The album transitions nicely to the next track, "Dressing Room". A moderate tempo, angsty-yet-downtrodden electronic pop song, this song perhaps unsurprisingly features much more explicit lyrics than contained in "First Love". The song essentially depicts a fantastic erotic fantasy that the woman narrator would like to have with the a male protagonist in her secret, dressing room. While these types of lyrics generally don't equate with the most creative instrumentals, this is one of the few exceptions that I know of. The music is simply awesome. The edgy, bass heavy electronics depict the dark fantasy contained within in the depth of the mind of the female. The instrumentals build in texture and complexity as the song progresses, which suggests the growing desire for the fantasy. Finally, Raina certainly makes a name for herself with her impressively convincing belting of "I'm changing love" in the song's final section. While the setting of the song likely won't allow this song to get the highest amount of airplay, it's definitely a track to check out, and one I'll definitely return to listen again in the future.

The next track, "Time's Up", is the closest definition of a filler that this mini-album possesses, and is undoubtedly the weakest song on 'First Love'. There really isn't much interesting to note here as it's pretty much what you expect from an uptempo, straightforward pop tune. The only thing worth noting is the random chordally-stangant texture and tempo shift towards the end that Nana and Uee rap through. While I like immediate texture shifts as much as the next person, this seemed out of place and likely was an attempt by the producers to add something interesting this track.

"Love Beat" is club dance track that I've been waiting for in this mini-album. As I alluded to before, I believe that After School's genre forte falls under this style of performance, and this one definitely lives up to that standard. While most aspects of the song are readily predictable, this song far an away has the highest replay value of any song on on this mini-album. The varying sections and texture shifts meld seamlessly into one another, which not only creates a club track that isn't awkwardly patched together but it preventing the mentioned predictable and standardness of some of the sections to never seem like they are of these qualities. Despite the general mellow tone of the song, the vocal performances of the refrain exceed the normal range I would expect from this group, which in combination with the driving background beats creates an ear worm that is hard to get out of your head.

The last track, "Crying After Putting On Makeup" is a tune that fulfills the requirements of the typical K-Pop ballad: it starts off with a solo piano, builds in intensity throughout, the singers perform a strong climax, and ends on a solemn note. The ballad isn't bad, but it's certainly forgettable in the scheme of things. Raina and Jung Ah, the only two performers in this particular track, are as strong as can be—I've been really impressed with Raina in the album overall, and arranging decision supporting her voice with the electric guitar led her to be even more impressed with her on a musical level. Though as this album has not been overly hyper in any sense of the word, this is an appropriate ending to what ended up being one of my favorite—if not my favorite—overall releases of the year so far.