Collin: Actually, I also like that it's pretty nebulous, actually.. Jarod: Yeah Collin: It's kind of cool. It's almost atmospheric.
Umu: Now you're reacting to a solo song by Yugyeom, who's a member of the boy group Got7.
His solo song called 'Fine' is from Got7's newest album called Present: You, that has a solo track co-written and
co-produced by every single member. In an interview, Yugyeom said that the song is about telling someone how much he likes them.
And so, this is composed by him and a songwriter named EFFN, and the lyrics are by him.
The main reason why you're reacting to this is because it's harmonically spoopy, and your reaction will be released on Halloween.
Isaac: Spook
Spook
Kevin: 3,2,1, fine.
Lindsey: Okay, what? Fiona: It's already spoopy, because it sounds creepy and old, and the creepy piano... Lindsey: It just sounds...yeah
Charlotte: An old record player that's broken. Peyton: Yeah
Elizabeth: I'm not gonna lie, this music reminds me of like, Scooby-doo.
Peyton: I like this. It's like hip-hop spoopy.
Kevin: The melody doesn't change keys like the accompaniment.
So it's really eerie.
Elizabeth: This is super creepy. Do you hear that like, bass, that's arrhythmic?
Jarod: The bass isn't on like a downbeat, is it?
Collin: One, two, one, two---yeah, it's on two. Jarod: So having your bass on an off beat
adds to that.
Collin: Actually, I also like that it's uh,
it's pretty nebulous actually. Jarod: Yeah! Collin: It's kind of cool. It's almost atmospheric.
Melissa: Oh, and then the intro stuff is back. Yes! I love that intro stuff. That sounds like all broken and stuff. Just like his heart.
Fiona: Okay,
his voice is so
pleasing.
Lindsey: Yeah, and there's like some effect that they have on his voice
that's kind of making it so--I don't even know how to describe it,
Fiona: It's like reaspy. Lindsey: but it's like they took his voice and made it like, thinner? Fiona: Yeah
Lindsey: They like totally thinned it out, and so it sounds just kind of...
Fiona: It's like crunchy, or abrasive. Lindsey: Yeah
Peyton: I like how he's kind of layering like this halftime and double-time feel at the same time. Like it could be felt either way.
Fiona: It sounds so like, reflective.
Lindsey: Yeah, kind of like, ominous. Fiona: Swirling Lindsey: Yeah
Jarod: But I think what's interesting is like, he kind of holds the rhythm, if that makes sense, because like,
ordinarily in K-pop, you have like how you have the bass and the drums kind of like,
as the concrete rhythmic foundation, which it's still kind of doing now, but earlier I felt like the voice was more holding everything together.
Collin: Yeah Jarod: So, everything else could kind of do it's, like you said, that kind of nebulous, atmospheric stuff. Collin: Um, hmm. Yeah, that's interesting.
Kevin: So, the downbeat is almost ambiguous.
It's deliberately really playing with where the downbeat is.
Jarod: Also what's interesting, the background doesn't have much of an articulation to it
Collin: No Jarod: Like you have the snare but like everything that's happening is kind of just there's not a lot of front, so it just kind of happens.
Elizabeth: His voice, his vocal line is syncopated. It's not with the rhythm of the piece.
So, even like the things that he's saying are sort of off with the rest of the music.
Peyton: Yeah, I like how there's like an extra voice in there every now and again, for extra color.
Kevin: When we put A-sharps and G-sharps in a B-minor,
it just sounds
very early 20th century classical music.
Like Prokofiev.
Lindsey: Whoa, its over. Fiona: Oh Lindsey: That ended really suddenly, kind of. Fiona: Yeah
Fiona: Yeah, that didn't seem as long as it was. Lindsey: No Fiona: I thought it was like a minute long. Lindsey: No. I thought there was gonna be more.
Fiona: Yeah the end felt like
elevated.
I don't know.
How do I say that?
(singing) He kept doing that over and over. Lindsey: He just didn't really cadence.
Fiona: Yeah Lindsey: It just kind of like, ended. Fiona: It's like, oh, the ghosts are still here.
Like, he provided a ghostie setting, and like, he didn't end it, so we're all haunted now, thank you very much! Lindsey: Yeah, there was
there was like no resolution to it kind of just stopped.
Fiona: His voice stuck out when it came in.
Lindsey: Yeah, it was definitely a lot less creepy
when his voice came in, Fiona: Because he was there to keep you safe. Lindsey: but it just had a different feel to it, though,
cuz there was something kind of like crunchy and ominous about
the way that the effects were put onto his voice, that just made it seem like, not human, a little bit. Fiona: Yeah
He's a ghost!
Lindsey: Yeah, but I thought that was awesome. I mean, he sounds really cool.
Melissa: I didn't feel that spooped out,
but I think, well, the intro, definitely, like the way like it was kind of broken sounding, that like
laid down like a spoopy texture. Is this like in, theory or aural class?
Elizabeth: There's homophonic and there's heterophonic, and then there's spoopy. Those are the different textures you can have in music.
It sounded like like a filtered electric organ in the background.
I don't know if that's what it was, but there were some times where its like, little melody line,
it would have a couple dissonant notes next to each other, and
it didn't really match with the rest of the harmony going on,
so there was like that little bit of odd dissonance that made you feel not quite centered in the key.
And yeah, like you were saying, the opening I mean there's this this like very low bass note that
wasn't coming in at the same time and wasn't matching up with the other rhythms. Melissa: The ghost hitting a gong.
Elizabeth: Yes, exactly Melissa: In the other room. He's over there! Hi!
Okay. Sorry.
Collin: Why is it spooky? Well like, it sounds spooky, but he's talking about like, you know
I want you, so why is that spooky? Jacob: It's more specifically just harmonic vocabulary that's spooky,
Collin: Okay
Jacob: not necessarily the message of it.
Collin: Yeah, yeah. Well, that's true. It's just like it's strange that that's what the affect is,
Jared: Yeah
Collin: even though, yeah, it's like definitely apparent. Okay,
so like, what created that? It was like the nebulousness with
rhythm, and like how they layered things.
The articulations were not strong, except for a few things, and kind of only when they needed to be, like the snare.
That's pretty typical, but then there was like (mimicking bass sound) Jarod: Right!
It was like, a really cool way to use bass, instead of, I mean, it just wasn't definite at all.
So, it was almost it was rhythmic, but it was also atmospheric, and they used a lot of things like that.
They were balancing those two things to kind of create
spock, spoofy, spob, Jarod: Spoopy. Spock?! Collin: Spoopy. So, whatever.
Jarod: Yeah, I mean, I don't really know how to describe it, harmonically, because Collin: Yeah, that's kind of hard.
you hear it and you like recognize it as like, commonly used in like
hauntings, like spooky contexts.
I don't know if I would necessarily like be able to peg it, like, oh, that was that type of chord;
Isaac: I thought was very
interesting, the clash between the two semi-tones, de-da, E-flat D, and then B
Kevin: C and B. Isaac: C and B. I don't know, for some reason
I heard F. I don't know why, I was thinking, cuz you know, maybe I'm working too much on Walton right now,
but there's a lot of tritones, and for some reason. I kept hearing that. Kevin: Oh, it does sound like Walton!
Isaac: (singing) Kevin: When it goes to the B-minor and uses that same melody, just like the bitonality, it does sound like the Walton viola concerto.
Isaac: Yeah, but Walton was actually very known for doing bitonality and also switching from major and minor, so like this one actually, like,
very fitting that I'm studying a piece that correlates to a pop-pop piece. There's this one motive that always just stuck with me,
it's like, ta, ta, ta, ta, (singing)
I just kept singing that throughout the whole entire piece, and it makes so much sense, like the way it's like it's
speeding up a little bit and then just
slowing down, by augmenting the
duration of the sung notes.
It's a formula that just like keeps expanding
back and forth, and it's so interesting, because it's like the you have a drone of this
eerie, like semitone floating back and forth, and then you just have this one slowly decaying....
wow. Kevin: What a weird song.
Umu: What, harmonically, makes it feel spooky?
Isaac: (singing)
Kevin: Chromatic minor planing.
And the chorus gives you a brief sense of relative
security. Isaac: Um, hmm.
Kevin: And then it just keeps on going. Even the percussion makes the rhythms vague, and that just adds to the,
"Where am I?" Isaac: I feel like there needs to be a dichotomy between,
in pieces. Otherwise, it's like if you just have the spooky song,
you just have like one of those, like, have you ever been to Niagara Falls?
There's like this venue, where it's just all Halloween. They just play the same song.
It's like the beginning of this; it would just go on loop. Kevin: Mmm. Isaac: It would sound terrible, but it's very interesting, this one.
It's like they contrasted with the security of a key.
Kevin: Yes
Isaac: Establishment of a key, and without the duality of these two, and being juxtaposed to each other, it wouldn't sound as good as itself..
Kevin: I don't feel fine after listening to this song.
Isaac: I feel unnerved.
Umu: Hello, everyone, I'm Umu, and I'm the channel runner of React to the K.
I hope you enjoyed watching this video. If you're curious about the videos that we'll be reacting to in the future,
I put a link to a doc with our release schedule in the description.
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you can help us out by pledging any amount you would like on our
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Thank you so much for your support. Bye