band competitors in not just South Korea, but also the international stage, too.
The first full length effort from LE SSERAFIM—whose name unscrambles to form the words “I’m Fearless”—is even more bold and daring than their name would have you believe. Album opener “The World Is My Oyster” kicks off with the band pushing back against the world’s judgment, and the second half, comprised of entirely new songs, takes this defiance up a notch further with “Burn The Bridge,” a (mostly) spoken-word track that looks decisively forward into the future, declaring they should just “Burn it all.” In short, Le Sserafim don’t care what you think, and this icy yet rebellious detachment forms the backbone of their three most triumphant songs yet, the triple threat of “UNFORGIVEN”, “ANTIFRAGILE” and “Eve, Psyche & The Bluebeard’s Wife.” Listening to the latter, in particular, is like looking forward to the future ourselves, a future where structure gives way to chaos and K-pop has space to be a “mess, mess, mess” all that it wants.
We could go on about how Seventeen’s 10th EP is the first album to ever sell over 6 million copies in South Korea. We could also just list everything else our 13 faves have accomplished in 2023, too—including that much-coveted album of the year win at the latest MAMA Awards. But, at the end of the day, it all comes back to their music—something which Seventeen continues to push the boundaries of here in FML. The first two tracks especially—”F*ck my Life” and “Super”—up the ante with a more experimental sound that redefines what CARATs and casual fans alike expect, all while still staying true to the group’s core vibe. In doing so, the self-produced group have cemented their place on top with the kind of ambition that must have other labels thinking “Fuck my Life” right now, too.
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