Though summer is far from over, summer comebacks tend to hit their peak in July. The deluge of beach-themed concept photos aside, summer comeback season is one of my favorites in the K-pop cycle for all the interpretations of summer vibes it brings. From poppy electro beats to horror concepts intended to provoke shivers to combat heat waves, summer has always been a time for experimentation and risks. This July certainly delivered in the form of well-thought-out MVs, surprising genre choices, and unexpected remakes of familiar classics.
Sunmi, “Forever July”
No release this season has captured the agony of Korean summer like Sunmi‘s “Forever July.”
July in Korea marks the arrival of jangma, or monsoon season. Water droplets gathering on a leaky ceiling, broken umbrellas and soaked hems, the smoke of a mosquito coil, and sun showers — plus the crippling heat — are quintessential and visceral experiences that make the month both miserable and wonderful. All that is portrayed in the “Forever July” MV alongside lyrics of a tenuous relationship.
Reflecting the cyclical musings of the song, a circle motif carries throughout the MV with coils and spirals interspersed between shots of the weather gradually worsening and mold growing on the walls. Sunmi goes through a cycle of infatuation (“Do I really want you? Do I really need you?”), giving reassurances and questioning herself, as she tries to combat the physical world around her but to no avail. Her umbrella breaks, her blow-dried hair curls in the humidity, and her phone stops working. By the end, she’s surrendered to the elements, umbrella-less and dripping. She knows it’s a cycle she can’t escape, so she dives in — literally.
Set in a color palette of pastels and blues, the MV is a visual treat. The choreography, too, is mesmerizing. The overhead shots of opaque plastic umbrellas twirling, contrasting the ripples of the water on the black studio floor, evoke Singing in the Rain, but melancholic. Everything is dreamy and hypnotic, pairing perfectly with the synthy beat.
The song closes with “This summer day is so cruel,” and Sunmi’s right. Yet, there’s something so beautifully frustrating about that cruelty that you can’t help but romanticize it a little. Your pant legs may be soaked, shoes permanently squeaky, but the rain eventually clears. And that little burst of afternoon sun will somehow have you looking forward to doing it all again tomorrow. Hopefully with a sturdy umbrella.
Picheolin (Dino), “Crazy Crazy”
Pledis‘ announcement that Dino would release his first solo mini album as his alter-ego Picheolin drew swift criticism from fans. Understandably, Seventeen fans had wanted to see more of Dino the soloist and not a running joke taken to the point of outshining him. However, Pledis’ risk paid off: Picheolin’s Board (Gilboard) gave Dino a chance to not only show off his comedic chops, but also explore a delightful side of his musicality that is so far from what we see in the typical K-pop landscape.
Picheolin, the ahjussi who inserts himself into situations he doesn’t belong in and confidently dispenses advice based on his colorful life experiences, has been a favorite recurring character for Carats since his debut on Going Seventeen. What makes him so popular is Dino’s complete commitment to the role and keen ability to toe the line between familiarity and parody. Every Korean knows a Picheolin, maybe even several. It’s Dino’s ability to channel and poke fun at the older generation that makes the character so compelling, coming from a man who in reality is in his late twenties.
The familiarity of Picheolin’s persona carries over into the choice of trot and electronica for the three MVs he released. Among them, “Crazy Crazy” really hit it out of the park. In it, Picheolin kidnaps a couple fresh off a breakup in his decked-out taxi cab and attempts to reignite their romance. Each of his schemes, though successful in his eyes, leads to another disaster: the flowers he passes a man make a woman sneeze her water all over her date; the woman chokes on the ring Picheolin hid in the dessert; an attempt at proving a man’s strength ends in the two men fighting and the woman caught between them. But dear Picheolin, in true ahjussi fashion, is blind to his failures. He’s lost in the sentiment of love — and sharing said love with the younger generation.
What the MV really nails are the details, and I applaud Pledis for the choice of settings like a mountaintop park and dabang — true ahjussi playgrounds. Every detail is so on point, from the hula hooping elders on the mountain and decorations inside the cab to the table coverings and plastic persimmons in the cafe. And yes, while it is parody, the track itself is a solid trot hit. Dino’s vocals could easily pass on Mr. Trot, and the lyrics are appropriately cheesy (“You left flowers blooming in my heart/ Only you could ever make me feel better”) while also leaving room for humor (“tears run, nose runs, tears run”).
Overall, it’s a great time that sounds like trot meant for another generation while thoroughly entertaining younger listeners with its core parody. Fans can look forward to what Dino does next, hopefully as himself, but Picheolin’s debut was a much-needed breath of fresh air this July.
Rescene, “Pretty Girl”
You’d have to be living under a rock this summer in Korea to not have heard of Rescene‘s iconic rise or the catchphrase “Gojae yaho!” For many, Rescene popped onto the scene out of nowhere, but they were not an overnight success. It was Woni‘s YouTube channel, made in February, that gradually endeared the group to Korean netizens, and thus introduced listeners to the stellar discography the group has built over two years. Following the runaway success of Minami‘s gyaru persona in Woni’s vlogs, along with other member cameos, curiosity and support for the group culminated in “Love Attack” topping the Melon 100 nearly two years after its release — where it’s still #1 at the time of writing.
Rescene’s success is as deserved as it is inspirational. A small agency miracle to add to the very short list, which we always love to see.
But now, what to do with all the goodwill and sudden interest in the group? The Muze Entertainment decided to release a cover of Kara‘s 2008 hit “Pretty Girl.” And that was a brilliant move. Those who may now know Rescene by name but not yet by their music will be familiar with the girl-group classic, and from there, the members’ charms can do the rest. Further, with guest appearances by Kara members during music show performances, Rescene have instilled themselves in the girl group canon.
“Pretty Girl” steps away from Rescene’s lore and the beautiful narratives of MV’s like “Runaway” to put the members front and center, which is exactly what has worked for the group so far. The MV itself is standard cute fare: youthful dancing around the house and cute animations just like the original MV. That’s unsurprising given the release is a digital single and The Muze is saving resources for the group’s next proper comeback — the one with real stakes. It’s enough to keep the momentum going while Rescene prepares for their next step and the challenges of creating longevity after virality.
Yeonjun, “Ice Cream”
Since his solo debut with “Ggum,” Yeonjun has not shied away from taking risks. His first EP, No Labels: Part 1, challenged genre conventions and opted for a full-album, cinematic MV instead of a standard title-track MV. No Labels Part 2, released in July, is its predecessor’s foil, intentionally leaning on R&B and hip-hop for a more radio-friendly Yeonjun. And that’s not necessarily a bad thing.
At the helm of the release is the title track “Ice Cream,” which is perhaps his most conventional solo release to date — “Ggum” was polarizing, “Talk To You,” though artistic, slightly less accessible to the general public. It relies on a strong beat and sparse melody for its groove, and Yeonjun’s charisma to carry the rest.
Yeonjun is a born performer, and the MV forgoes plot in order to make this known. Set in Prague, Yeonjun wanders through sets in the sweltering summer heat as ice cream melts around him. The MV’s focus is, rightfully, on the choreography that Yeonjun helped create. The moves themselves are the kind that if any layperson did them, they would look ridiculous. But when it’s Yeonjun and his team of professional dancers, they look cool, a little unconventional, and refreshing. There’s an ease to “Ice Cream” that stands out from his previous work — a kind of effortless cool that Yeonjun is so good at selling.
Whether or not the track is truly “radio-friendly” depends on one’s ability to grasp metaphor, but that’s neither here nor there. It’s the kind of track that plays in convenience stores and gets stuck in your head without really giving consideration to what it’s saying. In short, it’s summer- and public- friendly.
Yeonjun has proven his vocal abilities through TXT releases, and as much as I would love to hear more vocals rather than talk -singing in his solo discography, it’s clear where his inspirations lie. One thing we can always count on is for him to push himself artistically. Somewhat counterintuitively, by leaning more conventional, Yeonjun has done just that with “Ice Cream.” He’s proven he can rock out one minute, and release a summer bop the next, expanding his own musicality and possibly drawing in some new fans.
fromis_9, “Vitamin Me”
Fromis_9 were not immune to the citrus trend that seemed to overtake girl group concepts this summer, but they may have pulled it off the best sonically with “Vitamin Me.”
After departing Pledis in 2024 and regrouping as five, fromis_9 have found new life under ASND. The label switch has presented them with their first music show win for “Like You Better,” a world tour as well as a Japanese debut. However, Korean releases have been somewhat sparse, and fans were getting anxious. That is why the announcement of Glow Me in June came as a relief.
In true fromis_9 fashion, the standout of “Vitamin Me” is the song itself. Its unconventional melody is playful and bouncy, keeping listeners on their toes, while the lyrics are coy and playful. Fromis_9 are not wrong in comparing themselves to vitamins; the track is an instant energy boost perfectly suited to summer. And, best of all, it runs over three minutes with a full bridge.
The MV is more of a toss-up. On the surface, it’s a pretty conventional K-pop summer MV featuring parasols and swimsuits with montages of fruit thrown in — all very cute. Viewers aren’t really meant to take a closer look; that’s what the company was counting on. But once you do, you realize that “Vitamin Me” is not just thematically all over the place. What on the surface is framed as a much-needed beach and poolside escape is actually quite uncanny: People lift weights in the middle of an arena where there’s also a boxing ring; someone swims(?) on a traffic barricade; a man fishes on a paved track without line; there’s a “Barber Shop Open” sign just among the exercise equipment; and something is off about that person pouring juice over their head… Wait, wait, oh no.
It’s a bit disappointing that generative AI is becoming so prevalent in the K-pop industry. In the case of “Vitamin Me,” the AI, credited to 999Yard Studio, is meant to add whimsy (and save budget on extras). But, like with most AI-generated aesthetics, it is just weird enough to be distracting because something feels off. Which, at least for me, makes “Vitamin Me” lose some of its summer magic.
Ahof, “Run To You”
Since their debut in July 2025 with “Rendezvous,” Ahof has experimented with the pop-rock sound, mainly working with producer El Capitxn, who oversaw the group’s formation on Universe League. With only a few releases under their belt, they’ve managed to experiment with their sound, moving between upbeat, romantic tracks and more angsty, emotional releases.
Taking a step away from the heavier rock sounds of their previous release, “Pinocchio,” Ahof opted for a brighter concept for their July title track. That move risked becoming yet another upbeat boy group song buried in the wave of summer comebacks, but it did redeem them somewhat from the questionable pre-release “Sugar High” that completely deviated from the established sound. Light yet dynamic, “Run To You” is summer boy-group synth pop done right, and it leaves a mark.
With a punchy synth base and saccharine lyrics, the MV is geared towards showing off the members’ visuals and choreography rather than telling a story. Lyrically, there isn’t a ton to work with, so the title is taken quite literally: Half the MV is members running to nowhere in particular while they sing about devotion. Though equally poppy, it feels a step more mature than “The Universe,” in both concept and sound, and that growth is exciting to see from the group a year out.
There’s still a lot of room for the group to experiment within the pop-rock bubble. So long as they abandon whatever they were attempting with “Sugar High,” there’s a lot to look forward to from the rookie group.
(YouTube: [1] [2] [3] [4] [5] [6]. Images via F&F Entertainment.)
