Another virtual idol group is set to enter the K-pop scene on Monday, as Owis debuts with its first EP, "Museum," at 6 p.m.
Owis — a five-member group consisting of Serene, Haru, Summer, Soi and Yuni — is drawing attention as the latest project led by chief creative officer Lee Hae-in. The debut marks her latest venture following her work on acts such as Kiss of Life and Close Your Eyes, raising expectations over whether her storytelling-driven approach can translate into the fast-growing virtual idol space.
"Museum" features eight tracks — an unusually large number for a debut EP — built around the concept of a “memory museum,” where emotions and experiences are curated like exhibits. The album traces a journey of rediscovering fragments of dreams once left behind in the real world, unfolding as a narrative across each track.
Several members, including Serene, Summer and Soi, participated in songwriting and composition, signaling an emphasis on musical identity alongside the group’s virtual concept. Summer contributed lyrics to the title track "Museum," portraying a journey of finding one’s own light within a dreamlike world.
The album spans a range of genres and themes, from the pop track "Airplane:143," which captures the feeling of being caught between reality and dreams, to R&B tracks such as "Juicy" and "Missing Piece," which reflect on lingering dreams that have yet to fade.
All tracks tie back to the group’s central concept. Owis — short for "Only When I Sleep" — explores the growth of a girl group chasing its dreams across blurred boundaries between fantasy and reality.
Beyond its music, Owis leans heavily into narrative-driven worldbuilding. The group introduced its members through webtoon-style visuals, detailed profiles and handwritten diary entries, gradually revealing the fictional universe and individual backstories.
The album’s museum concept extends into its promotional strategy. From ticket-inspired posters to audio guide-style content in which the members introduce each track, the debut is framed as an interactive experience, positioning fans as “visitors” within the group’s narrative world.
Owis enters a K-pop landscape where virtual idols are steadily gaining traction, as advances in technology and storytelling reshape how artists are introduced and consumed. While the format is still evolving, recent successes such as Plave suggest that virtual acts can build dedicated fan bases and achieve commercial impact — provided their music and performances meet mainstream expectations.
lee.jungjoo@heraldcorp.com
