Yeonjun Leads Billboard World Albums Chart As K-Pop Releases Crowd Top Rankings

TXT member Yeonjun opened a new week of K-pop chart activity with a No. 1 debut on Billboard’s World Albums chart, as his solo mini album NO LABELS: PART 02 entered the ranking at the top for the week ending July 25. The release also gave Yeonjun another appearance on the Billboard 200, extending the commercial profile of his solo work beyond genre-specific tallies.

The result stands out because the latest World Albums chart is crowded with Korean pop releases across several different stages of their life cycles. New projects, multiweek performers, long-running catalog albums, and recent debuts all appear together, showing how K-pop’s international chart presence is being sustained by both immediate comeback demand and durable fan engagement.

Yeonjun’s No. 1 placement reflects the growing market for solo projects from members of major idol groups. While TXT remains a central part of his identity as a performer, a solo release tests a different kind of audience connection: fans are not only following a group comeback schedule, but also responding to an individual artistic statement. A chart-topping World Albums debut gives that solo lane a measurable global marker.

ATEEZ, CORTIS, And LE SSERAFIM Hold Strong

ATEEZ remained close behind with GOLDEN HOUR : Part.5, which moved to No. 2 after spending two weeks at No. 1. The mini album also continued its Billboard 200 run at No. 54, a sign that the group’s latest release is still drawing enough U.S. activity to remain visible on the broader albums chart.

CORTIS also had a strong week, with GREENGREEN ranking No. 3 in its 11th week on the World Albums chart and continuing on the Billboard 200 at No. 132. The group’s debut EP COLOR OUTSIDE THE LINES added another layer to that showing by staying on the World Albums chart at No. 15 in its 45th week, giving CORTIS both a current-release presence and a long-tail catalog presence.

LE SSERAFIM’s PUREFLOW held steady at No. 4 in its eighth week, maintaining the group’s visibility near the top of the ranking. aespa’s LEMONADE also climbed to No. 6 in its seventh week, while BOYNEXTDOOR’s HOME placed No. 7 in its fifth week. Together, those positions point to a chart environment where girl groups and boy groups are sharing high-value space rather than rotating in and out after a single debut frame.

Catalog Albums Remain Part Of The Story

BTS continued to demonstrate unusual catalog strength. The anthology album Proof, first released in 2022, rose to No. 5 in its 214th week on the World Albums chart. The group’s Japanese album Map of the Soul: 7 ~The Journey~ also remained on the ranking at No. 18 in its 37th week. For an industry often focused on fast comeback cycles, those placements show how older releases can keep finding listeners and buyers long after their promotional windows have passed.

Stray Kids had two albums on the chart as well. KARMA reached No. 8 in its 47th week, while the special album DO IT appeared at No. 16 in its 34th week. Multiple entries from one act can indicate a fanbase that continues to support a broader discography rather than concentrating activity only on the newest release.

Other acts added to the depth of the list. ILLIT’s MAMIHLAPINATAPAI ranked No. 10 in its 11th week, while SEVENTEEN unit V8’s self-titled mini album placed No. 11 in its second week. i-dle’s new EP We made debuted at No. 12, giving the chart another fresh entry from a major girl group with an established international following.

NewJeans’ 2023 mini album Get Up also remained present at No. 19 in its 149th week, while ENHYPEN’s THE SIN : VANISH held at No. 22 in its 26th week. Those longer runs underline one of K-pop’s most important commercial advantages: releases often function as ongoing fan objects, supported by streaming, collecting, discovery, and community-driven listening long after launch week.

The July 25 World Albums chart ultimately reads less like a single-artist victory lap and more like a snapshot of K-pop’s layered global market. Yeonjun’s solo debut took the headline position, but the surrounding rankings show a field where established groups, newer names, units, soloists, and catalog titles can all compete at once. That mix is a sign of scale: K-pop is no longer relying only on isolated breakout moments, but on a steady network of artists and fandoms capable of keeping Korean releases visible across international album charts week after week.