A mournful ballad that develops a skipping step change after the initial verse and chorus is the latest from Waking World and is OK on a first listen but grows on you every time you go back to it. The trumpet touch from Arielle Besson and acoustic guitar part from Thomas Naim on this Youn Sun Nah original melds well as part of the instrumental back drop even if the synthesised programming grates a little too much. Positioned towards an older certainly sophisticated pop and jazz-attuned audience the chorus lyrically is a gutsy accusation and feisty calling out in a sometimes bitter dialogue with an unheard interlocutor that has a Céline Dion kind of slant to it (and that might send some of you running for the hills). From what is something of a turning point of an album given that Waking World features YSN's own songs the signs so far following the release of the earlier and equally fine title track before Christmas are that the album certainly erases boundaries but may well leave some of the South Korean's jazz-inclined fan base behind. That said (and a pity if it happens) there is a mystery and a haunting presence the South Korean does so well to conjure as the mood against the odds turns sunny as the song fades away and shapes the mood into an ungeneric ultimately convincing universality of emotion no matter which tribe of music listener you belong to.