Among all the muscles that Joohoney strengthened during his mandatory enlistment in the South Korean military, his mind proved to be the most crucial. To manage daily tasks, the 30-year-old rapper realized he needed to develop a robust mental core — and that stability has seamlessly transitioned into his equally demanding civilian life as one-sixth of the K-pop powerhouse group Monsta X.

“I’ve always loved the phrase ‘just do it,’” he explains to Billboard, sitting next to bandmates Shownu, Minhyuk, Kihyun, and Hyungwon in a cozy L.A. studio (the final member, I.M, is recuperating from an injury back in Seoul at the time of the interview). “It was in the military that I took that further and started thinking, ‘No brain, no pain,’” he continues. “Right now, that’s pretty much been my approach. No matter what kind of challenge I’m faced with, I try not to get caught up in the moment and keep moving forward.”

Still, there was much to consider while creating their latest EP, The X, which serves as both a celebration of their decade together and a long-awaited return to form. Now having all completed their compulsory 18-month military service apart from I.M, the six members of Monsta X were eager to resume where they left off. “It’s been four years since we released a new album as a group,” says honey-voiced Kihyun. That’s nearly an eternity in an industry that moves as swiftly as K-pop. The gap weighed heavily on the recording process. “That was my mindset,” he adds. “We had to show what we got.”

The result is a display of remarkable stamina. Sophisticated B-sides (“Savior,” “Tuscan Leather,” “Catch Me Now”) speed light years ahead of peers, unrivaled in their sensuality. But ground-shaking, Dem Jointz-produced banger “N the Front” sends the boldest message — Monsta X remains at the top of their game, it seems to say, leading the charge not only for their generation of K-pop but also setting the standard for an entire industry from which they just took an extended break.

That spirit is embodied by the chest-puffing lead single “Do What I Want,” which I.M mentions over email that he hoped would “shock” fans. “Yup, it’s been a while since I crushed this race, ya/ You already know I have the pace of a stallion,” his writing partner Joohoney brags in its lyrics. This isn’t empty bravado either. In the year-and-a-half off, he created 40 songs, mostly while on vacation. “I wouldn’t say I felt like I needed to catch up on lost time once I got back,” the rapper shrugs. “I knew that I’d get back into a rhythm.”

Today is yet another test of the group’s endurance. While endless rounds of press stretch into the evening, Monsta X sets a tempo and refuses to waver, cracking jokes and hyping each other up while attempting English. As always, no time or effort is spared in preparation for KCON LA — a homecoming to the stage Monsta X first played just months after debut — and the subsequent album release. Recently, though, there’s been a new wrinkle in the members’ schedules: shooting TikToks, which they manage to squeeze into short breaks between two sit-down interviews.

“These days, the trend is short form,” explains Minhyuk. It’s not exactly a development he appreciates, he says with faux indignation. “But I can’t change the world.”

Regardless of whether he’s exaggerating for comedic effect, there’s truth in what Minhyuk states. “It feels like we’ve moved away from appreciating whole music videos or entire songs,” he adds. “Now it’s more about whether there’s a moment that will go viral.”

The critique almost makes you forget that the singer is only in his early thirties. Yet while the six members aren’t quite elder statesmen of K-pop, they’ve witnessed some seismic changes take root over the past decade.

What really stands out though? The ways in which the industry has remained unchanged: Monsta X was originally formed in 2015 through a brutal Mnet reality show that put talented young hopefuls through intense challenges for potential spots in the lineup. These programs still exist today despite their mental and physical toll on contestants.

Returning as a mentor on a similar show earlier this summer, Kihyun felt as though he had stepped back in time. “All of this must be really tough,” he recalls thinking during filming. “I’ve been in their shoes; I felt like I knew exactly what they were feeling.” It stirred within him both sympathy and awe: their earnestness reminded him of their journey’s beginning when they were uncertain if making it would even translate to success in reality. As he considered “the challenges they will have to face,” he realized those were once ahead of him as well.

Monsta X debuted as adults aged 19 to 22 — hardly common practice since K-pop labels seek to maximize viable years for their boy groups. Kids are often scouted as early as elementary school when they are still growing up and figuring themselves out,” Minhyuk points out while scratching his neck. “This usually means idols learn to manage and reciprocate love and attention from fans before truly taking care of their own mental health.” He continues candidly: “I personally think this is one of K-pop’s bigger flaws.”

He offers wisdom to fellow idols: “My wish would be for those in K-pop — those making music and performing for audiences — to learn to put themselves first,” says the singer. He doesn’t have all the answers but hopes those at the top can work toward establishing guardrails for artists’ well-being. Joohoney, who took a hiatus to manage anxiety in 2020, speaks frankly: “I also think it’s important for companies leading the K-pop industry to genuinely support and respect their artists,” he states bluntly enough to elicit laughter from his members.

One such show of respect involves allowing groups to define their own identities. In the past decade, Kihyun notes that “things have already changed significantly” regarding this aspect; however, offering input remains an ongoing struggle.

“Idols aren’t merely executing what their companies have planned,” he explains. “We see more involvement than before; however, it doesn’t mean everyone has complete freedom.” In an ideal world, he adds, it would be fulfilling if they could have agency over creating albums that inspire them.

In this area, they have long been pioneers. While Monsta X operates under Starship Entertainment’s direction, Joohoney and I.M have also contributed significantly to many songs since inception. Over time they progressed from writing rap verses to taking on more substantial roles producing and directing groupmates during recording sessions; others — including former member Wonho — have also joined in writing.

Hence if K-pop idols are taken more seriously as artists now, Monsta X has played an essential role in breaking down stereotypes surrounding them. “I once saw an interview where someone said ‘K-pop is not real music,’” Joohoney recalls. “Of course, I acknowledge there may be aspects leading others in music industries to feel that way.” The business side of K-pop doesn’t always convey sincerity and authenticity,” clarifies the rapper. “But it makes me proud knowing that K-pop has become its own genre.”

K-pop has left an imprint larger than mere marketing — it has influenced new global sounds while remaining uniquely adaptable. While K-pop may draw inspiration from various genres, its changeability and experimentation ultimately create its own distinctive essence. Hyungwon notes that many different kinds of music loved worldwide bring new colors into what we consider K-pop: “Out of that come these new shades,” he says. “I think we’ve entered an era where artists are consistently pushing themselves to explore new techniques without feeling confined to one genre.”

If there’s one word to describe Monsta X, it’s “boundless.” That’s how they became only the third K-pop act to reach Billboard 200’s top ten after all; in 2020 they released All About Luv, introducing not just language but everything new: bass-heavy hip-hop replaced with radio-friendly pop hooks; rappers showcasing singing skills (which they excel at); overtly sexual lyrics supplanting softer innuendos; then again demonstrating versatility with The Dreaming released in 2021.

“It takes great skill and talent for Korean artists to write and release albums in languages other than their own,” Hyungwon states proudly regarding these two previous works; “Our group along with other K-pop artists participate in this endeavor which isn’t commonly seen elsewhere.” So can we expect another English album? “Spoiler,” Joohoney quips playfully; yet with major global ambitions intact it seems only time will tell.

“We want to be part of this big K-pop wave,” Shownu suddenly interjects; finally stepping into speaking after mostly allowing his members handle that duty; surprising for several reasons: aside from U.S chart milestones achieved by them as prolific creative forces within K-pop industry—what more could they prove?

“Not enough,” he replies firmly; “More into this big wave.” But that’s precisely what they’ve been asserting all along: The only ones who can set Monsta X’s limits are themselves.

Additional translation provided by Claire Min.