An 83-Minute Mini Album With Only Four Original Songs

Better to put the numbers down first. Twenty-eight tracks, 1 hour 23 minutes 4 seconds. And four original songs.

Each song gets seven versions — original / Sped Up / Slowed / inst. / inst. Sped Up / inst. Slowed / Acapella. Four times seven is twenty-eight.

The originals are Love In Paris, Bonjour, Je T'aime and Au Revoir; Oh Yun sings the first two, Lilly Choi the last two. Put the four lyric videos together and you get 12 minutes 5 seconds. That twelve minutes swells to an hour and twenty-three.

Sixty-Seven Releases This Year

Dept is one person — a singer-songwriter and producer — and the person singing on this album isn't Dept, who writes, composes, arranges and executive-produces.

I counted the discography. Sixty-seven releases across the 252 days from 7 January to today. An average of 3.82 days, a median of four. Of the sixty-six gaps, fifty-four were three or four days. One every three or four days.

And the curve keeps steepening: 23 in 2020, 30 in 2022, 34 in 2024, 48 in 2025, and sixty-seven this year with September not yet over.

The size of an 'EP' grew inside the year too. January's 'Blue' was 6 tracks and 19 minutes 47; May's 'Love In Hanoi' was 60 tracks and 2 hours 1 minute. Today's is 28 tracks and 1 hour 23.

The city series continues as well — Jakarta (2025.03) → Tokyo (2026.02) → Hanoi (2026.05) → and today, Paris.

The Titles Are French, the Lyrics Are English

Bonjour, Je T'aime, Au Revoir. Only the titles. Read the lyrics in the video and they're English: "And I forgot the words to my own song / Love in Paris, love that makes me strong / And there you were, singing mine back."

Swapping languages is this artist's method. This year's releases carry Spanish, Portuguese, Hindi and Korean titles, and some songs came out in separate Indonesian and international versions.

The album notes repeat the same text in six languages, in this order: English → Chinese → Vietnamese → Indonesian → Japanese → Korean. Korean is last.

Twenty-Three Decibels in Forty Milliseconds, at 13.66 Seconds

I measured the title track. 209.20 seconds, about 93BPM.

The first 0.379 seconds are complete digital silence. Sound begins at 0.379, and an intro runs 13.3 seconds from there to 13.66. Across it the low end is 9.5%, the mids 30.9%, the highs 4.7% — a sound with almost no bottom.

Then 13.66 seconds. Measured in a 20-millisecond window it goes from −25.8dB at 13.64 to −2.5dB at 13.68. Twenty-three decibels in forty milliseconds. The low-end share climbs from 19% to 41–44% at the same moment, and the highs triple from the intro's 4.7% to 15.1%.

But the biggest change isn't the level. It's the width. Measure the stereo and the intro is 0.776 while the moment after the beat enters is 0.172. Less than a quarter. Sound that had been spread wide folds to the centre the instant the beat arrives.

2:48.9, the 1.4 Seconds That Leave Only a Voice

At 168.80 seconds the low end is 34%; at 168.90 it is 0%. It stays at 0–1% through 170.30. The highs sink to 1–11% over the same stretch and the level falls to −17.9dB.

What's left is 33.1% mids — and across that 1.4 seconds, thirty-nine of forty frames are voiced, with a median pitch of 368Hz. A second and a half with the bass and the highs stripped away and only a voice left. At 170.40 the low end returns at 8%.

What's Left at the End Is Sub-Bass

After the last big hit at 3:22.4, a fade starts at 203.4 seconds: −8.9dB → −28.7dB → −52.1dB.

Across that fade the low-end share climbs to 66–70%. The final two seconds average 60.4% low, 5.7% mid, 1.2% high. The last thing left is sub-bass. The final audible sample is at 207.901 seconds, and 1.30 seconds of complete silence close the file at 209.20.

After 14 seconds the level stays locked between −6 and −10dB to the end. A compressed master. Which is exactly why the 1.4 seconds at 168.9 land as hard as they do.

The Picture Doesn't Move

The lyric video is one still illustration — a woman in a pink beret in profile, the Eiffel Tower in the background, watercolour. Compare frames from 20 to 80 seconds and the displacement is zero. No pan, no zoom. The only thing moving is the single line of lyrics on the right.

If you release one record every three or four days, you can't spend time on video. But inside the sound, precise things happen at 13.66, at 168.9 and at 203.4 seconds. This is the work of someone who has decided where the effort goes.

Where to Listen

On earphones, first song only. Listening to all 1 hour 23 was never the design — twenty-four of the twenty-eight tracks are the same songs at different speeds and in different parts.

Sit through the first 13.3 seconds, feel the sound fold to the centre at 13.66, hear the 1.4 seconds at 2:48.9 where only a voice is left, and you've heard everything this album is trying to do. It takes 3 minutes 29.

Love In Paris.