Owen: *giggles*
[Rossini's Semiramide Overtune plays // Subtitles by youtube @anisian]
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Now it's time to start the video!
So you're now reacting to GOT the beat, which is SM Entertainment's first unit
Girls On Top project where female SM Entertainment artists join forces in different subunits
So this is just like one subunit of a select members from Girls Generation,
From AESPA, from Red Velvet, And BoA!
Who is a solo artist, been in the music industry for like over
10- 13- 14- 15 years, like really long time
So you're now reacting to their first comeback song, called "Stamp On It"
Cat: What's a comeback mean?
Lady Olenna: "Oh my sweet summer child..."
Umu: According to the press release, Stamp On It's lyrics are about reaching the top
Of a fierce stage competition, they sing-
"I want it all, with elegance, Smackdown, a viscious shakedown, Mona Lisa smile
with loving eyes, the orbit of yours I'll break it down, you'll turn around
To a piece of me, piece of mind"
Ali: Hmm- Ju Young: Like?
Umu: Like... Ju Young: Ok, well this looks like a postal office
So I'm just gonna assume there's like some- Ali: What kind of Post Office?
Umu: This song is composed by Dem Jointz, Yoo Young-jin and Tayla Parx
Liam: Dem Jointz... Umu: Dem Jointz, he's "Sticker"!
Liam: He's "Sticker"? Rachel: Oh really?
Umu: He's "Sticker" and the last GOT the beat song as well
Liam: Ahhh, alright Rachel: Ok
Rachel: I'm ready for some weird samples
Liam: Yeah, weird shit Rachel: Some really weird samples
Liam: Ready?
Umu: 3, 2, 1
Umu: Ooh~ It's a sample!
In...comin- in- incom-
Rachel: Ok... Art?
Are they stealing art? Sorry!
Liam: I just really like the piano
Jason: I also like the low bass, bass notes these *piano*
Oh, I hit that sh*t hardcore, that was a C
Liam: OoO-hoo~ the vocal stacks, jeez
Umu: Oh? I did not expect that high note- what?
Are we in the chorus?
Jason: It's really active *vocalizing*
Ju Young: Woahhh~ Ali: OoooO~
All: OoOOHHH~ Brian: What's happening?
Kevin: Oh my goodness, excuse me?
Sean: Did we go Tri-tone modulation?
Umu: And now we're back Sean: Yeah that was-
Stephanie: Interesting... oOHH-okay~
Ali: There's no modulation, there's no nothing-
Ju Young: Yeah, it's just like it's like here you go-
Ali: Part of me is like, are they allowed to do that?
And it's like well yeah, what are- there's no rules Ju Young: Yeah. there's no rules
Umu: Interesting how they're keeping so much of the demo male vocal backings in
As harmony and just as interjections
Kevin: So they emphasize the C major, and they emphasize going into F minor
And I don't know which note is more- which chord is more important
Owen: C Kevin: And that makes me feel weird
Ali: It's like all the rules are just constructs, that like arbitrary people put,
But music is just like decorating time
Umu: Let's see, key change?
Owen: Hahaha
Brian: The breakdown?!
Jason: aH~
Liam: Holy f*ck dude- Rachel: What- what just happened?
Liam: The percussion was so nuts at the end there
Kevin: That was really cool, I actually thought it was really good
Owen: That was cool
Umu: This is having some of the material before,
Together and that makes me appreciate the beginning better because this exists
Liam: OoOOHhHoOO~ This is giving me Britney Spears - "Toxic" vibes
*vocalizing*
Sean: Very 2nd gen uh Supersaw
Liam: Now we're back in C minor, okay?
Cat: ooH~
Umu: Okay~
Liam: uGH~
Ju Young: They sang the chorus like once or twice like what?
Ali: Yeah I don't know the road map
Jason: This doesn't end does it?
HaHAHA
I like it, I respect it
Ali: I like that
Kevin: whAATTTTT~!
AHHHHHHHH~
Liam: Oh, man
Rachel: HahAHa Liam: Alright-
Sean: Wow Rachel: AHH! What??
Liam: That's so f*cking out,
Rachel: Damn Liam: I kinda loved it
Rachel: I liked that a lot actually
Kevin: woWWW~ I would totally relisten to this just to experience a mental breakdown again
Umu: whAhahaT~
Leon: I can't- like- This is like-
When you're having a Big Mac, and then the next thing you're eating a McFlurry
Like it doesn't make any sense-
Umu: But that's actually kinda- it's kind of good
You've done that right?
Leon: Ok, ok that's- Stephanie: It could be worse
Leon: Yeah, it could be worse, I, I feel-
Stephanie: Ok eat a strawberry-
Broccoli, and then right after strawberry- No actually, strawberry first and then like
Right after- while the strawberry is still in your mouth,
Eat a broccoli
That's really bad, I've done that before, haha It's pretty gross
Umu: Yeah, so this is a song that many people have very extreme opinions about
Where are you guys- like which end?
Ali: I really liked it Umu: Really? Okay!
Sean: That was a song that developed well
Umu: ...Yes, but I'm not sure- Yes, yes, yes and it lended
To me liking it more because it was a good development Sean: Yes
Umu: But, looking at this song from above,
This has a lot of the ear candy, and harmonic changes that I love hearing
In pop music, and what makes listening to pop music exciting for me
But initially because of the lack of dynamic changes
And, choosing to have like specific samples just go on loop
Between the verse and the chorus, and then the bridge
Feeling like it came in at the post chorus,
I had mixed feelings, and I still have mixed feelings
But, I think because of the way they developed it,
I can at least be like, ok, I enjoyed most of that
Ali: The transition part *Stamp On It transition plays*
*piano* like the notes are moving so fast, that they're almost like-
They're not imperceptible like we just perceived them
But if you're doing like a first listen,
You're not really thinking it's gonna go anywhere weird or strange
Ju Young: But, I think it makes sense because like- Ali: It's in the mode
Ju Young: Because like everything else it's so like- Ali: Of F
Ju Young: It's so, *hand motion* Ali: And then you go to F#
And then all of a sudden you go like- and then you go to a new section
Ju Young: Yeah, I really like that
Kayla: Oh, I really like the different styles it produced
It was giving like Ciara
It was giving like 90s, early 2000s [BGM: Ciara - "Ride ft. Ludacris"]
And I really do think, the song was a little bit prolonged
Like, a lot prolonged, I really felt like it could have ended at 2 minutes
Or something Cat: Yeah, wow
Ka: I feel like it was just like the same motif repeated over and over again
And it sounded the same
U: Yeah, the thing is, my- my theory for why they repeated so many times
Is because they did have like four key changes, so in order to-
Ka & C: So many key changes C: We kind of felt distant
Ka: It like leaped haha, it backflips C: Yeah, haha it was like- we're here now?
U: Yeah, it was like, it was like C to F# or something like that like haha
Ka: Woah... U: So- yeah it-
C: Just looks at the keyboard, everyone, all 3 of us we just like- hmmm hahaha
U: Yeah, because like you said, there's so many different style changes
And because there's so many style changes and key changes,
They're like- we have to loop this as many times as we can, so they get used to it-
C: So feels it- yeah U: So yeah, feels more normal
U: But then like the song is like f*cking 4 minutes long
Le: I just kinda got distracted after the key change,
Because I was like- closed my ear like okay?
St: Aww...
U: So like your brain shutdown, like system overload Le: Yeah (St: Same)
St: Yeah, but when it just stayed within one section, it's-
It was good I think Le: Yeah-
St: Ok, yeah- Le: Like every section is good by itself
St: Yeah, yeah exactly
But, it's just so confusing because the change is so abrupt and
The transition is so abrupt and weird, a bit weird
Br: At times it felt like whiplash, because there were so many different like-
Sections, so many different like-
Little vignettes it reminds me almost like a collection of short stories
Every 30 seconds it was a new kind of like idea-
Ja: Yeah, but like it was short stories, but it was like-
The story started, and then another story started,
And another one started, but then the first one came back
And it was another little bit, and then the second one came back,
Another little bit, and there was the narrative- ended up
You know, interplaying and finishing, but it was little quilted moments of sound
And I was fine being lost in it
Ra: Yeah, weird key changes, um- Li: Yeah, we were like C minor, G minor
Li: F Major, for some weird part there is F# minor at the end
Maybe if I analyzed it more, I could find some meaning like why
Anything was happening, but uh I can't haha Ra: But no
Se: *piano* yup, yeah, so it goes from *piano*
Um, and then *piano*
So like a tritone away, the furthest possible key
Which I'm not sure I've a heard a song do a tritone modulation directly?
U: Maybe not, yeah?
K: Yeah, yeah *piano* Ow:Yeah, it is F#
K: What!!! F# minor?!?!? Ow: Literally the farthest key-
K: Yes- Ow: That it could possible go to
K: And then after that, of course it goes *piano*
Yeah, it goes *piano* it goes straight into that again
U: Does it add like a new character to the song for you?
Because for me, I'm like why'd they do this?
Like what are they introducing to us? Is it like a more insidious?
Is that- is that a word? Insidious side Se: Yeah, that is a word, yeah
U: Like a little bit more like, Oh we're gonna reply to this like really badass
Stamp on it, with like you know, that kind of thing,
Like *vocalizing* fading out of a reality, into this new reality kind of thing
Se: Yeah, I do enjoy that little synth line that gets between them
Like even just on its own, it's an ear-catching sound
But then also like having it land here, instead of in any of the more
Expected places it might have landed, I really enjoy
And yeah, I think insidious is a good word for it U: Mmhm
K: It feels like it's sometimes leading towards the F minor
Because it goes like *piano*
But it- the emphasis is clearly still on the C-
Ow: Yeah, I think it's an F6- K: And my- don- donic tominant-
K: My tonic dominant relationship, it's like- it's really confusing
Se: Yeah, after that is a pretty Dem Jointz thing
Since he's much more into like dominant to tonic relations than most producers
I have a video on "Sticker" about this
What I'm hearing as then, as sort of briefly G is tonic
But then, there's just that *piano* Very, long and *piano*
And if it were just *piano* then I'd be like ok, we're just hitting tonic
But since *piano* and like for 1/4ths, the upper note tends to sound like the root
Inherently, and we've heard *piano* as a recurring part in the beginning
So, we very strongly associate that with 5-5-1 in scale degrees so,
*piano* very much sounds like dominant, and then the- *piano*
That, sort of Supersaw, or supersaw-ish synth
Also adds that sort of tension of a really long dominant and then at the chorus,
We're finally back on tonic, but there's a whole bit of just instrumental
And then dance break, there's a lot that's built on that dominant
Al: And then it changes again, doesn't it? That's like not the same
As this one? JY: No, it goes back
Al: No (9x)
U: It changes to a different key in the bridge
JY: *breathes in* ohhh yeah! Well that yeah
K: A♭?
Ah, B, it's a two chord Ow: A♭, doesn't it go to flat?
K: It's a *piano* Ow: Yeah, it's 2-5-1 to A♭
K: It does not feel like-
The wildest key change, it somehow, there's still a bit of DNA in it
*piano* I think it's because the first note is E♭ and there is some C minor
In the earlier section *piano*
Ow: Well, also because in C minor you do have the A♭ major chord
K: ...yes, I think everytime the song goes back to the original key
The C, is always way more jarring than how they move out of it
Ow: I like the sections that we're in C, a lot more than I like the A♭ sections-
K: I like the A♭ sections, that's when the song started getting good.
Especially when you add the, the- *piano* the really angelic, like sparkly section
*Stamp On It plays*
Ow: That was cool- K: That makes this section better actually
K: Because, yeah, we've heard this type of break before *piano*
Ya'know, the RnB, oh big 2-5-1 wOoOO~ yaknow
But, knowing that the bridge has a bigger ambition makes this part better
I like the line too, yes you should burn brighter, it's bright, it's sunny
I think this song is gonna grow on me, but not in like a purely like-
I give it a 9/10, 10/10- there's always going to be something that is a little bit
grating for me, there's going to be something a little bit grating,
But I think I'm going to grow to enjoy it
Li: Yeah, I mean it's like kind of the SM brand,
There's just so many things to go back and latch onto
That you can like kind of focus on when you listen to it
Like it's the same thing with AESPA songs, like I'm not particularly in love with any
Necessarily any one of those songs, but they're so much fun to listen to
I think and just like go back if I'm bored, and like I don't know dive into it
JY: I liked it, because it was more of a spectacle for me,
It's like oh- like they did that, Like oh you can do this to the sound
Or like, oh you can do a transition like this, oh you can use this to like make this,
And they're like oh, you can put this there, and like to me it was like a-
Like an art piece
Ow: I think that it is good art, I do actually think that it's good art
And I'm happy that this song exists, and that I listen to it
[BGM: ATEEZ - "Halazia" // Subtitles by youtube @anisian]
U: You guys reacted to the debut of this group, or at least you did
It was like *vocalizing*
Ja: You know, the thing where you- *distorted voice* Br: HAHAHA