Endy Chow's first solo album since 2005's Light, College is a long overdue release from one of Hong Kong's most talented new-generation singer-songwriters. Granted it's one of those "new + best" compilations that record companies like to put out to test fan patience, but there are actually five brand new songs so it's not a bad deal even for those who already own all of his previous albums (cough... me). Frankly, I'm just glad that Endy Chow is still working.

All five of the new songs in College are fairly representative of Endy's rock and ballad style. "Gray Peter Pan" (Track 1) is typical of his rock offerings, a mid-tempo hardish pop rock number, particular notable for its growling guitar and snappy arrangement. One of the most interesting and distinctive characteristics of Endy's compositions is that they often skip the hook so crucial in pop music, but "Gray Peter Pan" comes across fairly catchy in its measured beats, rising volume, and free-wheeling kidult energy, not to mention Riley Lam's idiosyncratic lyrics alluding to games and toys.

The other four new songs are all slower numbers of varying quality. Also penned by Riley Lam, "Black Circles Under the Eye" (Track 3) makes me recall Endy's first single back in 2004, "Black Eyes", which is included in the compilation. The two songs are actually quite comparable in style and theme, so "Black Circles Under the Eye" really serves to highlight Endy's growth as an artist from his debut to now. Though "Black Circles Under the Eye" has a less memorable composition than "Black Eyes", Endy's more delicate delivery this time around serves the song far better than how he sang "Black Eyes". Endy's vocal has always been rough around the edges, which works just right for his rock numbers, but for ballads his voice is a double-edged sword. His singing style retains a raw and natural verve that makes his songs instantly recognizable, but his songs also sometimes run away with him because of the shaky vocal control, especially on ending notes. For "Black Circles Under the Eye", Endy takes on a softer, almost conversational singing style that makes the song quietly gripping.

"Red City Thousand Leaves" (Track 2) and "Sealed Mask" (Track 4), however, are more mixed-bag fare. "Red City Thousand Leaves" builds up lyrical grandeur in its wonderful piano accompaniment and softly dramatic verses, but the refrain is Canto-pop standard and reaches slightly outside Endy's comfortable vocal range. The song does pick up in its second iteration when the volume is turned up a notch, but falls short of its intended climax. Penned by fellow underappreciated singer-songwriter Pong Nan, "Sealed Mask" is a tad too soft, both in composition and in vocal delivery, to leave a lasting impression.

The best of his new songs, "Triumphant Return" (Track 5) is also one of Endy's strongest offerings yet. The strumming guitar, wispy melody, and whispery singing add an ambient moodiness to Endy's usual style. The highlight though is in the long and dramatic bridge that crescendos to rock ballad heights, and then fades out to a gentle finish.

It's a bit of a stretch to call any of Endy's songs hits, but his most well-known numbers like "Black Eyes" (Track 6), "Seoul Has Sunk" (Track 12), "14 Days" (Track 7), and "Underground Street" (Track 8) are on here, as well as the 2007 theme song "Fly" (Track 14) which was not included on his previous releases. All together, that makes six new songs (counting "Fly") and eight old songs, a good mix to appeal to both dedicated fans and latecomers who may have missed his earlier albums.