TAEYONG stands on a busy corner in Gwanghwamun Square, his icy hair slicked back, looking like an extraterrestrial being that was precipitously beamed down on the streets of Seoul.
In reality, the idiosyncratic NCT rapper’s return wasn’t out of the blue, as these teaser photos for his debut LP WYLD would seem to suggest — of course, it’s the product of meticulous planning. Yet they do wonders to illustrate how the homecoming feels. Say goodbye to monotonous and pedestrian concepts; one of K-pop’s true eccentrics is back.
It’s been a long time in the making. Rather than enforcing a strict two-year break from his primary job, serving in the military band gave TAEYONG even more time to think about music; during leaves, he squirreled himself away to write song lyrics. Upon discharging last December, the now-30-year-old immediately set out to show that the effort paid off, to prove that he had leveled up his skills from previous EPs SHALALA and TAP.
“Back then, I never thought that my music skills were at all complete,” TAEYONG tells Billboard over Zoom. “During the time I stopped all music promotions, I reflected on what the problems were and what I was better at these days. As a trainee, I dreamt of the artist I hoped to be someday.” He pauses. “I think I’m closer to that dream now than ever before.”
The comeback lands at just the right time, too. As NCT celebrates its tenth anniversary in 2026, the sprawling boy band, once conceived as having ever-expanding membership, looks to have officially hit its ceiling in that regard. This April, NCT 127 and NCT Dream’s pivotal player MARK left the group, while WayV’s superstar dancer TEN parted ways with SM Entertainment. (Likewise, following the debut of NCT WISH in 2024, there are reportedly no more new sub-units on the way.)
But trust TAEYONG to rep for the Neos. Throughout WYLD, he nods to game-changing moments from his team’s history: The title track alone both seemingly interpolates “INTRO: Neo Got My Back” — iconic opener of NCT’s 2018 album EMPATHY and a fandom touchstone — and cribs a key move from the choreography of NCT 127’s signature hit “Kick It.”
As a founding father and the de facto group leader of NCT, he’s long proven particularly adept at understanding its “neo” sound. (How many can truly say they rocked with the “Sticker” flute upon first contact?) Suggest this to TAEYONG and he demurs, but those fingerprints — abrasive textures, swerving beats, odd one-liners that stop you in your tracks — are all over his latest project.
Because he had a hand in making each track, WYLD offers a peek at the inner workings of TAEYONG’s weird and wonderful brain. Even on songs that are generally what they say on the tin (“Hypnotic,” “Feeling Myself”), delightful quirks abound. He drops bars about bug scientists; his flow often pinballs off in directions impossible to predict.
As a prelude to this new and improved era, he also fittingly kicked things off in March with the rap-heavy Anderson .Paak collab “Rock Solid,” which all but eschews typical pop song progression.
Though the credits are thinner than ever, TAEYONG is quick to give his collaborators their flowers. Since self-production has become K-pop’s most marketable buzzword, there tends to be some tricky sleight of hand surrounding the extent of idols’ creative input — so it comes as a welcome change of pace to hear him shout out a music video director or buddies he’s made music alongside since his SoundCloud days by name.
Below, TAEYONG discusses how this joint effort — on top of his relentless work ethic while in the Navy — shaped WYLD into what the NCT leader believes is his most evolved work yet.
When did you start working on WYLD?
While I was in the military, I prepared for the album bit by bit. The plans for after the military were still up in the air, but I like making music, so I kept making songs. The title track, “WYLD,” was made right before discharge, around last December, in a final push to make something. Fortunately, it was selected by the company and became the title for the album.
Did serving in the military band influence the way you think about music at all?
In the military, we use live sessions. So my understanding of instruments increased a lot. I’m not sure how those experiences helped in my music-making process… But I had a lot of time to organize my personal thoughts about music, and I think that was really helpful.
What was the idea behind the concept?
The original concept was “animal.” After being discharged from the military and entering my thirties, I had the thought to change my image. Something more manly, more adult, more sexy, was what I had in mind.
In the album teasers, you’re muzzled and trapped in various kinds of cages. What inspired those visuals?
After the two of us worked together for the “SHALALA” and “501” music videos, I think that [“WYLD” MV] director Lafic had a much deeper understanding of me. He put a lot of thought into what would suit me best and didn’t hold back.
In the military, I was essentially trapped for almost two years. The thirst and desperation I felt during that time are reflected in [the visuals]. I wanted to shatter my old self and emerge as a new artist, a new me.
Why was it important for you to write or co-write the lyrics to every song on WYLD?
SM gives me a lot of opportunities and trusts me. So, for me, writing my own music has become the expectation. I think the company thinks that, since it’s TAEYONG’s story, it’s only right to use TAEYONG’s lyrics.
You mentioned that you enjoy incorporating brand names into your songwriting, but SM advised against that. What other feedback did the company staff give you?
There was a lot of feedback and many changes. In the song “Hot,” there’s a part where I do a sort of hip-hop homage. Originally, they wanted that whole part cut, but I made my case and got to keep it in.
There were some really unexpected references on “Skiii.”
Honestly, my producer friend [PixelWave’s] Squar and I made this song just for fun. The company rejected it at first, saying it’s too difficult to absorb, that there are too many beat changes. But after seeing the reaction it got during the concert, it was undeniable. I think this song was a moment where I got more recognition from the company.
I had to do some Googling, especially for the line, “But I protect the environment like a Fabre.”
All Koreans likely know about [nineteenth-century French entomologist Jean-Henri] Fabre since elementary school because there’s this picture book written about him. [Laughs.] I included that line because I see him as someone close to and in tune with nature.
This is surprising. I didn’t realize some people wouldn’t know him.
How does WYLD‘s “404 Euphoria” connect to the other two songs in the “404” series from SHALALA and TAP?
While I was in the military, I would come home during leave. Each time I was home alone, seeing myself laundering the same clothes, I felt empty. I tried to capture that feeling in this song. Originally, 404 wasn’t part of the title. But as I worked on the song, it became deeper and more of a reflection of my inner self, making me add 404 to it. At the time, meeting fans and having concerts [in the military band] was like a sort of euphoria.
On all three projects, you’ve worked with a core group of producers: PixelWave, Royal Dive, Zayson. How influential has it been to collaborate with the same people?
I’ve known them for a long time. When I first started making music, I knew nothing. It’s not easy to work with someone like that for six, seven years. But we also got closer as people, and started sharing our dreams and problems. The company has suggested different producers and collaborators, but the reason I choose to work with this team is that, rather than someone who is good at producing beats, I think music is meant to be made with people who know me well, who I can share my emotions with.
What have you learned from them?
I haven’t learned anything. [Laughs.] They grew with me. Back then, even they weren’t as good as they are now. We used to chastise each other, saying we have to make things like this, we have to do it like this. Maybe it’s because they also weren’t perfect that we became close.
You also reunited with frequent NCT 127 producer Dem Jointz for “Rock Solid.” How was that?
It was so hard. The instrumental demo wasn’t one that used an ordinary rhythm. There was a lot to learn and for me to improve on, whether it was the method of production or vocalization.
There was this debate in the studio about whether that song needed a more traditional chorus so that its structure would be recognizable to K-pop fans. You ultimately decided against it, but did you feel that tension while making WYLD, as well?
I just do what I want, what I feel drawn to make. Making music is where I feel happiest and most at peace. If I were constrained in any way, I think I would lose a lot of the desire to make music at all.
So we make whatever we want to make at that moment, spontaneously. Even if it’s [just recording] nonsense whistles or a chanted melody, we make music in a variety of ways.
I heard you were having stress dreams while touring. Are those still happening?
Yes, even recently, I keep having nightmares. I think I only have nightmares these days. There was one where I had a piece of glass stuck in my foot. But in Korea, we say, “Dreams are the opposite of reality.”
Oh, interesting. The dream you talked about was of fans saying your performance wasn’t good, so I’m sure the opposite will likewise pan out in reality.
I’m relieved you think that, too.
When I interviewed NCT’s Doyoung for his debut solo album, he said you gave him a lot of support in the run-up to its release. Did he return the favor this time?
He actually contacted me yesterday. Even in the military, he keeps in touch. Yesterday, he said that he’ll repost the album when it comes out, asking me if I know how valuable that is [because they have limited phone access in the military]. I told him I was grateful. [Laughs.]
Did anyone else from the team give you feedback?
The members haven’t been able to listen to all the songs, but everyone is rooting for me. They do things like send snacks while I’m filming the music video, which makes me feel supported.
In the lyrics of “I’m a Dancing Cactus,” there’s a reference to NCT U’s groundbreaking debut single, “The 7th Sense.” Was it top of mind for you because of its recent 10th anniversary?
“The 7th Sense” is a song that’s meaningful to every member of NCT. In the 10 years since, I don’t think there’s been another song like it — the song is such a symbolic one. That’s why, for “I’m a Dancing Cactus,” I wanted to shout it out.
I see you as one of the biggest champions of NCT and its “neo” sound. Since there have been so many changes with the group recently, what do you envision for the future of NCT?
I’m thankful that you think of me that way. I don’t think I am, but I am grateful. I think NCT Wish will become one of the key parts of NCT — they work so hard, and I get inspired when I see them perform.
As a senior, leader, and older brother, my focus is to lead the team well. Doing that, I believe what’s to come will be cooler, more neo, and more of the music and performance that is unique to us.
Additional translation provided by Gene Kim.
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