Ju Young: OoOh, oh my GOD!
Every time!
[Rossini's Semiramide Overture playing]
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Hope you enjoy the reaction!
So you are now reacting to the Seventeen member Hoshi
and his solo mixtape, Spider.
(Kevin: Uh, mixtape...)
The lyrics liken the feelings of falling for
the deadly and inescapable charms of an individual
to the desperate movements of being caught in a spider's web.
You can also compare the lyrics of this song
to the pathway of achieving your dreams.
Hoshi says that at times, in your way to achieve your dream,
you may feel like you're being susso- suffocated
(Brianna & Cloud: *suffocated?)
Umu: suffocated, yes,
as if you're trapped in a spiderweb,
but the song is about the determination to not give up
and to keep moving forward despite that.
Oh, it's gonna be so much doper than that [what Raffi is doing]!
The song is composed by 박기태 (Park Ki Tae) from PRISMFILTER
and the Seventeen member Woozi,
while Hoshi contributed to writing the lyrics
and making the choreography.
Jason: We have heard Woozi before.
(Ju Young: Woozi?)
Umu: You have heard Seventeen before,
(Jason: Oh!)
Umu: and you have heard Woozi's name.
(Jason: Yeah, Woozi, yeah!)
Umu: Seventeen is the 'Home Run', and Woozi is one of the members...
(Jason: Sick, that's really cool.)
Umu: ...of Seventeen, so he wrote this for Hoshi.
Kevin: 3 2 1 !
Owen: It sounds like a kalimba, or thumb piano.
Kevin: It sounds like...
Kevin: ...the spider's web.
Owen: He's definitely in some sort of -
oh, those are his legs, that's cool!
Cloud: I like that it's kinda delicate like a spiderweb right now.
Jason: Uuh!
Ju Young: Wow, okay, that was a -
OooooOH!
Owen: Nice, I like the 9th being the most prominent in that chord.
Kevin: Interesting spot to do a...
Kevin: Half-time?
Not really...
But it did feel like it expanded a bit.
Oof!
Nice.
Raffi: AAAAAAAAA!
It's just so good!
Sam: Oh, that groove is crazy!
Henry: Uh, that octave!
Ju Young: OoOh, oh my GOD!
Every time!
Jason: That chord really hits.
Is that an 11th...?
I think there's like an add11 in that, cuz that's just like...
oh my god!
Ju Young: I love how we're using snaps in this.
Do you hear the snaps?
Owen: *reads captions* "Oh now I like this place"
Stockholm syndrome!
As if you're in a spider's web.
*Jason imitates bass*
*High pitched scream*
Kevin: AAaAaRgh!
And it's in octave unison, which makes it even better!
It's so punchy!
Raffi: OOF!
Sam: Also this is an example where when he uses his falsetto,
he really doesn't have a lot of voice in his falsetto...
like, when we talk about that hush tone, it's very like hush hush.
Raffi: It makes the harmony really effective.
Sam: Yeeeah!
*Combined excitement*
Kevin: Oh, okay...
...guitar.
Jason: It's just such a nice dotted eighth - sixteenth type of *mimics*
Raffi: I- this is just so good.
Sam: This is really good.
Raffi: Like, I wanna hear this in movies...
...at nightclubs...
...in the car...
Sam: Everywhere!
Raffi: ...everywhere!
(Ju Young: Wow!)
Jason: This is my favorite K-pop song I've heard.
Jason: This is my favorite one.
Umu: What are your thoughts on this song?
Raffi: It was smooooth.
Umu: There was lots of smiles going around, so...
Stephanie: Yeah, the whole thing just felt really good, haha,
Stephanie: the beats felt really good.
(Leon: Yeah)
Cloud: It's so light and like - Brianna: It was really light.
Cloud: His voice was so to the forefront
and you could hear the breathing really clearly, and I was like:
Oh my god, his voice is right there,
(Brianna: His voice is really like-) Cloud: It's very intimate feeling and you're
like... okay.
Henry: That's a good effect of like
struggling to get out of a spiderweb, I think, just like
a lot of breathiness to try to escape
from something that makes you feel caught,
that's a smart choice.
Cloud: I'm trying to think of what element of the song
like you would be trapped in,
cuz he said "trapped" so much, and I'm like:
Is it the chord progression, is it that like-
yeah, maybe it's the kalimba, cuz that sound is there a lot,
and I was like, maybe that's like the essence of trapped,
that it's still going and it's always continuing and it's always there.
Umu: For me, I'm hypnotized by the Rhodes,
the *demonstrates pulsing* chords, the sound...
Brianna: Yeah, the sound of the Rhodes give it this airy timbre.
Raffi: The moments of silence and then these splashes, the chords,
very very effective,
and then vocally, the harmonies, how thin they sounded
above what - like even if he was already in falsetto,
it's just a really attractive sound to listen to,
cuz I think it's a little more unique than what you usually hear.
Sam: I really really loved the instrumental,
I love love lo-fi, and this was able to draw sort of
the vibe-y sort of nature of what I love about lo-fi,
but while not being lo-fi.
The syncopations in the kalimba
were very reminiscent of that, along with sort of the very
like one-strum chord-y nature of the guitars,
as well as the very harmony-centric vocals
that all made for a very vibe-y experience,
a very vibe-centric experience,
that I really really enjoyed,
and I really haven't heard a whole lot
of that kind of music in sort of this setting,
so I'm really happy it was introduced to me.
Raffi: It's almost like it's own brand in a way, (Sam: Yeah!), you know?
that's - cuz I know I was like "I wanna hear it everywhere",
but I think it's because it fits what we're kinda looking for right now
with our - like it's pushing the boundary in some way?
I don't know, it's just modern, like smooth...
it could complement a lot.
Stephanie: Yeah, the number one thing that stood out to me
was the beat in the chorus and like every time it's:
1-2-3-4!-1,
that like 4!-1 was really strongly emphasized,
I feel like that was very characteristic of this song.
Umu: Right, and that contrasted so well with-
Did you hear the rhythm of the snaps in the verses?
Cloud: The snaps are cool, cuz sometimes they'll just do like *demonstrates*,
like 1-2'-3-4'
And they did- and it was literally like 3-4-1.
Stephanie: OOOooOh! Leon: Mmm
Umu: Yeah, same!
Leon: Woa.
Stephanie: Oh, is it *quarter triplets*?
(Leon: Mm.)
*clapping along*
Stephanie: Mm~
Umu: Did you figure it out?
*Stephanie demonstrates rhythm*
and 123-123-123-123, I think
Leon: My rhythm's so bad Stephanie: Wait, I didn't even notice.
Stephanie: Wow, that's so sick, wowwww.
Leon: Mm, it's really subtle.
Henry: I felt like the bridge couldn't decide between
wanting to be a dance break, a half-time beat, or a guitar solo.
Henry: It was all three at the same time, I was like,
Charlotte: It was all three of those.
Henry: I feel like you need to be really,
I thought it was gonna be a half-time flow at first,
so it would be really different, but then it didn't do that,
and I'm like "okay, I'm hearing a guitar solo, are they gonna bring this up?"
and then, but they just kinda stayed there,
and then I saw him dancing like crazy, I'm like "So it's a dan-"
but then there is a lot of other business, so I'm like
"okay, so it's indecisive",
but I really like the first part, the first half of the chorus,
oof, just like slowing everything down right before the drop,
and it's just like simplicity -
super sexy, the bass is really nice throughout the whole song.
He really- I appreciate their whole creative idea
of not actually putting spiders in the video
and just doing metaphors, that was,
I was kind of tense to see when they would drop in the bridge
Henry: just like a big fcking fangs, oh my god... no.
Charlotte: Not this song.
Henry: But I like how they represented that
with like the paint webs and the strings everywhere,
and just generally spiky looking dance moves.
Jason: That was so cool!
That was so good!
And yeah, his choreography is so sick!
Ju Young: I mean like, it was like kalimba,
and we're like: "Oh, that's awesome", and then...
Jason: Timbres changed so much, the texture Ju Young: and then he adds the drum,
Ju Young: like he adds the percussion, and then we have that mixture going on, \\ (Jason:
Yeah, let me go back really fast and just see.)
Ju Young: I'm like, why is he giving us so much in so little time,
Ju Young: I need to process it!
Jason: Cuz it starts with this like-
Jason: It starts with this like electronic hi-hat cymbal
and then it brings us into like claps and stuff, with the kalimba,
but all the while, the thing that was super cool about the production,
even just in the beginning it's like,
there's these, this ambient kind of echo effect of just natural sounds,
so it's just very like - there's always sound going.
Owen: Yeah, that was great.
I loved the beat, I loved the tempo of it, how laid back it was,
also the snare hit, whatever timbre they used for it,
felt just right to fill the space, like *snare sound* - chorus.
Like that was, that was perfect for that function.
I also - *demonstrates* -
that was the only part of the song that had that rhythm specifically,
as far as I could tell, it might have been embedded in other places,
but that made the thumb piano just stand out so
like clearly against the rest of it,
and I just love having that clear texture away from everything else,
and it, it kind of, it was just unique,
it was different from a lot of other things we've heard before,
and so I really liked that aspect of the song.
Kevin: When you said that he released a mixtape
I kinda had a feeling this was gonna be a little out of the box,
and not only was the literal music video out of the box sometimes-
Owen: Was it?
Kevin: Huh?
Umu: Yeah, his arms would go across the...
Kevin: Yeah, go out of the frame, go out of the aspect ratio.
Kevin: Yeah, there's something about naming your project a mixtape
that almost permits you to do weirder things,
like "oh yeah, it's a 'mixtape', it's like..."
yeah, they could try out some new, crazier ideas,
and I think this works quite well,
I like that it's short,
I like that it didn't try to do this bombastic thing
but also felt more intimate because this is a solo sorta debut,
and I, I dig it.
Owen: And if it had this long sort of weird bridge
that went to a whole different section (Kevin: Yeah),
I don't think it would have worked as well.
Kevin: Yeah, I agree.
Owen: I think this was nice and concise and it worked.
Jason: Like in production something that I really love
is when I can't separate all the sounds to know why it sounds so full,
there's just, it's just got this quality to it where
it's difficult for me to break down
all of the sounds and all the layers of sounds,
that's what I love in production,
is when I have to listen to it a bunch of times
to really feel what's going on and try and break apart the layers,
but this is just like...
so well placed, everything is so well placed (Ju Young: Yeah)
but like wHaT iS hApPeNiNg?
The whole time, I don't know what's going on!?
Ju Young: It kinda reminds me of the demon from Demon Slayer.
[t/n: Piano time!]
Ju Young: Yeah, it's an F♯ minor...
...I think it just goes to F♯ major.
*Jason playing*
Ju Young: Yeah, you're right.
Jason: That's all it does.
Ju Young: So it's just parallel major-minor.
Jason: Parallel major-minor.
But the- I think that's what tripped me up, is cuz the melody is still minor.
He does this, right?
[F♯-E]
Right, Ju Young?
Ju Young: Yeah, at 43" he's singing...
Jason: Yeah, so that's like... [plays F♯ major scale with ♭7]
Jason: So that's a mixolydian...
that's like a mixolydian melody on top of [F♯ major],
Jason: on top of that F[♯] major, on that raised 3.
(Ju Young: Sooo, that's the word...)
Jason: That's SICK, that's so cool.
Ju Young: It kinda reminds me of the word ambidextrous,
very flexible in what the instrumentals are doing, and his vocals.
Very satisfying.
Stephanie: "Hoshi", that means "stars" in Japanese (Leon: Oooh)
Umu: Oh, that's really cute!
Stephanie: Yeah!
Leon: Oh yeah, yeah, exactly!
Leon: Cuz there's a character in One Piece called Shirahoshi.
She's a Fishman-princess.
Stephanie: Ooh!
Umu: She's a fish man princess?
Stephanie: Like a fisherman?
Leon: No, it's like...
Umu: Mermaid?
Leon: Mermaid, yeah!
*lol*