#50: HER by Minnie (of (G-IDLE))

Minnie’s been a writer for (G)I-DLE for a while now, favoring the ethereal, the synthy, and the quietly emotional in songs like Moon or Escape from their past albums. And here those things are in full force, in seven songs written by her, and two featuring her friend Ten of WayV and bandmate Yuqi. There’s the runway-ready, ultra-confident title track Her, the breezy summer sound of Obsession, and the seductive trap-inspired Blind Eyes Red, just to name a few. It shows so much promise for her, both as a writer and as a soloist.

#49: Russian Roulette by Red Velvet

What to say about this EP? I love the entire album, and it’s so hard to choose a hidden gem. Russian Roulette is a love letter to the 50’s and 60’s; all of the different combinations of doo-wop, synth, and other vintage genres create a sugary pop explosion with a delightful bit of sour woven in here and there for good measure, from the Girls Generation esque Fool to the bubblegum Bad Dracula. If you’re looking for midcentury pop, you can’t do much better.

#48: House On A Hill by Eric Nam

Eric Nam both is and isn’t kpop, and in fact House On a Hill is all in English. But there’s no denying that this album is great, from the acoustic-driven, vulnerable House On A Hill to the minimalistic, piano-led Exist, to the slowly growing synths and clever turns of phrase in Hypochondriac. Its contrasts between life on a stage and the moments after are powerful, and it manages to come across as both honest and a little tongue-in-cheek.

#47: One Shot Two Shot By BoA

Though I know BoA’s more known for the 16-track albums of her earlier work, I think 1 Shot 2 Shot is less than half that length and more than twice as good. There’s the minimalistic electro sound of Everybody Knows, the funky edge and bits of rap in Nega Dola, the synths of Recollection, and, my personal favorite, the runway-ready disco sound of Camo. And beyond all that, BoA carries off the six songs with an enviable amount of off-the-cuff confidence that only comes with a quarter century in the kpop industry.

#46: Muse by Jimin (of BTS)

Muse is actually Jimin’s second album, and in my opinion, his strongest. It has all the things that you’d expect from him: the Michael-Jackson-esque dance moves, the retro influences, and of course, that distinctive voice. And all of those things are on full display here, with some extra moments of flair, from the carnivalesque Smeraldo Garden Marching Band to cinematic opener Rebirth to the cying-on-the-dancefloor single Who (and its great rock remix). Basically, Jimin is Jimin-ing once again, and we’re all better off for it.

#45: On My Youth by WayV

A little like Eric Nam, people debate whether WayV is kpop or not (since they mostly sing in Mandarin), but for the purposes of this, they absolutely are. They have some strong pieces, sure, but as a full album On My Youth remains my favorite. Besides the title track—whose melding of hip-hop and emotional R & B makes it one of their best—there’s the vulnerable, lyrical Lighthouse, the easygoing Be Alright, and the catchy Invincible, which, though they’re great separately, show a more mature, introspective side when they’re put together.

#44: Call Back by Choi Minho (of SHINee)

Minho’s always been a strong artist, but he’s often overlooked in SHINee, especially next to Jonghyun and Taemin. In this album he really gets the chance to shine, marrying his usual coffeeshop style with synths like in Came And Left Me, jaunty piano like in Slow Down, and classic ballad sounds like in Because Of You. It excels at a laid-back kind of catchiness, staying true to Minho’s preferred sounds while doing some long-awaited exploring. The main word for it is probably “comfort”; it feels like a gentle, warm hug.

#43: 2NE1 by 2NE1

When I first listened to 2NE1’s 2NE1, I was expecting an album full of posturing, but to my surprise, that’s not what this was, instead being far more open and genuine, absolutely to its benefit. There’s the percussive texture of In The Club, the tongue-in-cheek fun of Pretty Boy, and the softer, more vulnerable delivery combined with catchy EDM in I Don’t Care. And of course, there’s the now-iconic single Fire, which an earworm without being irritating, something far more difficult than you’d think. It’s difficult to embody so much confidence without seeming like you’re trying too hard, and the fact that they’d just debuted only makes it more impressive. It’s such a great introduction to the band.

#42: WHY by BoyNextDoor

BoyNextDoor’s pretty well known for their peppy, wholeheartedly poppy sound, but at the same time, it’s a sound often not appreciated as much as more “serious” ones like ballads or a more acoustic singer-songwriter one. But the songs in WHY prove this wrong—every track is bright-eyed and bursting with joy, from the classic, sunny But I Like You to the choppy hip-hop of One And Only to the ultra-catchy Serenade, which is delightfully dramatic in the way only a group of teenagers could be. It would win even the most cynical person over in a heartbeat.

#41: The Billlage Of Perception by Billlie

Billlie has a lot of great albums, but The Billage Of Perception (Chapter Two) is in a class of its own. From the start, it’s wonderfully, unapologetically weird, from its one-of-a-kind song titles to its blending of genres like stadium rock, R&B, and solid pop to its wide range of inspirations. And somehow the whole thing just works. There’s the anthemic, percussion-heavy single Ring Ma Bell and the strange, surprisingly emotional little ballad B’rave ~ A Song For Matilda and the off-kilter MacGuffins ~ Who’s The Joker. Is it perfect? No. But it’s undeniably charming, and undeniably comes from a place of such pure love.