[Semiramide Overture by Rossini]
Adam: *ROaaAAAAaARRrRrrhhahaha*
The Boyz!
Cat: The Boyz!
Adam: The Boyz~
Adam: We're back, the Boyz!
Umu: You guys are not imagining the right vibe, let me just tell you.
Cat & Adam: ThE BoYZ!
Umu: You are now reacting to the title track 'Roar'
off of the Boyz's Awake 8th mini album.
Owen: No.
Owen: No, stop it.
Umu: Oh my god...
This album covers the concept of them chasing their curiosities
and not letting their desires be hushed
and there's a lot of fallen angel like symbolism throughout, that you'll see,
because in this music video The Boyz were angels
who one day started to fall in love with humans,
which was considered forbidden love.
Since it is against the rules for an angel to fall in love with a human
they got kicked out of heaven or paradise and became fallen angels.
Liam: Holy f#%k.
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Umu: This song is composed, once again, by the same team that composed the intro,
DEEZ, SAAY and YUNSU,
while Mrs. KENZIE...
Ju Young: Oh! Oh sh- Umu: ...wrote the lyrics!
Ju Young: Damn!
Sorry.
Brian: This isn't Katy Perry? Umu: No, this is not Katy Perry.
Jason: ♪You gotta hear me ro-o-o-o-a-a-ar♪ Brian: I accidentally turned on the- oh?
Jason: That was a funny time of life.
Brian: How do you work these headphones? Umu: I don't know.
Ju Young: Ready, 3, 2, 1!
Ali: I like that! Ju Young: Yeah, cuz you like whistling!
Ali: I f#%king love whistling!
Adam: Rated T?
Cat: Rated "T" for "totally"
Kevin: It's got a 2012, like pre-2015 K-pop vibe.
Liam: MmmMmmmmMmmhhhh~
Cat: They're always so angsty. Adam: ♫Boom bada da bada da♫
Kayla Rae: "Dreaming of forbidden things?"
Slay.
Jacob: I already love its very fluid movement.
Liam: Oh yeah.
Oooooo~ okay.
Cat: Wow, he is an interesting voice.
Adam: Wow, that's crazy.
Liam: Alright.
Ju Young: I love how the whistling is like- Ali: I love a clean whistle
Ju Young: It's like contrasting, like, is it harmonizing with it?
I think it's so cool.
Liam: Okay, a little chromaticism.
I like the panning of the hi-hat too.
Jory: I like these little chromatics.
*Owen whistling*
Ali: Stop~
Jory: The little melody. Will: That's fun.
Will: That was pretty sick.
*hums*
The little, like blues lick in there.
*Kayla imitating ♭2*
Ju Young: Woowwwww~
Will: ii-V to the iv chord.
I like that.
Cat: Wow, they're vampires, all of the sudden?
Ju Young: Hold on-
*cracks*
So like, they're angels, but like that guy is a vampire, is that-?
Jory: I like how that melody works with that little whistle.
Will: Yeah.
Ju Young: Wohohohahahahhow, what the f-
Liam: Ooooh, oh goodness.
Ali: Oh, forbidden love!
Ju Young: It's the coming out song.
Jory: Ooh~
Liam: Ohohoholyfµcĸ...
*Sounds of appreciation*
Adam: YES!
Cat: Calm yourself!
Jacob: Yeah, there's something very like predaceous about this song;
Like not predaceous, but in like a lion, of like..
"I'm a lion, I'm a bear, rawr"
Adam: *high note*
Someone's all the way up there!
Cat: Someone's just like being a soprano right now.
Liam: Hohoho.
Really ended in a 4 over 3.
Fire.
Ali: That's a 10 for me. I love a good clean whistle.
It is so good.
I love how it fades in and out of the chorus.
It's so clean.
I mean I know it's not like an acoustic whistle,
and it's like auto-tuned, but still!
Stephanie: For me it was interesting to hear like the:
♪De dehehe da de♪
that like motif,
and it was interesting to listen for how it fit in with each section of the piece,
like on section there was another melody that was like harmonizing with it,
but like towards this ending part it was like a very intense section,
that melody was still going on.
And the melody itself, like it never changed like the timbre and everything, it stayed the whole time,
so I was just kinda listening for like how that kinda like works as an effect to each section.
Umu: So when it comes to creating that, like you said, that kinda spooky, predaceous atmosphere,
Was that carried on in the music as well or did you mainly see it in the music video?
Kayla Rae: All the chromaticism, I think, definitely added a lot to that,
I feel like when you think of spooky or like something that's a little bit more on the dark side,
I think that's the first musical technique that composers will turn to.
There were a lot of lines where it's like "Yeah, that's what I expected"
but then they would like sprinkle in like something very unexpected.
Umu: And also like, I feel like their delivery too.
Umu: I think you even mentioned they did some, was it slides or what were you pointing out?
Kayla Rae: There was a lot of sliding between notes.
it's like not as careful, there wasn't like a very careful placement of notes,
it was just kind of like...
Umu: Sleeky.
Kayla Rae: A slippery slope.
Umu: Yeah.
Umu: What were the standout moments in this song?
Adam: That redhead! Cat: Yeah, that redhead!
Cat: I don't know if I liked it, but it was such a different timbre of voice I don't think I've ever heard.
It's just like so polarizing to the vocal aesthetic that I feel like I hear constantly
that I wonder if people like it.
I like it but it's just so- *Adam mimicking*
*Cat joining in*
Adam: Yeah.
Cat: It's in the mouth.
Umu: Mm.
Cat: I don't know how to-
Umu: Yeah
Cat: But yeah, it's just so interesting.
You paused on his foot.
Adam: Oh he's not, he's not-
At 51 seconds he's not wearing socks in his boots,
he's just putting his bare foot in it!
Cat: No, but I think it's just such an interesting timbre of voice
that I have not heard anything like it.
And it's nice to hear something a little bit different.
Oh I also liked the little half-step motif.
Cat: *sings line* Adam: Oh yeah, there's a lot of chromatic moments in there.
Both: It was really cool.
Adam: And the power of falsetto,
it just gets you really excited about some things. (Cat: Yes!)
Cat: But the thing that's impressive is,
The high notes that they are hitting are basically
Cat: the same high notes that he sang Adam: Like sopranos, they're the same ones.
Cat: So it's just like, dang, that man is being like in a woman's range right now, like, cool.
Adam: And we have never heard a voice like that before,
I think there were so many different timbres within this group where I was like "woah"
and people really stood out and you could like...
Cat: Actually hear different voices, which I appreciated, yeah.
It was cool.
Brian: I think the motif in the chorus has a lot of suspense in it,
it's like the-
*unrecognizable Umu sounds*
Jacob: That was, that was, that was, that was it,
that was the spookiness.
Kayla Rae: We need to have a camera on you, I swear!
Jacob: The suspenseful motif in the chorus that goes like:
I feel like is like very creepy,
and also B minor to me is like very hollow.
Kayla Rae: Mm, mhm. Umu: Oh, why is that?
Jacob: I don't know, it just sounds hollow to me.
Kayla Rae: Minor in sharp keys sounds cool to me,
whereas with flats it sounds more like whole-hearted and deeper.
Sharps give hollow to me.
They're just shallow.
They're just...
Screw sharps!
Umu: Hhhhhhhh
Umu: I thought you were a sucker for whistles, Owen?
Owen: I- sorry, what??
I liked it in the beginning, and it was interesting,
but then it's like, only works enough for a little bit, (Kevin: Oh nice, diminished.)
and then you have to do something, you have to.
What became apparent to me, as they repeated everything,
was that the note values were just too long.
They did:
Which is too slow, I think, at a certain point.
Like, it could be:
or something like that, and that would be interesting as a transition.
Rachel: Most of like the rhythmic stuff,
like, any rhythmic variation mostly happened in the rap verses,
specifically in like the first ones.
Cuz it's like in 12/8, like in compound meter. (Liam: Compound meter.)
And there were some implications of like switching between triple and duple within the rap
but most of it happened at the beginning,
and then the rest of it, it was very much just like riding on the triplet.
Liam: Yeah, and they are really riding that. Rachel: It's like... yeah, they're just like riding on the beat,
Rachel: which I appreciated, so...
Umu: They add some suave in this. Liam: Like you could tell that they felt very very comfortable,
Liam: it was very smooth,
Rachel: I liked, I did like that part. Liam: very controlled, yeah.
Brian: Oh, I really liked:
Jason: Yeah, that's a nice choice.
Brian: Like around 49, 50 seconds.
That buildup?
Jason: Yeah, that's a good drop in there,
Brian: It is! Jason: And there's a reason though.
Jason: First of all, compressing a rhythm:
And then holding, having some silence.
Silence is part of the music, the silence creates the tension in the music
because you are waiting for the next thing to just drop.
Silence is so important, especially rhythmic silence, so:
Just in between there, so important.
They did that a lot.
They use silence as a note within a phrase,
which is awesome, cuz that's, the greatest composers do that.
Umu: And then Jason, what's your favorite part of this song? Jason: I like the bridge.
Umu: Why?
Jason: Because it really changed the timbre and the quality and the color of the music.
I was just, just whatever that - what is that? (Brian: You're right)
Ju Young: Why, why're you looking at me like that?
Ali: They just did that.
Is that legal??
Ju Young: Yeah... Ali: Can you do that??
Jason: So we got our B minor scale,
and that's got - how many sharps, Brian, does B minor have?
Brian: 2?
Jason: What is our relative major to B minor?
Brian: D major!
Jason: Usually it's something that would be nice,
it's, you have B minor, right?
And then, if you just change B to A,
then you have D major, so that's kind of a relative trick,
just to know, it you ever wanna know.
So what's going on is:
What he's doing is, they're taking,
instead of having an A in the bass to make it the relative major,
they're turning it into a diminished quality
by adding an A♭ instead,
or, in terms of our sharp key we were talking about, a G♯.
So you have this B minor,
and then the bass becomes [G♯],
so then you get this diminished quality.
So:
It falls nice because diminished is just like, you know, minor thirds.
It sounds nice when it's inside of a kind of diminished tonality.
Then it goes back to a normal kind of, I think it's probably a minor v, but I'm not sure exactly...
[t/n: The never ending saga of the dead E key continues...]
Will: I want, I want the E!!!
We're gonna use that one instead.
That's cool...
Em9
to G♯m7[♭5]
to Gmaj7
and then to F♯m7,
and then we're back to the E minor,
but it's like a Em11 this time.
And then back to the G♯
Oh and then it goes to like an F♯7...
Jory: F[♯] dominant, I think.
Will: Yeah.
Probably going to B minor.
Umu: Mm.
Will: I think.
Jory: You got some dubstep. Umu: You did it!
Will: Yeah!
Will: However you do dubstep on the piano. Umu: Amazing.
Jason: I think that this:
That talks about the desire and the wanting and leaving paradise and all that
because it's going from a tonality and shifting it immediately
and falling chromatically,
it's kind of like that fall, fallen angel, you know?
Ali: We just think differently.
Ali: Cuz I heard that, Ju Young: Yeah, we just think really differently.
Ali: Cuz we had the same reaction but we thought different things,
because I thought, because my thing was like,
you have these theoretical words for
oh, dominant and subdominant and tonic,
but all those really are are just words to describe a psychological experience,
like, you have tonic, which is the home key,
and you expect it to be kind of within the color of that home key.
But whatever that moment was harmonically was not that color,
and I was like, "oh sh*t, but like, why?"
Umu: And you [Ju] are like "oh sh*t, that sounds cool!"
Ju Young: Yeah, I'm like, woow, that sounded cool. Ali: But my first question was like, why?
Umu: Yeah.
Ali: WHAT WAS IT?! Ju Young: My brain was like "oh f#%ĸ that's so cool."
"Emma [Umu] is gonna ask for a musical analytical point of it, f#%k, I need to think!"
Ali: Like, that chord was a D chord,
and it's like, okay well, G usually goes to C or D or like relative minors of that key,
but it wasn't that.
And so it was like, "well then what the fΩĸ was it?"
Ali: It was a G♯.
Ju Young: G♯...?
Ali: I mean you would have to do a theoretical analysis (Ju Young: No no no, I was just trying to-)
Ali: to decide whether it's A♭ or G♯...
Umu: How would- yeah, it you could describe this song
and the way of like performing a roar,
how would you?
Cat: Yeah, perform your roar to best interpret the song.
In one roar, how would you?
Adam: *Raaaaah!*
*Rooaaarr!*
Cat: I feel like it'd be like,
*raawwr*
Umu: With the sassiness...
(Cat: It's a little cute.) Adam: Or like, like a rawr, like, *rawr*
Umu: With a wink?
Cat: Yeah, like, *rawr*
Ali: Is this about loosing your virginity?
*Ju Young cracking up*
Ali: What?
I'm just reading the lyrics!