Unsung Artists: August–September 2025

The end of summer featured releases from big names like Stray Kids, Ive, Aespa, and ZeroBaseOne. However, August and September particularly stood out for debuts (for both solos and new groups), as well as comebacks from artists who have taken a hiatus. Let’s dive into some of the late summer releases that made strong initial impressions by establishing a distinct sound and concept, presenting artists in a new way to audiences, or both.

Monsta X – “Do What I Want”

Monsta X’s “Do What I Want,” their pre-release single to their album The X, announces their return to music for the first time since 2023. Primarily written and composed by Joohoney, “Do What I Want” is a catchy club track, driven by thumping bass and a Brazilian funk sample. While it is the group’s first time exploring Brazilian funk, “Do What I Want” still has recognizable features of Monsta X’s sound: Joohoney’s energetic rapping, I.M’s confidently laid-back flow, and the vocalists’ soaring notes and pleasing harmonies, particularly from Minhyuk and Kihyun. It is a savvy move for the group to maintain some of their signatures while adopting a fresh sound.

The MV’s visuals are overstimulating (in a good way), utilizing quick cuts, split screens, and graphics that flash on and off screen. “Do What I Want” has an overall grainy look, as though filmed on a camcorder, and ironically embraces a retro aesthetic. Most memorable, though, are the Monsta X members themselves, playing goblins by wearing horns and pointed ears. As mischief-making goblins, they dance frenetically, make cheesy poses while working out, and wash cars while shirtless and wearing angel wings (or at least Shownu does). As a whole, the members embody the idea of doing whatever they want. Fun and cheeky, the MV is a memorable way to welcome Monsta X back to the industry.

Nana – “God”

Quite unexpectedly, Nana (After School) also returned to music this month as a solo artist with the bold, unsettling MV for “God.” Nana asserts several times, “We are all sinners,” and she is unafraid to portray human ugliness. Literally, she transforms her body into something grotesque in a scene where she sits in a tank wearing a nude bodysuit, with long stringy hair, pointy nails, and contact lenses that distort her irises. Nana utilizes her decade’s worth of acting experience to play multiple characters, from a person ‘reborn’ and crawling out of an egg, to the center of a cult-like group. In her expressive acting and dancing, Nana depicts the spiritual struggles conveyed in the song.

As a song, “God” is melodically minimalistic, with Nana murmuring the verses and the mantra-like chorus. Instrumentally, the song ramps up during the final chorus with its wailing electric guitar, but unfortunately ends shortly after that. To an extent, the abrupt conclusion works with the last line “I will atone, please tell me God,” as Nana’s plea goes unanswered. Ultimately, though, “God” leans on its artistic MV to complete its ideas and give it dramatic life. Through the MV, Nana fully commits to executing her vision.

AtHeart – “Plot Twist”

AtHeart, a new group under Titan Content (a company led by former SM Entertainment executives), also feature wild visuals for their debut MV “Plot Twist.” The MV plays with the “plot twist” part of the lyrics in its imagery, evoking horror and disaster films. One member wields an ax and chops a hole in a door, a la Jack Nicholson in The Shining. Another scene, depicting a fall from the top of a spiral staircase, recalls Hitchcock’s Vertigo. Even when not alluding to well-known films, the MV is filled with striking, surprising images, like a member wearing a gas mask covered in white lace, or another drawing a heart on her tongue with a crayon. Ending with scenes of a tornado, a room full of mud, and a wedding arch on fire, the MV effectively matches the lyrics, “You can’t read me – I’m not that easy / My feelings are a mess – Plot twist.”

While maintaining a subdued sound, “Plot Twist” also conveys ‘messy’ emotions musically. Set in a minor key, the song has a melancholy tone, but the garage beats buoy the mood somewhat. Opening and closing with monotoned harmonies lamenting “don’t know what you’ve got til it’s gone,” the song also gives off an eerie feeling. In that way, AtHeart set themselves apart from other soft-sounding 5th generation girl groups. While they have only just debuted, AtHeart show promise in pairing their music with a clever visual concept.

Chaeyoung feat. Gliiico – “Avocado”

Chaeyoung also demonstrates a strong vision for her solo music and aesthetics…a vision which could not be further from her previous work as Twice’s rapper. Both her pre-release “Avocado” and solo debut title track “Shoot (Firecracker)” reflect indie sensibilities and have quirky, surreal MVs. While “Shoot” offers an appealing hook and retro synth beat, the MV for the hazy, R&B-inflected “Avocado” stands out as more memorable. It is, after all, an MV that starts off with Chaeyoung being swallowed by an animated avocado pit.

“Avocado” is presented as an introduction to Chaeyoung’s album Lil Fantasy Vol. 1, with its music and visuals reflecting the fantasy theme. Her airy vocals and the laid-back guitar create a dreamy vibe that fits the narrative of Chaeyoung journeying underground, then rising up to fly toward a castle in the sky. As with AtHeart’s MV, “Avocado” has cinematic influences (Tim Burton films and the Japanese horror comedy House come to mind), but overall the aesthetics resemble her own fanciful artwork. With stop motion animation and brightly colored papier-mâché sets, the MV looks hand-crafted. This aesthetic is a particularly suitable choice given that Chaeyoung wrote and composed her own music; in all respects, “Avocado” reflects her imagination and creativity.

Haechan – “Crzy”

Like Nana and Chaeyoung, NCT’s Haechan made his solo debut in September, showing various dimensions of his unique vocals in the sleek pop R&B throwback “Crzy.” In the verses, Haechan’s voice grooves along to the strumming guitar instrumental. The song’s structure provides moments to demonstrate more range, from a rap section in the pre-chorus, to a slower, jazzier, melismatic switch-up in the second verse. The bridge peaks in a high note, proving that Haechan can deliver dramatic vocals.

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The MV is primarily set in an art museum, a setting where spectators may look at, but not touch, objects of beauty. “Crzy” utilizes this setting to explore the tensions between maintaining and losing control. Haechan’s character admires a woman in the museum, but she eludes him. He expresses his feelings for his love interest through spray painting graffiti on the walls around a painting. The editing also effectively uses match cuts of real-life objects with representations in painting to illustrate how Haechan is preoccupied with this woman.

The cleanly executed choreography, given ample focus in the MV, also balances control and release. The dance scenes in a rotunda are particularly visually pleasing, with the curves of the architecture contrasting with Haechan’s angular body lines in precise formation with his dancers. With its emphasis on vocals and choreography, “Crzy” is an effective showcase of Haechan’s considerable talents.

Woodz – “I’ll Never Love Again”

Another multitalented soloist, Woodz returns with his second post-military single, “I’ll Never Love Again,” which is consistent with the sound from his last album OO-LI. Like his surprise hit “Drowning,” this new song also harnesses Woodz’s full-throated, raspy wail for emotional impact. Its melodies and background choral harmonies in the final section, however, feel more reminiscent of OO-LI‘s title track, the anthemic rock ballad “Journey.” Instrumentally, “I’ll Never Love Again” feels full and varied, beginning with an organ before incorporating thrashing guitar.

Like the song, the MV captures the feeling of loss from the end of a relationship. The opening shot features the text “life is like a circle, keeps repeating itself.” Fittingly, the camera revolves in a 360 degree motion, showing pairs of people in different stages of their relationships. In one scene, an elderly couple dances, and then the camera pans to show the man in a wheelchair. The MV not only depicts romantic relationships, but also situations like a little girl losing her dog. It thus represents the universal truth that all relationships change over time, and one way or another, end. A series of match cuts, one showing close ups of people’s faces and another of pairs embracing, reinforces this idea.

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In the chorus, Woodz howls, “I’ll never love,” but that line feels like an expression of grief rather than an assertion to take literally. By the end of the song, Woodz starts to release the pain of heartbreak and loss. During the bridge, the ad-libs and background vocals intensify as Woodz runs alone, then takes flight. Meanwhile, the people in the MV also run forward toward an uncertain, but hopeful future. With its moving visuals and Woodz’s beautifully emotive vocals, “I’ll Never Love Again” takes its audience on a cathartic journey from heartbreak to acceptance.

(YouTube [1][2][3][4][5]. Lyrics via Genius [1][2]. Instagram. Images via Sublime, SM Entertainment, Edam Entertainment).