KPOPWORLD #6 (Yves)

KPOPWORLD #6 (KEYVITUP X VAYONN)

KPOPWORLD #5

KPOPWORLD #4

Após a estreia com SPLAY : CHAPTER 01, a banda de cinco integrantes Splayit está pronta para mostrar ao público ainda mais do que sabe fazer. Com YOON CHAN, EUN BIN, KYUNG UK, AYDN e EUN CHAN

Splayit sobre Encontrar o Próprio Som e Construir a Própria Identidade

hrtz.wav is a five-member boy band under Kakao Entertainment. The group was formed through STEAL HEART CLUB and debuted with their first mini album The First Wave. The group’s formation began when Mnet announced plans to debut a new global boy band through the survival program STEAL HEART CLUB, which aired in late 2025. The program followed contestants competing in different instrumental and vocal positions to determine the final lineup of the band. The show premiered in October 2025 and concluded with a live finale in December, where the group’s official name, hrtz.wav, and its final members were revealed. The lineup was determined by position rankings, with Hagiwa as drummer, Dane as bassist, Keiten as guitarist, Riaan as vocalist, and Youn Young Jun as keyboardist. Production of the program was handled by CJ ENM, while Kakao Entertainment oversees the band’s distribution, album planning, production, and overall management. The group made their official debut with the mini album The First Wave, released on April 8, 2026.

hrtz.wav

Formado por meio do STEAL HEART CLUB da Mnet, hrtz.wav passou os meses desde sua estreia aprendendo como cinco músicos individuais podem se unir como uma banda. Seu primeiro mini-álbum, The First Wave, apresentou um som pop-rock vibrante enraizado nas emoções e experiências da juventude

hrtz.wav Estão Encontrando Seu Próprio Ritmo

Baby DONT Cry, is a South Korean girl group formed and managed by P Nation. The group consists of four members: Yihyun, Kumi, Mia, and Beni. They debuted on June 23, 2025, with the single album &quot;F Girl&quot;. The group was initially teased in early 2025 under the pre-debut name “P Girls” and confirmed as P Nation’s first official girl group later that year. Their pre-debut track “Bet You’ll Regret It” was released on June 16, 2025, building anticipation ahead of their debut. Baby DONT Cry’s debut single “F Girl” presents a bold message encouraging confidence and rejecting judgment based on external standards. The group’s concept has been described as youthful yet assertive, combining pop and performance elements with distinctive visuals. Their creative direction and early production were led by Soyeon, who played a significant role in shaping their sound and image. Baby DONT Cry’s fandom is officially named “Cherries,” symbolizing a community united by growth and joy. The group has since continued activities with subsequent releases, including the digital single “I Don’t Care” released in November 2025.. Although still early in their career, Baby DONT Cry has drawn attention for their fresh approach, strong visuals, and connections to established producers, marking a notable debut in the K-pop landscape.

Baby DONT Cry

As estrelas em ascensão Baby DONT Cry estão descobrindo novas formas de se expressar. Desde a estreia com "F Girl" em 2025, o grupo de quatro integrantes vem expandindo seu alcance para além da confiança característica, explorando sons diferentes e uma gama emocional mais ampla

Baby DONT Cry Está Aprendendo a Encontrar Força em Sons Mais Suaves

TWICE is a nine-member girl group formed by JYP Entertainment through the survival show Sixteen. The lineup consists of Nayeon, Jeongyeon, Momo, Sana, Jihyo, Mina, Dahyun, Chaeyoung, and Tzuyu, with members from South Korea, Japan, and Taiwan. They debuted in October 2015 with &quot;Like Ooh-Ahh,&quot; introducing the bright, kinetic identity that would make them one of the central girl groups of K-pop&#x27;s third generation. The group&#x27;s early rise was built on an unusually clear pop formula: big choruses, memorable gestures, colorful styling, and personalities that were easy for viewers to distinguish. A run led by &quot;Cheer Up&quot; and &quot;TT&quot; turned TWICE into a national-level phenomenon in Korea, while their Japanese members helped the group cross naturally into Japan&#x27;s idol and pop markets. Rather than relying on a single vocal or dance center, TWICE worked because the lineup felt balanced as a whole: playful, approachable, and tightly rehearsed. As the members grew older, TWICE gradually expanded beyond the cute and school-age image attached to their first hits. The move from &quot;Fancy&quot; through &quot;I Can&#x27;t Stop Me&quot; kept the group&#x27;s melodic accessibility while bringing in sleeker dance-pop, disco, synth-pop, and more mature performance styling. That evolution mattered because it let TWICE remain recognizable without staying frozen in their debut concept. TWICE also became one of the clearest examples of a K-pop girl group building a long international career without losing its domestic base. Their Korean and Japanese discographies developed side by side, and later global touring brought the group to arenas and stadiums far beyond East Asia. The fandom is known as ONCE, a name that matches the group&#x27;s long-running emphasis on mutual loyalty between the members and their audience. Their legacy is not only commercial. TWICE helped define what a modern large girl group could be: member-driven, visually bright, musically immediate, and durable enough to age into a second phase. They normalized the idea that a top K-pop girl group could keep all members active across many years, shift concepts without abandoning its core warmth, and still feel like a complete team even as individual members developed solo work, acting, modeling, and unit activities.

TWICE

TWICE anunciaram o lançamento de um novo filme-concerto intitulado TWICE: THIS IS FOR… YOU, que está previsto para chegar aos cinemas de todo o mundo a partir de 5 de fevereiro de 2027

Filme-concerto de TWICE <THIS IS FOR> está previsto para estrear em 2027 sob a Crosswalk da Bleecker Street e a Universal Pictures International

De Girls’ Generation a BIGBANG, PSY e EXO, os videoclipes de K-pop se tornaram mais do que apenas bônus visuais para os fãs — eles viraram movimentos culturais que mudam conversas e a indústria da música

Os MVs Mais Influentes da História do K-pop

Jessi chega ao KPOPWORLD Festival como um ícone

Destaque do KPOPWORLD Festival: Jessi

Da estrela do Now United a artista solo de electropop, HEYOON traz seu hyperpop e EDM cheios de energia para o KPOPWORLD Festival nos EUA. Leia agora nosso destaque!&nbsp;

KPOPWORLD Festival Spotlight: HEYOON

ARTMS is a 5-member South Korean girl group under MODHAUS. The group consists of JinSoul, HaSeul, Kim Lip, HeeJin, and Choerry from the currently inactive girl group LOONA. They first rebooted the LOONA sub-unit ODD EYE CIRCLE on July 12, 2023. They debuted on May 31, 2024, with their first album, DALL.

ARTMS

Quando LOONA é mencionada em espaços de K-pop, uma das fandoms mais leais e apaixonadas se mobiliza em apoio

KPOPWORLD Festival Spotlight: ARTMS

DAYOUNG surgiu cedo como uma vocalista poderosa, atuando como integrante do WJSN no início da ascensão do Hallyu, há dez anos

KPOPWORLD Festival Spotlight: DAYOUNG

Como segundo headliner do KPOPWORLD Festival, a banda indie-rock The Rose traz uma autenticidade revigorante

Destaque do KPOPWORLD Festival: The Rose

Red Velvet is a five-member girl group formed by SM Entertainment, debuting in August 2014. The group -- Irene, Seulgi, Wendy, Joy, and Yeri (who joined in 2015) -- is built around a dual-concept identity: the bright, playful &quot;Red&quot; side and the darker, experimental &quot;Velvet&quot; side. This duality gave them enormous creative range and became their defining artistic trademark. The &quot;Red&quot; side gave the group some of K-pop&#x27;s most vivid pop singles, including &quot;Dumb Dumb,&quot; &quot;Russian Roulette,&quot; &quot;Red Flavor,&quot; and &quot;Power Up.&quot; The &quot;Velvet&quot; side leaned toward smoother R&amp;B, darker synth textures, and slower-burning drama on songs such as &quot;Automatic,&quot; &quot;Bad Boy,&quot; and &quot;Psycho.&quot; Instead of treating those modes as separate eras, Red Velvet made the contrast part of the brand: sweet could turn strange, elegant could become unsettling, and experimental choices could still land as pop. That range made Red Velvet especially important as an album group. Their title tracks often drew the most attention, but fans and critics also paid close attention to B-sides, vocal arrangements, and the way the members&#x27; tones fit together. Wendy&#x27;s vocal clarity, Seulgi&#x27;s performance edge, Joy&#x27;s color, Irene&#x27;s cool center, and Yeri&#x27;s later addition gave the group a layered sound that could handle both bright hooks and more atmospheric material. Red Velvet&#x27;s influence comes from their refusal to settle into one easy lane. They could be playful without feeling lightweight, polished without becoming predictable, and weird without losing the listener. Their fandom is known as ReVeluv, and the group&#x27;s place in K-pop rests on that balance: a major SM girl group with mainstream hits, deep-cut credibility, and a catalog that made adventurous pop feel normal.

Red Velvet

"Surfin' Boy" troca os ganchos imediatos e multicoloridos de "Red Flavor" e "Power Up" por algo mais paciente — guitarra de bossa nova, um groove de house que se constrói em vez de explodir

A Autoria e a Inventividade em Velvet Summer do Red Velvet

A semana passada trouxe novos começos para TEN, NEW e SM, enquanto “Love Options”, de BESTie, despertou um ressurgimento

Na Semana Passada no K-pop, Interpretado (24 de agosto - 28 de agosto de 2026)

Jay Park lidera o primeiro KPOPWORLD Festival, e, se você conhece a sua trajetória, essa escolha faz todo sentido

KPOPWORLD Festival Spotlight: Jay Park

THE BOYZ is an eleven-member boy group formed by Cre.Ker Entertainment (now an independent group), debuting in December 2017. The group gained significant attention for their performance abilities, particularly after their appearance on the Mnet competition show &quot;Road to Kingdom&quot; in 2020, where they won first place with theatrical, visually stunning stages that showcased their storytelling through dance. Their &quot;Road to Kingdom&quot; victory was a turning point, elevating THE BOYZ from a mid-tier group to one of the most respected performance-focused acts in K-pop. Songs like &quot;The Stealer,&quot; &quot;THRILL RIDE,&quot; and &quot;MAVERICK&quot; have highlighted their versatility. THE BOYZ&#x27;s fandom, THE B, has grown steadily, supporting the group through sold-out concerts and strong album sales. The group is widely regarded as having some of the best synchronized choreography and stage presence in the industry. On March 19, 2026, nine members of The Boyz filed for the termination of their exclusive contracts with One Hundred Label, citing issues including unpaid settlements and a breakdown of trust. The agency disputed the claims and rejected the termination, resulting in a legal dispute between the parties. As of April 23, 2026, the court ruled in favor of the nine members, granting the boys an injunction to end the validity of their contracts. The members who were involved are officially free from their ties with One Hundred Label, however the last member still remains as of right now. The group is currently continuing forward as an independent group, being one of the most successful of their peers to make such move.

THE BOYZ

JACOB compartilha a playlist que moldou sua estreia solo, j.

Kurated: Seis músicas que inspiraram JACOB para a era ‘j.’

Além do K-pop, gêneros do Sudeste Asiático como o P-pop estão ganhando atenção internacional. À frente desse movimento está o boy group SB19, que vem a San Antonio para mostrar exatamente o porquê

Spotlight do KPOPWORLD Festival: SB19

O primeiro KPOPWORLD Festival &amp; Worldwide Dance Competition desembarca no Alamodome, em San Antonio, de 28 a 31 de outubro, com a promessa de duas noites repletas de música ao vivo

Em destaque: a line-up do KPOPWORLD Festival 2026

Em uma entrevista recente ao The Hollywood Reporter, Vernon, do SEVENTEEN, revelou sua visão sobre a ocidentalização excessiva do K-pop nos últimos anos, em comparação com os sons distintos e experimentais da indústria em seus primeiros anos.

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