The Boyz have pulled off a feat that once seemed impossible in K-pop: changing agencies with their entire roster, group name and music catalog intact. Now, they’re back with their first work under label One Hundred, presumably with greater creative control than ever. It’s interesting to learn what a group thinks their biggest strengths are, and if new single VVV is any indication The Boyz know themselves well. It’s an absolute knockout of a return.
Even before pressing play, I was struck by VVV‘s length. At nearly four minutes, this stands as one of K-pop’s longest title tracks in years and this space allows the song to fully develop its ideas. The song makes room for all those important, forgotten elements of music like a bridge, dance break, intro and outro. These pieces add such important context to pop music, painting a scene for the song to race through. And boy, does VVV race! The track never lets up during its four minutes, careening from one piece of aural candy to the next.
While VVV‘s chorus is a ton of fun, every element surrounding it is actually stronger. Its second verse is pitch-perfect — everything a second verse should be. The rhythm deepens, the pace strengthens and the song ratchets up another level, upping the stakes. Ditto for the extended bridge/dance break, which adds extra character to an already bombastic arrangement. Additional synth strings come in for the final chorus, ensuring the song never stays stagnant or becomes repetitive. It’s as if the producers have been reading this blog and addressing every criticism I’ve had about K-pop over the past few years. I’m honestly shocked a song like this has been released in 2025. Maybe we’re finally turning a corner. I estimate my rating will only grow with time, but for now I’m kind of bowled over by the sheer existence of this track.
Hooks
9
Production
10
Longevity
9
Bias
9
RATING
9.25