A rookie K-pop group rarely introduces themselves by flaunting the middle finger—but LNGSHOT did. With a gesture that borrows from the ethos of anti-authority forebearers, they made their first impression on the world: one that suggested true rebellion against the mainstream. But once they released their work, the message faded like mist.
Jay Park rolled out LNGSHOT, a new group under his label More Vision, in Sept. 2025. The concept promises a blend of hip-hop and R&B wrapped inside a modern K-pop formula. But the sound across their first album, “4SHOBOIZ MIXTAPE” and the debut EP, “SHOT CALLERS” rarely brings any of the grit the group swears it has.
Released on January 13th and 16th respectively, the album and EP quickly gained attention. A good part of the recognition originated from their first hit, “Saucin”, but also the obvious controversy in surrounding their PR – flipping the bird in teaser photos and a statement in support of Tory Lanez’s freedom, a hip-hop artist convicted of assault via firearm.
LNGSHOT’s tagline reads like dogma: “A last blow to flip the scene against all odds.” But listen past their branding, and the name starts to feel cosmetic.
The lyrics, in much of their work, lack a special kick. The themes run circles around rookie underdog clichés with lines like, “We chillin’ in the backseat, yeah, cuz we livin’ that dream, yeah.” The production polish doesn’t help either – it wipes any trace of personality.
Here’s a quick test: Is it 2020 Drake, or LNGSHOT? Both spam lines like, “So shawty hit me with the Facetime” and “Baby girl, you’re on my wishlist, sheesh.” Rather than rebellious, they sound interchangeable.
The group released 15 tracks through the two records, four of which are the exact same song sped up or morphed into a poorly timed Christmas carol remix…in January.
“Trust Myself”, “좋은 마음으로”, and “Thinking” stand as the only tracks that show any potential through Ryul, the member that penned those songs. The emphasized hip-hop references like grittier beats and deeper lyrics offer substance beyond a set of recycled, polished sentences.
The instrumentals fall short as well. By the time LNGSHOT made its debut, tracks with a similar bass-heavy, hip-hop inspiration and rebellious tinge already went viral. Anywhere from NCT 127 to CORTIS exist a handful of tracks like “Backseat.”
A “final blow” to flip the mainstream? With what? They need to drop the overused preset of a waxed-smooth Weeknd and early Justin Bieber over a sterile beat of a lockdown-era trap producer.
All in all, their tracks sound like they’ll become a playlist favorite for Hongdae fast fashion stores. Most of their tunes sound nothing like their “flip the scene” concept. The longshot branding promises risk, but the music chooses safety.
