“Jump” (2025) was, apparently, a telling preamble for Blackpink’s music direction.

With “Jump,” Blackpink signaled a pivot toward a harder EDM sound, which the quartet fully embraced with what may be its most experimental lead single yet: “GO.”

Released on Friday, “Deadline” is Blackpink's third EP and its first new album in more than three years since its second full-length album, “Born Pink” (2022).

The fact that this is only the group’s third EP remains startling. While longtime chief producer of the group, Teddy Park, has previously mentioned that Blackpink is meticulous about what it releases, the group’s discography has often felt sparse, especially by K-pop standards. That is one of the reasons that “Deadline” feels particularly refreshing, a sign of an expansion of the group’s musical and visual scope at the start of a new era.

The EP reflects not only Blackpink's evolution over nearly a decade but also the individual growth of its members, who have since developed distinct personal styles and parted ways with YG for their solo careers.

The lead track, “GO,” lists Chris Martin of Coldplay, Henry Walter, Danny Chung of The Black Label and all four members of Blackpink as its songwriters, with production led by Cirkut and Teddy.

Featuring elements of midtempo bass music — defined by its heavy bass line and futuristic vibe — and dubstep, the song is a full-fledged club banger anchored by a punchy chorus of the members shouting, “Blackpink’ll make ya / Go!”

For casual listeners accustomed to the hip-hop-leaning dance-pop of earlier hits, such as “Ddu-Du Ddu-Du” (2018), “Kill This Love” (2019) and “Shut Down” (2022), the song marks a clear departure from the group’s previous releases. As with “Jump,” which caught many off guard last year with its techno inflections, “GO” doubles down on Blackpink’s EDM experiment with a thunderous drop.

But the second verse, which starts with Lisa’s rap, followed by Jennie’s, grounds the song in the group’s unmistakable signature style, thereby making the track more of an evolution rather than a reinvention.

That sonic intensity is also reflected in the music video. The echoing synths evoke a kind of sci-fi flair, with the visual elements of the video recalling the sandy and psychedelic settings of Denis Villeneuve’s “Dune” (2021–) series — while still incorporating a distinctly Korean touch through traditional patterns and motifs woven throughout the scenes.

Unlike Blackpink’s previous music videos, known for their lavish physical sets, “GO” relies heavily on CGI and AI-enhanced visual effects. These, combined with the visual elements, create a sleek, otherworldly backdrop that mirrors the song’s futuristic edge.

Other than “Jump” and “GO,” the album balances experimentation with the familiar. “Me and my,” the third on the tracklist, returns to a classic Blackpink hip-hop sound. Meanwhile, “Champion” — produced by Dr. Luke and written by Lukasz Gottwald, Theron Thomas and none other than EJAE, the vocal powerhouse behind Rumi, the protagonist of “KPop Demon Hunters” (2025) — is a rock-infused, chant-heavy empowering song that plays like an intriguing hybrid of two different tracks.

The closing track “Fxxxboy” softens the mood, reminiscent of the emotional tone of Rosé’s solo discography. For this song, longtime collaborators of The Black Label such as Kush, Vince, Teddy and IDO, as well as Zikai and Courtin Jarae Edwards, were credited as songwriters and producers.

Ten years into its career, Blackpink continues to reach new commercial peaks, with “Deadline” selling 1.46 million copies on its first day, a new record for a K-pop girl group, despite pushing into unfamiliar sonic terrain. The expansion feels invigorating and perhaps fitting for a group whose very name has always promised a collision of contrasts.

BY SHIN HA-NEE [shin.hanee@joongang.co.kr]