Henry: NICE.
GREAT.
Charlotte: JAZZERCISE Henry: Good melody writing
Henry: Hey! Before we get reacting to Everglow
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Hahah, head above
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Henry: Hope you enjoy de video!
Umu: So you are now reacting to the six member girlgroup Everglow
and their 2020 comeback LA DI DA
LA DI DA delivers a warning to people who are overly haughty and rude
"Got no times for haters, all the bad guys and the players"
"I'm like: LADIDADADIDADALADIDADIDA"
Umu: The music video depicts Everglow in a cyber punk aesthetic
fighting for the marginalized class and giving comfort to those who need it
The song is composed by Hayley Aitken, Olof Lindskog, Gavin Jones, 72
and the Everglow member E:U participated in writing the lyrics
JU: Mm Jason: Mm. I wanna make a prediction on what it will sound like
Jason: Can you give me a hint?
Umu: Not modern.
Jason: Not modern?
Umu: Not modern
*Jason starts signing the main melody of Mozart's Clarinet Concerto*
Umu: NOO. Not that old!
Jason: Cause you said cyberpunk so I was thinking it will be like... *mouth sounds*
Ju: I'm thinking of like: wake me up
WAKE ME UP INSIDE J&J: SAVE ME!!
Sam: 3, 2, 1
Sam: Oh wow.
Ohhh black and white. That's really cool
Charlotte: There they are
Wooooo
Jason: Ohhh Thriller vibe
the strings
It's a nice 80s synth strings
Ju: Yeah, with the synth sound
Sam: Oh I love the *sings descending melody*
Oh man
S: It's almost like as if City pop had like an evil twin sister
K: I like that the trap drum comes out and it's like: Oh we are still listening to a kpop song
I think it blends really well together
Henry: Some Super Junior. Charlotte: YESS that's what I just thought
Henry: Wooow. That was really lyrical.
K: Yeee. Owen: I like how they play with LADIDA K: I like the way- yeahh it integrates with the melody.
H: I like- oh! And they changed that up the second time. NICE.
C: JAZZERCISE H: Great melody writing
C: WOOOOOOO H: Ohh mouth sounds low synth
So nice
Owen: Nice. Her rhythm enter prided with her triplets the sings
Wonderful
K: Woooo her syncopation really interacts with the percussion.
Raffi: I LOVE that
S: Ohhhh this course is so crazy
H: Ladidadida, Ladidadida It's so fun
K&O: WOOOOOOOOW
Owen: That's awesome Kevin: MANNNN. It just keeps on building
Owen: Yeah
K: Wooooo
Ju: The structure of this song is very different
B: Ohhh. Her timbre is really nice its like thick
H: Love the acapella
R: How smooth. Good
H: POWERFUL
Charlotte: WOooo
Henry: That was great!
K: What a well timed, well written, enjoyable song O: Yeah, that was great!
H: Okay, I'm going to give a story of this journey that I've went through
You start off, you have these 80s synths taking you all the way back.
You have this sort of distorted drum, right into A ha's "Take on me". Like you're back in the 80s, you're feeling it, right?
You hear these synths popping in, you hear this powerful like- Madonna "Material girl" Aesthetic like coming in with the voices
And this melo- the chorus pops in it's beautiful lyrical contour.
sings the chorus
Kind of goes up and then settles on 3
and the you have the call that yall get to remember after they repeated like 5 times
sings ladida
then you have a little call at the end, it does an echo
ladidadida
And then repeats! But in the second time:
LadidadidaLA-DI-DA
That's just- it's so fun like, having that repetition but just something tweaked
Some small but significant portion of the theme switches so that you're both caught off guard but not so much that you can't still learn and
you know, quickly have it get stuck in your ear
This is such a catchy song
Then at the end we have the bridge or the chorus or something
where they add in the vocoder and that's like a more
Another kind of- daft punk evoking 80s sounds
and it's just that -it's nice - yeah it's got a great cyber punky feel
And but then there's that rap break with 808s in there
that it's just- that throws in all this modern sound
that caught me off guard but it fit in very well
Raffi: I LOVE the rapping and like there moments where it's fully kind of "on the voice" we would say chord to the sound
but then the moments of vocal fry were actually really powerful
Normally vocal fry like -I don't know- sometimes is painful to listen to
It's when the voice is like: ahhhhhhehhhhhh
That sound? That's vocal fry
But when you do just the right amount of it, it's kind of attractive. I liked it
S: I think it's were she was rapping
I heard- first they were doing something triplet
and then after that, like kind of seamlessly they went in- instead of a triplet they did
like the first 3 sixteenth notes.
So I was like "Ohhh they changed that up" like the second time
And I thought that was really cool
R: And then just the energy of it all,
like as soon as it started I felt like I was listening to the weekend
and I was in a peloton class just cycling along
one, two, one, two
So, yeah
K: I don't remember anything.
I knew I was listening to it and the chorus sounded vaguely familiar
but I can't tell you anything
It felt like a new song
I mean, I remember the 80s vibe
Like "Oh yeah, this is the 80s vibe song"
But the experience of listening to it this time it's just-
Maybe the first time I listened to it - I was maybe in too much of a
"Are they really paying homage to the 80s"
Maybe the K-Pop aspects of it stuck out to me like a sore thumb
while this time, I thought it was a great fusion
of the two sort of sub-genres
I think- yeah, I mentioned the trap drum coming out that was really nice
I liked all of the moments that had the acapella
You know like an 80s song would just continue the beat forever
It would never even think about removing the groove
the sings the groove
but this song played with it and I liked how it showcases their voices as well
there's the legato line that I noticed and just the
*sings chorus*
And you can hear how their voice grows, very naturally
without- I wanna say without much autotune because they usually add a tiny bit of it to brush things up
but yeah, without noticeable autotune and I appreciated that too
B: I felt like they understood their timbres really well because
Speacially I think in the prechorus
when one vocalist would sing she would like sing something
she had really soft or more higher voice then the other one would come
and she's like "don't bring me down" or something
I forgot what she was saying
Cloud: I liked that too
B: Her timbre was -it was more like rich and darker
and I think they used that really nicely and that they tended to use that a lot throughout the piece? Song
It felt like a call and response in a way
Even though like the rhythms were not completely similar
I felt like she was doing a phrase and she was more so like ending a phrase
you know, or responding to that phrase she gave
so kind of felt like a call and response between them when they would do that
and some of the harmonies within the chorus was nice but I thought they could've utilized that a little bit more
C: I love how you always attack groups for their harmonies.
You're like: "UM WHERE IS SHE"
B: I'm like "There's like 10 of you but I only hear like 2 different voices at a time"
C: I thought- there was 1 girl that had like blond hair and like
you mentioned hum- their uniqueness and stuff
like how they blended
and everytime she starts singing I was like "Ohh"
C: That sounds different B: Their timbres
C: She just had a really unique voice. And I was like "oh that's cool" B: They all have unique voices
Sam: Sort of when we create melodies
and specially in operatic textures in a lot of classical music
sort of the idea is when your ear hears these ascending lines
that don't necessarily go to- like let's say we have a
melody that consist of 5 notes and the first 4 are a scale
normally what your ear would want to hear is that fifth note to be that last note in the scale
so that's like level 1 of our ears
level 2 is- it goes somewhere else but still- it's part of that chord
Level 3 of that is if it goes somewhere that is like a forth or something that will resolve down
Where our ear is like "Oh it's going up, oh it's here and it really feels like it's gonna go down"
And that's where it creates the emotional tension in our melodies
And there a lot of beautiful examples - specially in opera
opera composers love that
My goodness.
But, that was something that really stood out to me and to pair that
with the city pop percussion
was soo cool
O: Like you said, the melody in the chorus is just fantastic
sings
I also like- like the three two one
interspersed with the fives
*sings*
I think the main motif for the song would be like: three, two, one
which, you know, it's great. But I think what they could've done maybe in the bridge
the bridge was the one section that didn't stand out to me as much
I think it might be that the texture changed in a weird way
but what I think that would've been nice
is that if they had inverted that melody
and instead of going like bang, bang, bang
Or whatever they did, if they had gone back up
and like dun, dun, dun or something
to do like one two three to just play with that
K: starts singing dundun
O: And it felt like the bridge was the one section that could've gone in a specific different
I love how they lead- led back to the into the new chorus, specially the slow chorus
sings the chorus
K: Oh yeah??? O: That with the 4 instead of the 5
O: Yeah they did that K: Oh man I didn't catch that!
O: It's subtle- it's so subtle and it's so good too
because it's like, she's being really relaxed
and she doesn't even bother, she's not even going to bother with that 5
I'm just going to go to 4 and it will be just fine
I don't know it's just- it's cool
I think they did a lot of subtle things in this song to really make it stand out
Ju: WAKE ME UP INSIDE
J&J: SAVE ME
Jason: Wait, you've seen the one where Goofy is in the closet JU: no
Jason: And it's like WAkE mE uP
WAKe mE Up iNSidE