2:52
STYLE / KR gritty thick male baritone lead vocal in Korean, pressed low chest resonance with warmth rather than rasp, alternative rock, 94 BPM, clean arpeggiated electric guitar opening into driven guitars, live fingered bass with wooden attack, drums entering late, an ascending melodic line in the final chorus, flat VII to iv to sus4 gospel harmonic turn, one full bar of complete silence before final chorus, allow the final chorus to lift
2:43
STYLE / KR warm mid-range male tenor with intimate close-miked R&B phrasing in Korean, dark R&B, 88 BPM, moody Rhodes with warm extensions, deep sub bass doubled by live fingered bass, soft brushed drums behind the beat, an ascending melodic line in the final chorus, warm analog tape saturation, flat VII to iv to sus4 gospel harmonic turn, one full bar of complete silence before final chorus, gentle lift at the end
2:39
I'll Still Call
v5.5
gritty thick male baritone in Korean, unaccompanied and close-miked for the first three verses with almost no instrumentation, minimal ballad opening into full band, 86 BPM, single clean electric guitar at the start, live fingered bass and drums entering only at the pre-chorus, the final chorus must swell into wide distorted guitars and layered male harmony, strong ascending melodic line, flat VII to iv to sus4 gospel harmonic turn, one full bar of complete silence before the final chorus, a large crescendo into the ending is required
2:22
bright clear male tenor with warm soul phrasing and light head voice in Korean, soul, 104 BPM, warm Rhodes with Hammond organ pad, live fingered bass with round woody tone, brushed drums with light swing, an ascending melodic line through the chorus, warm analog tape saturation, flat VII to iv to sus4 gospel harmonic turn, one full bar of complete silence before final chorus, let the final chorus open up
3:34
full male ensemble with gospel soul phrasing, gritty baritone lead and stacked tenor harmony in Korean, unaccompanied vocal intro, gospel soul, 108 BPM, warm Rhodes with prominent Hammond organ, live fingered bass with round tone, brushed drums moving into full kit, strong ascending melodic line, warm analog tape saturation, flat VII to iv to sus4 gospel harmonic turn, one full bar of complete silence before the final chorus, the final chorus should swell with full choir
2:28
full male ensemble with unaccompanied gang-vocal intro exploding into full band, gritty baritone lead with stacked tenor harmony and gospel choir in Korean, gospel rock anthem, 126 BPM, huge wide distorted guitars with Hammond organ underneath, live fingered bass with wooden attack, big open drums with crash accents, handclaps, strong ascending melodic lines throughout, a half-step key modulation into the final chorus, flat VII to iv to sus4 gospel harmonic turn, one full bar of complete silence before the final chorus, a large triumphant crescendo is required
2:01
7. Ready to Go
v5.5
percussive breathy male vocal chops with a bright soulful tenor hook in Korean, house, 118 BPM, four-on-the-floor house kick with organic percussion and handclaps, warm Rhodes and organ stabs, live fingered bass with a driving groove, an ascending melodic line into the chorus, warm analog tape saturation, one section of deep male baritone in the bridge, flat VII to iv gospel harmonic turn, one full bar of complete silence before final chorus, let the final chorus open up
1:16
8. Come With Me
v5.5
bright clear male tenor with fresh airy top and warm friendly phrasing in Korean, bright K-pop, 122 BPM, crisp acoustic guitar cutting with bright plucked synth and shakers, live fingered bass with round tone, light punchy kick with claps, an ascending melodic line into the chorus, one section of deep male baritone in the third verse, flat VII to iv gospel harmonic turn, one full bar of complete silence before final chorus, keep it warm and let the ending open
1:46
percussive breathy male vocal chops with a bright joyful tenor lead and gang shouts in Korean, dance pop, 128 BPM, bright bouncy synth lead with funk guitar accents, sidechained synth bass with live fingered bass layered underneath, four-on-the-floor kick with claps and shakers, an ascending melodic line into the chorus, one section of deep male baritone in the third verse, flat VII to iv gospel harmonic turn, one full bar of complete silence before final chorus, let the last chorus lift
2:48
full male ensemble with unaccompanied acoustic harmony intro opening into arena rock, gritty baritone lead trading with tenor voices in Korean, acoustic transitioning to alternative rock, 116 BPM, steel-string acoustic guitar giving way to wide driven electric guitars with organ underneath, live fingered bass with wooden attack, drums entering late, the final forty seconds shift the opening track guitar riff into a bright major key, strong ascending melodic line, flat VII to iv to sus4 gospel harmonic turn, one full bar of complete silence before the final chorus, end warm and resolved with a full major-key cadence
STYLE / EN full male ensemble with unaccompanied