Jamal: OOOOOH~!
Let's goooo- OOOOOH!
[Rossini's Semiramide Overtune plays // Subtitles by youtube @anisian]
Brianna: Before we jump into reacting to Red Velvet,
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it's really our patreon that keeps us running, growing, and improving
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Brianna: I hope you enjoy our reaction
Umu: Ok, you are now reacting to the girl group Red Velvet and their second Japanese comeback, "Sappy" released in 2019,
Usually, we don't react to Japanese versions or comebacks from a Kpop group because they are like
stRIKED the second we publish them, and our channel actually gets, you know, has a chance of getting like taken down
However, this has been our for about a year now, and I've seen other channels have reacted to it,
and they have not been taken down,
So I've taken that as a sign that it'll be ok for us to react to this
This music video takes place in a surreal factory,
the lyrics are a conversation between them and a love interest, who is a timid, indecisive poet,
they ask ask him to make up his mind and choose between the world of fantasy and his poetry,
or their love in the real world, so they sing,
"Tell me which do you love, let me be clear, it's not a bad thing to dream, it's not a fairy tale,
It's the real world, what are you gonna do? Which one are you going to pick,
Reality or Fantasy adolescent boy?" Haha-
Raffi: Choose Fantasy~ Always (Sam: Choose fantasy) U: Oh really...over love?
Umu: Over true love? Raffi: Oh...well-
Jason: They just came for Shakespeare Umu: aH-HAHAHA
Jason: That's all he did
Ju Young: こんにちは [Konnichiwa] *Says hello in Japanese*
私は Ju Young [Watashi wa Ju Young] *I am Ju Young* Hahaha
Jason: 私は... [Watashi wa...] *I am...* (Umu: ...Jason)
Jason: Jason
Umu: The song is composed by Maria Marcus, Andreas Öberg, and Emyli
Isaac: AYEE Andreas ÖbERG...Öberg!
Kevin: Let's do it!
Stephanie: 3, 2, 1 go!
Stephanie: Ohh, It's good pronunciation!
Jamal: That's got a ring to it
OoO! Ayee~
*vocalizing*
Ju Young: Ohh...
Ooo~ Her timbre!
Stephanie: Wowwww, this is really good!
Brianna: Oh? That stylistic shift
Jamal: OOOO
Let's go- Ohhhhh
Ahhhhh~
Brianna: Am I supposed to be hearing 'sucky, sucky, kitty, kitty'?
Oh, sappy
Isaac: I like this constant drone, *vocalizing*
Kevin: *vocalizing*
Henry: Mmhm, me likey
wOOO~
Kevin: Ugh~!
Sam: That prechorus has some wild chords Raffi: It gets you going (Sam: Yeah)
Kevin: I like how (Isaac: *vocalizing) these fragments just kinda come together it- *vocalizing*
Just somehow goes- reenters
Ju Young: Oh my god, they are just-
The runs are- mmhm*chefs kiss*
Jason: I really like these synth horns, these are cool
Sam: I like those harmonies Raffi: I love that
Sam: Goodness
Jason: And the sax in the back now
Nice!
Isaac: *vocalizing* Kevin: Ah, they did- I'm so hyped *vocalizing*
Kevin: That's such a big leap
Ju Young: oOOH~
Henry: Oh, I love that ending, great!
Isaac: Wow, すごい [Sugoi] *Awesome* Kevin: Wow, How long was that?
K: See, it's like barely 3 and a half minutes
I: Very- very- K: And it feels this buffet- like this buffet of Red Velvet
K: It's just Red Velvet in it's reddest
Jm: That was like uplifting, wow
Tha- that was great! The singing had like soulful interjections, and like just such,
Catchy, melodic elements, and oh my gosh, and then when they would like-
Modulate keys, it's just like oh- you're doing this in the hippest way possible,
Because it's like, rhythmic cadences as well as harmonic cadence,
Every time they would like change keys, it made sense Rf: It made sense
Jm: It just made sense with what the melody was doing, but also just like the shape of what was happening,
Was like, oh yeah, this is going here? Oh cool, let's just keep going!
It was just really interesting, but also simple at the same time
Br: Yeah~! I feel like they used a lot of Jazz rhythms within the song,
So like in the beginning for the verses, they would do mainly just rhythm section,
But like low rhythmic bass, and I want to say like there are some beats they added like synthetic beats
And it was giving you that rhythm *vocalizing*
And I liked that, and then like gradually they add- they put more emphasis on the downbeat,
And then when you think of getting geared towards a more like-
Thicker, ensemble, I noticed they had like some instrumentation in the beginning,
They had like, I want to say horns, as in like trombones, trumpets, like they had some of that,
A little bit of like not shout section, but something like kind of just like interrupting the beat in a way,
And then like adding to like make the texture thicker, I thought it was going to switch to that,
But then it did the opposite and it kinda just switched styles to more of like just,
A rhythm section with all like full piano, bass, everything, guitar
I: Nah, I liked it, yeah, it was just-
Influx of...
A lot of things all at once, there's a lot to digest that's for sure
Keeping the energy up throughout the whole entire song is actually quite difficult to do
So I applaud them for that, because 3 minutes and 28 seconds was not noticed at all (K: No) by me
And also, being able to hold the energy up, its- I think most teachers talk about just trying to
Keep the ball up, or if you're throwing a ball to yourself, you want to make sure it's always in the air,
To make sure it doesn't just stay still, so they definitely executed that very well
Hr: It's super like surprisingly vocal heavy actually
Ch: Ah, maybe that's why I didn't like it
Hr: Hehehehehe U: Do you like thicker instrumental, busy instrumentals?
Ch: Oh yeah, of course I do Hr: It felt quite busy too, instrumentally
Ch: Hmm... but not as like thiccc Hr: There was a lot of like *vocalizing*
Ch: I mean there is a lot of different lines happening in the backtrack, but it is not as dense
as other songs we've listened to, so I think that's probably why I say it's not
as active that way
Ra: The voice, oh my gosh like, just different styles and timbres and riffing and-
Belting but like belting with control where it's like teasing almost haha
Especially at the end there, I was like waiting for her to like approach something way higher,
but it was like- let the music do the work, which is a great way of holding attention, you know
I enjoyed it, it made me happy
JY: I really liked their vocals, their vocals were stellar
And I feel like the production also kinda enhanced their vocals,
Like especially in the beginning the-
The girl that had the first verse [Seulgi], her timbre, like you don't hear that low timbre,
In like a girl usually, it just felt very organic and natural, they way that they were delivering their vocals,
And like their runs were super super clean,
And that- that's what catches me
Hr: Their vocal harmonies are tight
They're tight- I mean they're close harmonies, they're really close harmonies,
But they're voice blend is really nice, and they draw pretty good attention to it as far as sound balance goes,
It always catches my ear, especially at the end, I love how they cut out instrumentation and just ended with that *vocalizing*
And it's also sort of the-
Melodic contour is pretty small, as far as range goes *vocalizing*
And, I like that sound, I like that sound, it was tight
JY: I think Red Velvet is like my favorite girl group that we've listened to so far
They're very, very good, they're VERY GOOD
U: They're very versatile, (JY: YEAH! They're very versatile) so if you don't like one song,
you'll like maybe a lot of others, it's great
JY: It's like, for me, from "Zimzalabim" to like this,
it's so different and like "Monster" like everything is just so different, so I really like that
Js: Oh yeah they did "Monster" too
K: You know, some songs like "Ice Cream Cake" you can tell there's this really, edgy I guess,
You know I'm kind of picky with edgy melodies, and edgy styles,
especially when the song is in major, but they choose to make it edgy, like bluesy is one thing,
like bluesy would be like the type of edgy that I could accept, because I think it's just common musical language at this point
But this is a song, where I think this is like up there, one of Red Velvet's best for me,
Because it's so... excellent, it fits everything I like about them
Js: Yeah I liked um...
I liked how they had like that kind of synth horn stuff in the back,
It kind of reminded me of like a... because it's a super like retro beat that they're doing, but it kinda reminded me of like a-
James Brown, like 80s funk fusion, type of thing with the *vocalizing*
Yeah, and then there was even like Jazz sax just kind of like riffing through there by the end, that was pretty cool,
Yeah, and I thought the layering of sound was also like the production was super clean
And I think that's something I've noticed with Red Velvet, is that whoever produces their tracks, are just like A!,
Like A1 barbecuw sauce, like they're good
Hr: Everything was just different, the only that I think is super familiar is the um...
Song structure, but they're- they were kind of explorative with harmonies, definitely with timbre,
Like everything sounded pretty unique, there was maybe a couple different like belty, singy portions which were kind of familiar
And like juicy, but otherwise it was just a lot of fresh sounds,
Which I think was really interesting, but also so unfamiliar that it left me kind of
Somewhat confused, and not just like 'wOW thiS is a BANGER' I- it made me want to kind of research a bit more
Js: I think something cool that kept the music driving was the constant *vocalizing*
The 16th notes in the back just like constantly pushing it forward,
To like remind you, because like- that it is a pop song that's kinda driving and like,
Cause you can get kind of lost in all the sounds, because it's so like
It kind like jumps genres a lot, and it's really cool in that sense
So I think that *vocalizing* in the background keeps it like stable
L: I love the synth thing like *vocalizing*, that laid back-
The synth is like really laying back on the beat and then,
I don't know, it feels kind of Jazzy
U: Right L: Yeah
U: What did you- Did you think that the chords chosen were a nice- created a nice vibe?
L: Yeah, yeah, yeah especially- (U: -and why?) when it goes to like- what's that called? I think it's A flat minor 7
I think it's like, when the chorus just goes to like a B flat pedal like *plays piano*
I don't know but when it comes to *piano* and back, yeah that's the point *piano*
Oh and the pre chorus bass is so beautiful- yeah St: Me too! I was going to say, yeah
St: Because it's such a contrast to like
The- like before that, I was thinking before that it's just bright, just bright sound all over
And then in the pre chorus, you start hearing that bass, it's like oh, that's different
That was so cool like, I could actually understand everything
It was honestly distracting (U: Haha) because I was like, ooh what are they saying haha
U: Do you think they picked the right vibe to fit the lyrics?
St: Yeah! Especially this one part, they say like 'tonight, you- tonight you actually have to tell me what you're thinking'
It's this one line that's like unique to just that specific verse I think
And then musically they did something completely different too haha
L: And they are so charming
あいつわ ほんとい うそかし から [aitsuwa hontoi usokashi kara] is it?
St: むそかし から? [musokashi kara]
L: Is like beautiful?
St: Oh うつくし [utsukushī]
L: う- [utsu-] Just うつかし [utsukashi]
St: うつくし [utsukushī]...
L: Ohhh
St: wait what-
L: Is it?
St: うつくし [utsukushī] is beautiful
L: So like the whole sentence is it correct?
St: Um... you said like that dude is so beautiful
L: Oh *panic laughs* shiiiiiit noooo St: Hahaha
[BGM: Golden Child's "One (Lucid Dream)" // Subtitles by youtube @anisian]
St: Because- (U: HAHAHAHA) L: How do you say they
St: They? Oh 彼ら [karera]
L: Ohhhhhh... I watch too much One Piece-
St: Yeah hahaha Yeah L: Cause it's all dudes there