Five months after debuting, most rookie groups are still finding their footing. LNGSHOT are releasing their third project.

4SHOBOIZ Vol. 2: 4SHOVILLE is the follow-up to the pre-debut 4SHOBOIZ MIXTAPE that introduced OHYUL, RYUL, WOOJIN and LOUIS back in November 2025, before they'd even released a single as a group. That first tape was LNGSHOT figuring out who they were on their own terms. This one puts Jay Park directly on the mic alongside them, not as MORE VISION's founder overseeing from a distance, but as a credited artist on the same eight tracks.

Jay Park built AOMG and H1GHR MUSIC as hip-hop labels before founding MORE VISION in 2022: K-pop idols, R&B, dance crews, hip-hop, all under one roof, run by someone who came up in the genre rather than adopting it from outside. 4SHOVILLE is where that identity gets tested in the open, with two of Korean hip-hop's most recognisable tracks, "The Purge" and "PUBLIC ENEMY", handed to LNGSHOT to remix.

The rest of the mixtape reads like a working diary. "YEAH! YEAH!" started as a pre-debut demo the group has mixed feelings about revisiting. "NO HI, NO HEY" came out of a song camp with BROCKHAMPTON's Jabari Manwa. "RUN IT UP" began as two members messing around over a type beat online before it became a group cut. And "GUKBBONG" leans hardest into where LNGSHOT are from, built around a hook and ad-libs the members recorded half by accident, in the middle of what OHYUL describes as the most purely fun session of the whole process.

There's also a word the members keep circling back to: "sweaty." It started as feedback from producer Lil Moshpit during a studio session and became the group's shorthand for the sound they were chasing across the tape, something raw and unpolished rather than engineered for radio. Ask any of the four what that means and you get a slightly different answer, which is, in its own way, the clearest evidence that the description stuck.

The mixtape landed before LNGSHOT step into the biggest test of their short career so far. In September, the group joins Jay Park's Serenades & Body Rolls world tour as his special guest, taking them through North America and, from October, Europe and the UK – their first major run outside Asia, not even a year after debut.

OHYUL I love the music video so much. Out of everything we've done—including SHOT CALLERS—this is probably the one I've watched the most. The first cut honestly blew me away. It follows the story of our trip to Europe, and I think it'll hit even harder if fans watch it with that in mind. It's also one of our longer tracks, so I feel like it captures our story better than any other song.

RYUL Since it's the opening track on 4SHOBOIZ Vol. 2: 4SHOVILLE, our second mixtape with Jay, we wanted it to set the tone for everything we're trying to do moving forward. We also talk about the things we're figuring out and what we want to continue doing. We were quite serious when we wrote this song. Instead of just acting and saying we're different, we wanted to show that authenticity is what makes us who we are.

When Jay completed the hook first and sent it to us, I instantly thought that the line "This is 4sho, It's not just for show" sounds like a punchline, but there's also a lot of meaning behind it. And since we wrote the lyrics, it made me feel like we really had to live up to those words.

WOOJIN My favorite line in "4SHO 4SHO" is "Don't need any other bros. Best believe me." We have so much respect for the music and artists that have inspired us, and we've been fortunate to have opportunities to connect with creatives from different places, including the U.S. For this particular project, we wanted to see what our own team could create together - just the four of us, Jay, and our producers, from start to finish. I'm really proud of what we created, and that lyric captures the trust and confidence we have in one another as a team.

"4SHO 4SHO" hits differently when you watch it with the visualizer. We filmed it in a run-and-gun style while in Europe, and it came out feeling really true to who we are. We had great chemistry with Jay as well.

LOUIS "4SHO 4SHO" is my personal favorite track out of this mixtape. I would say that this song feels kind of like a movie. It has been only six months since we have debuted, but we have this whole history with Jay. Also if you look at the visualizer, it feels very sentimental. TMI: we shot the video in France. I felt so grateful meeting our SHOTTIES in the streets. I also met my family. It has been like at least seven years since I have last seen them. It felt kind of emotional honestly. Overall, it was such a cool experience in France and the rest of Europe.

OHYUL Looking back, this is one of the songs I wish I'd done a little differently. Jay's talked about this before, but "YEAH! YEAH!" is a song we made before our debut. At that time, it was the best we could do, but listening to it now, there are definitely parts I'd do differently now.

It was a bit difficult for me as a trainee. Since I had mostly just done singing until then, I wasn't really used to working over a strong beat like that. Looking back now, it's a fun memory.

Honestly, I still cringe a little when I listen to my first verses. I feel like I could've sounded a little cooler, but that was my idea of being cool back then. I think it was a good process in its own way.

RYUL Honestly, "YEAH! YEAH!" is the reason 4SHOBOIZ Vol. 2: 4SHOVILLE even happened. We received feedback from our producer while shooting some content at his studio.

He said it would sound better if it sounded "sweatier." Basically, we became obsessed with the keyword, "sweaty."

So we went straight to the MORE VISION studio to figure out how to make a song that feels "sweaty" and our label producer happened to bring in the perfect beat. We really focused on making it sound "sweaty"—something raw and full of grit—and that's how it came about. To me, sounding "sweaty" meant you could actually picture us in the recording booth giving everything we had with passion, desperation, and hunger. I focused on that feeling when recording it.

WOOJIN "YEAH! YEAH!" is a song that just goes for it. The lyrics go, "I'm just me. I'm not sorry. This that new. What it do." It's basically our ambition in its purest form. Since this was the first song made for 4SHOBOIZ Vol. 2: 4SHOVILLE, it contains our raw emotions, passion and ambition. There is a part where we say "This ain't Carti, This ain't Travis." I'm not sure how people will feel, but I want to say that it was an homage, out of our respect for those artists. They are so iconic and deserve much respect. People get inspiration from other artists all the time, and listeners are always saying things like "this is so-and-so's vibe" when they listen to a track. I like this line because I think it's a way of showing who we are while still paying respect to the artists mentioned.

LOUIS "YEAH! YEAH!" is one of the more energetic songs. I feel like the lyrics are important for this song. It really describes us. "This ain't Carti. This ain't Travis. This 4sho. What you know." It's not us calling anyone out. It's just that we respect them and we take inspiration from them, but we do us, and we add our own style. My favorite part from this song is the hook that WOOJIN hyung wrote. I feel like it's very catchy and people could just sing with us while we perform.

OHYUL For me, "NO HI, NO HEY" and "YEAH! YEAH!" were the most difficult of the eight songs. In "NO HI, NO HEY," there is a part near the end where I have to sing higher, and I had a hard time pulling it off, so I got a lot of help from Jay.

I think Jay's part at the end is very touching. LeBron James got to share the court with his son, right? Jay put that into the lyrics, and the image of LeBron James and his son playing on the same court felt a lot like what we're doing right now as a team. It's a moving line and really stuck with me.

RYUL This song came together very quickly. We had the initial sketch down in almost a single day. At first, I wasn't really sure what the song was trying to say, but once it was mixed and Jay's verse was added, everything clicked. People may know us for our vocals and live performances, and although the lyrics may not be perfect, I hope this song shows that we have a clear message and a definitive vision of what we want to express.

WOOJIN We made this song during a song camp with Jabari Manwa of BROCKHAMPTON. My favorite part of this song is where the beat switches and Jay comes in with this really serious verse. He mentions our names and says, "This is something that can never be repeated." It was really touching because Jay arranged this part while we were out of the country. I remember the four of us listening to it in the car without Jay, and being so moved. It isn't trying to say anything overly complicated. It's a simple yet chill song.

LOUIS We basically made this song in around six hours total. We had Jabari from BROCKHAMPTON join us for this track. My favorite part from this track is the hook. It's very catchy. We haven't really performed it yet, but I feel like it's gonna get the biggest sing-along out of all of our songs, so I'm really looking forward to performing this song.

Also, this song is about a girl. It doesn't really sound like it's about a girl but it is.

OHYUL When LOUIS first made this track, the beat was originally different. When the beat changed, we all felt a bit awkward about it at first, but as we kept working on it, it ended up becoming the most passionate and "sweatiest" tracks among the eight songs. It's absolute fire.

"Sweaty" is the term the producer, Lil Moshpit, uses a lot. And if I had to define it in my own way, I'd say it means "raw." It's unfiltered. We just wrote exactly what we wanted to write, and Jay actually kept a lot of our original lyrics. Since it captures things that only we could've written at that moment in our lives, I think it's probably the "sweatiest" track on the project.

RYUL LOUIS and I started this song together. The beat was originally different—we first sketched it over a type beat we found online. At first, I never really imagined it as a group song because it was just something the two of us were having fun with. But as we worked on it together with the other members and Jay, it became more complete. The beat switch and everyone's parts gave the song a lot more depth. Originally, it was just a fun track we made because we wanted to go wild, but after Jay and the members got involved, it became a much "sweatier" song.

The lyrics are also open to interpretation, so some people might take them differently. But we have a clear identity we're chasing and a lot we still want to prove, so that's what we poured into "RUN IT UP." I think my first verse says that best. Since I open up the song with my verse, it'll probably stand out the most. It's got everything—"sweat," determination, and conviction.

WOOJIN LOUIS and RYUL made the original version of "RUN IT UP," and the boom-bap beat was added later on. It felt a bit awkward at first, and I actually thought it might be better to go full-on rage. But once we heard Jay's arrangement, all four of us loved it. We are the new generation, and Jay is a total OG, so I really like how the song brings those two generations together. Also, LOUIS absolutely snapped on this track. He sounded completely possessed—in the best way possible—and that's one of the biggest reasons I love this song.

LOUIS RYUL-hyung and I actually made this one together at the studio, but it completely changed from how it started. At first, it had this super high-energy, jump-around-and-hype kind of vibe. But it turned into a more cool, sleek track after we changed the beat.

OHYUL I remember the part where we shout "South Korea" was originally "Seoul Korea." I really like this song because it feels like a proud declaration that this song came out of Seoul, South Korea.

I recorded the pre-chorus the day we wrote this song, and I didn't know that take would end up being the final version—but it did! It came together pretty spontaneously, so I honestly wondered whether people would get it. But I think it turned out in a way that genuinely feels like us.

That's probably the biggest thing about this mixtape as a whole—we just had fun being ourselves making it. For SHOT CALLERS, we pre-planned everything and picked the absolute best takes for every little detail. But "GUKBBONG" has everything that happens when we're just having fun in the studio. The ad-libs, the doubles, even RYUL's "Warning, Warning" part were all done for fun, but they all made it into the song. It brings back a lot of great memories.

RYUL I wanted this song to put Korea on the map. I hope listeners all over the world hear it and realize how cool music from Korea can be. At the same time, I hope it helps people get to know us better and really resonates with them.

Writing a hook around a place name isn't easy. Jay finished the hook first and sent it over, and he told us he'd wanted to make a song like this. He also said that he thought it'd hit harder if we jumped on it. His goal was to make a banger with the whole world in mind, and honestly, it was a challenge. Since the song literally has our country's name in it, I felt like it had to live up to the name. It took a lot of time and a lot of revisions before everything finally came together.

For me, the song finally felt complete once LOUIS recorded his part. He's improved so much lately. The way he writes lyrics and melodies is exceptional. When I heard the line "Security know my name," I was shocked. I was surprised that he could write something like that.

WOOJIN We made this song before the World Cup season, but we definitely had the World Cup in mind. We wanted to show our pride in being Korean. LOUIS is bi-racial, and he is part Korean. Jay is Korean American. At the end of the day, we all wanted to express that pride in the most straightforward, hard-hitting way possible. It's just a really fun song that gets people hyped. The most memorable part was when we were stacking ad-libs. RYUL hyung wanted to go home so badly he basically yelled one out and somehow it sounded amazing.

My favorite line is "When in Seoul, Call my security. SHOTTIES follow me." I came straight from the airport to the recording studio that day, and I almost tripped at the airport from all the fans swarming us. That's literally where that line came from. I think it's witty and fun.

I think "GUKBBONG" and "YEAH! YEAH!" are the "sweatiest" tracks on this project. They both have that "yama"—that edge, the thing that really bites. Beyond how polished a song is, I think that's what matters most. Those two tracks capture our essence and energy better than any other song.

LOUIS This track is all about repping our Korean pride, and it actually took us a really short time to make. The structure of the song is super unique, and I think it definitely gives off that raw rap cypher vibe.

OHYUL What makes 'MOYA' extra special is that we shot the music video on the day we won an award. It was completely spontaneous, but it turned out to be so much fun. How many artists get to shoot a music video with the head of their label and have that much fun doing it? In that respect, I'm really proud of the song and the music video.

Out of all eight tracks, "MOYA" was probably the one I felt the most confident writing. Everyone's verses are witty and full of personality. I think it's the kind of love song that hits differently if you really pay attention to the lyrics.

My favorite part is my own verse: "I'll put a ruby on your ring finger," and "Let's lay out a mat in Seoul City. Walking side by side in this city." Those lines came straight from how I thought about love when I was in high school, so they'll always have a special place in my heart.

RYUL I worked on the hook first, and I was really ambitious with this song. I was at home listening to beats by myself, looking through type beats online because I wanted to come up with something really catchy. I got so focused on making the hook catchy that I don't think the rest of the lyrics were as strong as they could've been. There are definitely some cheesy lines in there, but I think that's part of the song's charm.

For example, the hook originally went, "You're so fresh like produce." I was trying so hard to make it catchy, and Jay ended up refining a lot of it. It started out as a really straightforward song, but once the members and Jay got involved, it really developed.

Then Lil Moshpit's beat really took the song to another level. I'm really satisfied with how it turned out. We shot the whole music video in what felt like about an hour. I think it proved that when everyone's on the same page, you don't even have to spend too much time on something to end up with a project that's both fun and refined.

WOOJIN "MOYA" almost feels like a new take on Jay's song "Iffy"—lyrically, vibe-wise and even sonically. I think it's probably the most catchy mainstream song on the mixtape. And Lil Moshpit absolutely killed it with the beat. I loved what he did with it.

My favorite line in this song is "Just like me, LOUIS realized it's not." It was fun to do a wordplay based on one of my songs, "Ejeh." I don't know what else I can say. It was just fun.

LOUIS RYUL-hyung and I originally made this song, but our producer liked it so much that he went ahead and remade the beat for us! Out of all the tracks on this mixtape, I'd say this is the one you can just easily sit back and listen to—it's a total chill vibe.

WOOJIN "The Purge" was originally made for our performance at ComplexCon Hong Kong. Then Jay heard it and was like, "This is dope. Let's just put it on the album." I've always loved the original song, so I can't be objective about our version. I'm just honored that we got to do a remix of it. Same with "PUBLIC ENEMY." I'm just grateful.

OHYUL I had no idea this song was going to make the album. As far as I know, Jay decided to include it pretty late in the album development. "The Purge" is such an iconic track. I remember it was performed right before our debut performance at the Melon Music Awards and it was such a vibe. So when we had to fill it with our own verses, we spent a lot of time thinking about how we could make it feel like us instead of comparing it to the original. I'm happy with how it came out.

Structurally, the original splits verses among artists like Woodie Gochild and Sik-K. We drew inspiration from listening to the original for how we could put our own spin on that structure.

RYUL "The Purge" is the real deal. It's such a well-known song—a certified classic in Korean hip-hop. So when Jay suggested that we do our own version, I can't say I wasn't feeling the pressure. We wrote the verses pretty quickly, and did a pre-recording on our own before the actual recording. But something just didn't feel right. We'd listened to the original H1GHR MUSIC version so much it wasn't easy figuring out how we could make our verses stand on their own. There was definitely a lot of pressure.

But like WOOJIN said, I eventually accepted that pressure. Instead of thinking I have to do it perfectly, I decided to focus on telling the stories I want to tell. Jay helped us a lot throughout the process.

My favorite verse on the entire album is actually from my part on "THE PURGE 4SHOMIX." It's about not worrying about what others think, doing what I believe in, respecting the people who came before us, and proving ourselves in our own way. I like that it's full of ambition and confidence.

LOUIS It was an honor to jump on this remix of "The Purge," which is originally Jay and the H1GHR MUSIC artists' song. It is one of the most iconic songs of Korean hip-hop for our generation so it meant a lot for us to add our sauce to it. And performing it live was definitely a full circle moment for me.

OHYUL There are a lot of remixes out there, but I don't think all remixes stand the test of time. We put a lot of thought into this one, but more than anything, we wanted it to reflect who we are. We tried to write the lyrics very candidly instead of pretending to be something we weren't. The original was already such a huge hit that the moment we tried to imitate it, we'd just invite comparisons. So we leaned into our own style and authenticity. Even the ad-libs came from us just messing around in the studio, so I think we created something quite original.

The more I record, the more my perspective opens up. I'm becoming more confident no matter what genre I'm working on and this mixtape gave me a lot more confidence in making hip-hop, R&B, or whatever that may come next. A mixtape isn't really about chasing numbers or trying to make everything perfect. It gave us the freedom to enjoy the creative process without putting too much pressure on ourselves, and I think it was an important step toward making a great second EP.

WOOJIN When "PUBLIC ENEMY" came out, it completely blew me away. Since it had already received so much hype, there was definitely some pressure going into a remix. But I didn't try too hard to fight the pressure. The original is just that good, so I was grateful that we even got the chance to remix it, and I gave it everything I had. This was only about three months after our debut. We didn't really have much to lose, so we just tried to have fun with it. I knew the original became such a great song because of all the experience and hard work that went into it, so the pressure was real. But I genuinely enjoyed working on it. Shout out to Lil Moshpit, Sik-K, and H1GHR MUSIC.

RYUL Similar to "THE PURGE 4SHOMIX", just when we were almost done making this mixtape, Jay suggested that we do a remix of "PUBLIC ENEMY." More projects mean more work and more opportunities to perform as well, so I was excited about it. There was another remix on Show Me the Money recently, and since it's already such a well-known song with so many remixes out there, I kept thinking about how we could make ours stand out. Overall, I approached this song with a similar mindset to "THE PURGE 4SHOMIX."

LOUIS The moment I heard the beat for this track, I was completely blown away because it was so good. The song is already such a recognizable and hyped song, so I'm just so happy I got to be a part of it and lay down a verse alongside everyone. Shoutout to all the original artists that have worked on this in the past.