*Umu singing melody in B-minor that sounds suspiciously like 'Sahara'*
Umu: 'Sahara'!
Sean: It just played the first few seconds before we paused it.
U: Cool.
S: They really like their chromatic ascending lines this comeback.
U: Whoa, echo.
OkAy!
They're really playing, one of the past songs and this song, with Dami's voice with auto-tune.
Tri-pa-let tri-pa-let aaaaaaaaa. Triplets.
I kinda like the higher guitar line.
Or it's synth?
Was that a paradigm?
?
!
Yes! I was needing a change to the chorus.
S: Guitars come in in two bars, probably.
...
*proud Sean*
U: Okay.
Okay.
Definitely, I liked how they transitioned rhythmically and the instrumentals between sections,
'Cause I didn't... - like that pre-chorus, I kinda expected more of a typical lead-up to the drop,
but I liked what they did with the percussion rhythms and the hits and the guitar part.
But the chorus, hmm...
I don't know, there is something about: Da. Da da da...
*imitating the vocal hits in the chorus* I don't know, there is something about: Da. Da da da...
I don't know, it just looses its energy for me.
S: Yeah, it is a bit square, like ...
there is enough going on in the instrumental it doesn't completely fall flat, but yeah...
U: Yeah so, but that third chorus change, I was like:
Okay, we are needing to do something different, (S: Yeah) otherwise we are loosing my attention.
so I really liked that, take out all the instrumental and do the crowd chanting with just the percussion,
and that's gonna work really well live.
Yeah. What are your thoughts.
S: Yeah, I think you basically covered them.
U: Okay, cool. [t/n: The MV is phenomenal, though.]
[t/n: The MV is phenomenal, though.] U: Moving on to 'In the Frozen', is this ... Frozen 3?
I still haven't seen Frozen 2
S: I have seen neither.
U: Woo, but you know like the characteristics of like the stories and stuff?
S: I assume that there is a lot of ice (U: Oh...)
and I have heard the most important version of 'Into the Unknown':
Stray Kids
Into the unknooown,
into the unknooo-ooown!
Into the un-KNOOooO0oOOWN!!!
U: That is the only one that matters, and also Apink Eunji's cover.
'In the Frozen'...
... heart's-tree-word [t/n: wut?]
U Yeah, I like how they get rid of the attack at the beginning of the hit. (S: Yeah)
U: Mmh mmh.
Wow. She is really close to the mic.
I like that really reverb-y bell.
We are still keeping that throbby vibing though we have now.
Staccato hits.
Oh, I like that "digedidit"! (rhythmic fill)
OOH Yeah. Yeah.
Anything starting spacious and then you start hitting every quarter note, that works so well.
Completely new second verse.
This is gonna be fun to sing, once I listen to the song more.
yeah
...4 1-2-3-4 1-2-3-4
[t/n: AHAHAHA!]
S: Oh.
U: Of course, it's the bridge. S: Skipped the second part.
U: This piano part ... reminds me of something.
Okay Dami.
YYYEEEAAAHHH!!!
Digidigi digidigi digidigi digidigi digidigi
wiow wiow wiow wiow wiow wiow wiow wiow!
OOOHHH! 'SILENT NIGHT' PART TWOOO!!!
YEEAAHAaAasdfomgrttkilyaahaha!!!
U: That was a massive hit (S: Yeah)
U: That was a massive bass trombone hit.
Yo, I thought like we knew, okay,
I knew the third chorus was gonna have, start with the subdivision, but I did not expect ANYTHING of like -
that new subdividing synth? Like dididi, and that second half to happen?! S: Yeah, didigi didigi
U: That just like WOO, exceeded my expectations
S: Yeah. Yeah, I liked how it's added up from - like at the beginning, there were the offbeat synth,
the *demonstrates*, but like there wasn't any kick drum,
like generally I think of that sort of thing as sort of getting away from -
I mean it's pulsing, so it's not just a simple side chain around the kick drum, but it's like,
it's somewhat just to get out of the way of the kick drum, 'cause a kick makes a lot of sound,
and there is a limit to how much sound you can have without maxing,
so it can make sense to have, in production, have the kick here and then other stuff sort of come up around it,
so this was doing this 'other stuff coming around it', but there wasn't actually the kick to avoid
and then at the end it was doing that at a much faster speed, where the kick was doing like four-on-the-floor *demonstrating*
and then the other parts were doing the *faster rhythms* around that.
...
U: YAAA!
There is a lot to pick up on, with all these last songs there is so many layers,
so I know I'm going to enjoy going back and re-listening another time,
like this, they just keep getting better and better.
S: Yeah the production on this (U: It's insane), like just the clarity of sounds and have a variety of sounds is really high, like...
U: Leez and Ollounder and whoever mixed this, standing ovation.
Holy sh*t.
'Daybreak'. Are we gonna get hyper, or are we gonna calm down a tiny bit?
'Daybreak' gives me like 'calming down a tiny bit' vibes.
S: Yeah, I think so. (U: Maybe?) Yeah.
U: Let's go!
S: 3 2 1!
U: A little shuffle? *imitating rhythm*
Yep, calm down.
Oh, I like - was it the lower octave? Uh.
And the bass is good.
Mm, taking out the clap for a two beats.
[t/n: Sean's face, lol]
U: Sorry.
Oh that's a dude singing.
Oh wow, did it not have a pop-filter, 'cause I could hear her breath in that one.
Or did it just go through?
S: I liked that little moment where you just heard the bass alone. (U: Mm)
U: Is the bass or percussion gonna come back in first? Or both at the same time?
The bass came in first.
Even more new material?!
A little swag.
Oh, guitar! Right?
Yep, some ad-libs.
Oh, totally unresolved!
Oh, we're at the outro, oh man.
Okay, that was nice, that was a little extreme difference in energy...
S: Yeah, I feel like, that's the sort of thing they set themselves up for,
the one right before this was so high energy, it was going to be hard for anything to follow it
without kind of seeming a little bit dim or dull,
like of course we're gonna be duller because the last one was so high energy in pretty much every way,
so, yeah, that was a nice song but frankly, it probably makes sense not to put anything really extreme after that,
just because it would have gotten,
it would have likely gotten overshadowed unless they could actually outdo the last one.
U: Right, I mean that was the climax and now we are settling out (S: Yeah).
What I wanted to talk about in that song is, Dreamcatcher's song 'Lullaby' and this song, even though we only got two seconds of it,
is a wonderful example of why Dami is my favorite female idol rapper,
because not only with upbeat songs can she use this part of her voice
that sounds so incredibly masculine and confident and dark and very, I forgot the word, intense, yeah,
but like when - it's so hard to pull of ballad rapping, I, like,
8 times out of 10 I hate it when there's rapping in ballads, and only certain rappers can pull it of,
and Dami is one of the ones who I think can do it the best because she can take all the depth out of her sound,
or I mean like you know there's depth (S: Yeah), but she adds that breathiness to it that makes it fit that style perfectly,
and it's smooth and it's still rhythmic, but I don't feel like:
U: Why is there rapping in this song? You know, whenever she comes in.
S: Yeah, it's, it doesn't, U: Why is there rapping in this song? You know, whenever she comes in.
S: It's less aggressive.
S: But like it's still deep,
U: Oh aggressive, I guess that was the word... S: But like it's still deep,
like she was kind of on the edge of just singing a low melody, too,
which I feel like that was also in 'Deja Vu', I think, that like -
The part where Dami's rap would be was actually just Dami singing,
(U: Yeahx5) but it was kind of low and...
so like, she's kind of sometimes on the boundary between singing a line that might be a little more rap style in the rhythms,
but like, her really low voice is nice. (U: Yeah.)
U: Okay, we are now at the 'Outro', let's end this album with a bang, 3 2 1!
U: More amazing production, mixing.
S: Nice, Gmaj7
U: Uh, that was sharp!
*Umu imitating sounds*
I like this keyboard sound.
Ah. Oh. And then fade out.
U: Yeah, that was just nice, emotional, 'cause we have been so hype, like my brain is about to explode,
and this was a nice like: Yeah, this is really badass and kind of mysterious, but also like: You can relax now.
That's a nice fade out to the album.
S: But there was a little riser in there and I was wondering whether they were gonna go in one last EDM bit,
but they just kind of filled out a little percussion.
Yeah, it was nice.
U: It was nice.
Oh dude, yo, this album, Leez and Ollounder, I like - do they only speak Korean?
I wanna interview them. I really really want to interview them.
Leez and Ollounder, I'm coming for you, HAHA.
Look out for your DM's, and also,
we'll be doing like a pretty giant unboxing of all four versions of this - Dystopia: Tree of Language Album on my umucado channel,
I am not sure when the albums are gonna arrive, but thanks to Medrian Palomo
we'll be getting multiple copies of each version so I'll have a giant unboxing party over on umucado,
and I'm like, I am always mind blown by Dreamcatcher's aesthetics,
(U: They're so good) S: This will be my first time seeing like a physical Kpop album...
U: OOOH!
S: ...opened, I mean I have seen like the cases of them, but yeah.
U: Okay, well thanks for joining us on this journey,
please vote for Dreamcatcher, please stream their music, we gotta get them their first win,
and then this album was so, it's so deserving of a first win, and deserving everything.
Huh. okay.
U: Thanks for watching guys. Both: Bye!