Muhan Gwedo

Designed from the start to grab the ear, a lesson drawn from the Riverside Song Festival elimination, it won the grand prize at the 1988 College Song Festival and became the band's debut song.

• The intro is a fanfare built from four stacked synthesizers. Its progressive rock (a branch of rock fond of long structures and majestic keyboards) grandeur overwhelms the stage within seconds, and the intro is still regarded as the song's emblem.
• The body runs on a beat as fast and forceful as a cheering chant. The drums drive hard on every beat, and there are many points where the audience can't help clapping along.
• At the end the tempo suddenly slows and the song settles into a ballad. This twist, in which a racing song closes like a confession, makes it more than festival music.
• The College Song Festival live version is a step higher in key (the reference pitch of a song) than the version later included on Shin Hae-chul's second solo album. It is the version where you can hear the taut high notes of a twenty-year-old voice.
• It captures the bright, solid timbre of digital synthesizers of the late 1980s just as it was, making it also a record of the texture of that era's electronic sound.

Written by Shin Hae-chul as the title track of the first album, it is a song in which a twenty-one-year-old philosophy student pictures the end of life and asks what the present means.

• The speaker seems to address a lover, but what the song really holds onto is the question of what remains when life comes to an end. This manner of placing contemplation inside the frame of a love song is what gives the track its character.
• Over a broad bed of keyboards, the vocal begins calmly and opens up emotionally in the chorus. The thick sound of the keyboard section, two players and later three, forms the backdrop.
• It follows the typical structure of rock ballads of the late 1980s (quiet verses that burst into a powerful chorus), yet the weight of its lyrics makes it sound different in grain from the ballads of its day.
• In 2006 Shin Hae-chul re-recorded the song on N.EX.T's album 5.5, “ReGame?”. Set beside the original, it lets you hear one person holding the same question for nearly twenty years.

A song credited to keyboardist Kim Jae-hong alongside Shin Hae-chul, showing that this album was not the work of its leader alone.

• As its title suggests, it captures the mood of a season, providing a comparatively light, bright texture on an album full of heavy questions.
• Perhaps because Kim Jae-hong, who co-wrote it, is a keyboardist, the melody sounds as if it was built to flow naturally across the keys.
• This song is still remembered as one of the tracks on Muhan Gwedo's first album.

A song by bassist Cho Hyung-gon, it is the first record that offers a glimpse of the songwriting instincts of the member who would later lead 015B.

• It features a children's choir. The album's thank-you notes list the Namsung Church children's choir, and the clear voices of a church choir overlap with the sound of a rock band.
• As the adult vocal and the children's voices interlock, a feeling close to longing and prayer emerges. It is the moment when the song's voice widens from personal confession toward a shared plea.
• Some find here the starting point of the clean, unadorned melodic sense that 015B would later show. Such a connection, however, is closer to the listener's own interpretation.

A three-part epic written by Shin Hae-chul and Cho Hyun-moon, with Kim Tae-won of Boohwal sitting in on lead guitar.

• It is a progressive rock structure divided into three parts. The mood and meter shift several times within a single song, revealing an ambition to break past the 3~4-minute pop song.
• Kim Tae-won of Boohwal played lead guitar. That the playing of an already renowned rock guitarist made it onto a college band's album speaks in itself to the expectations riding on this record.
• With keyboardist Cho Hyun-moon among its composers, there are many passages where the synthesizer goes beyond accompaniment and carries the song's framework.
• Thinking of the long-form rock Shin Hae-chul later pursued in N.EX.T, it sounds as though the seed was already in this song.

A song credited jointly to Shin Hae-chul and Jung Seok-won, it was the leader's first collaboration with the newly joined Jung Seok-won and the starting point of the work the two would continue together.

• Following one person's emotions against the backdrop of city streets, it reads as a portrait of the loneliness of young Seoulites in the late 1980s.
• Jung Seok-won's keyboards lean toward creating atmosphere rather than flashy playing. This restrained sensibility would carry over into the urban sound of 015B.
• Shin Hae-chul and Jung Seok-won continued to appear on each other's albums after Muhan Gwedo. This song is where that relationship was first recorded.