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Debut Albums

Park Hyo Shin has put together a promising album for his first release. The first cut on the CD is Haejool Soo Eotneun Il [MP3], a calm ballad that should please fans of this genre. Those looking for something slightly more emotional might give track 4, Love is blind [MP3], a spin. This is a soulful R&B ballad that works well with Hyo Shin's style.

A new artist that hasn't got much exposure here is Lee Ah Mi. The first track on her new CD is a very pretty ballad called Ibyuleul Shijak Hansarang (4:23) [MP3]. Ah Mi has a pure voice and has some strong moments in this song. A little more synthesized is The Day [MP3], a song of similar style but with a more mechanical soundtrack.

In much the same vein is new music from Yoon Son Ha. The obvious difference between Yoon's Bian [MP3] and the music by Lee Ah Mi isn't in the vocals, but in the arrangements. Yoon's songs are much plainer in instrumentation, and it really helps emphasize her voice.

For a stunning change in sound, pick up Cherry Filter's debut CD, Head-Up. Cherry Filter is probably freaking out people everywhere with its in-your-face sound. The title song, Head-Up [MP3], is a funkadelic rock hedging on punk song with a nice bass and lead guitar. Five [MP3] is really appealing with a solid rock rhythm and sturdy vocals. Fake [MP3] is built around a very driving rhythm guitar. The female vocals on Fake sound a lot like those of Shakespear's Sister (sometimes unintelligible).

Suzanne's debut album is finally getting some recognition (months after we first mentioned the release). The delicacy of Dorahwa [MP3] is touching and compelling, and even the "breathiness" of her voice is passable. And Shadow's [MP3] haunting tune may prompt you to listen to the song more than once.

And lastly, for a familiar sound, look for the debut album of Yoon Hyun Seok. The title cut from the CD, Love [MP3], sounds like every love song you've ever heard, but that isn't a bad thing in this case. It's a comfortable song and nice enough to convince one to listen to the rest of the album.

By Denise Ahn

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