James: Oh ohohohohohoh Melissa: Oh my god that is so cool
James: hohohohohoho
Isaac: Yes
finally we're back
Umu: So now you're reacting to the five member group shinee and a b-side off of their album one of one released in 2016
The lyrics are a confession of love
The song is a man saying he'll be anything the woman needs someone who can bring her out of the darkness into the light
Can help her find her way home when she is lost all
The track features Henrik Linder from the Swedish band dirty loops on bass
This song is composed by Andreas Oberg, Simon Petren, Maja Keuc, Gustav Karlstrom
Cloud: Three Two ONE
Cloud: Oh...They just like took it all away! and then gave it back
Henry: Aw that's a really good use of silence
Aaron: HMN
Aaron: I thought we paused it Nick: are there gaps in the audio or
Umu: No Nick: ok cuz it sounds like my-
Aron: That's what it kind of sounds like Nick: it sounds like my headphones are getting disconnected
James: HOohohohohohoho Melissa: OH THATWAScool
James: *the santa jumps out*
James: They fuckin with us now Melia: oh did you hear that like chromaticism
That they like didn't need. That was so cool
Stephen: That was nice ear candy Seiji: Yeah, this is very jazz pop
Kevin: Okay wUT Isaac: dodododododo
Kevin: Ah! hints of Married to the Music in the melodic line and the harmonies
Kevin: Do do DEEDa
Cloud: Yeah
Henry: Yo
Henry: this is so smart
James: This is so good
Melissa: I think I'll put this on my playlist James: OH my god
Stephen: Man this is such a nice inner loop like harmonically Seiji: also with the bass players doing
Stephen: yeah Seiji: he's like hardly ever playing like one and three
Fiona: So nice
Daniel: I feel like there's all these weird like timbrel push and pulls like
Fiona: Ting! Daniel: RRRRUH
Daniel: You know it really uses thats (F:yeah) this dynamic contrast
Stephen: It's interesting the kind of grooves and things that they're using because it doesn't ever give a sense of feeling settled or secured
Henry: Yeah,
Elizabeth: Ohh There's like some like
Poseidon swimmin in there. That's like Henry: BRRRR.....OH
Elizabeth: like oscillating, Henry: *found dead*
Elizabeth: *sweats*
Elizabeth: I missed reacting with you Henry: what?
Isaac: This is so confusing, but so pleasant at the same time
where we goin?
Melissa: wow James: oh
Melisma leading into a different key area
Nick: That's interesting how a lot of the percussion just repeats but it's unlike a every
Probably four or eight bars depending on how you write this out
There's like this weird chwinggg sound that's really high that comes in
Henry: OHHHHHHHAHHHHHHHHHH WHOA Elizabeth: GET THAT TRUCK DRIVER MODULATION
Henry: That is some way to do a key change, holy crap
That's not easy to do no not for the singers that's so cool
Henry: OH... OHHHHHHHH So GOoD
Umu: what did you like about the bass thing
H: Okay, it was all up and down the neck first of all
*bass noises* going way high and way low
super cool. He also played a five string so you can just be *noise*
which is cool that he has the extra low B. This okay, this is actually something that I
really appreciated about this that you can't get really through editing
it just has to be like you grooving really fucking hard and that is making
Straight eighth notes still sound kind of swung because like that chromatic line that you're talking about that
They weren't just going duh duh duh duh dut
That it was like buh buh buh buh, buh. There's like a difference
There is a difference like they were just grooving extraordinarily hard and it was like just a, just a little
just a little, just a little, just a,
right on the, a little swing. Yeah, it's really good
James: Do I need to say anything?
I will
Melissa: Yes, you're on a react channel J: But like
I know, I'm sorry
Just the way, in every aspect of the song like it had something to say harmonically like people who are fluent in
jazz theory. They just know how to take you into these other worlds of harmonic like weirdness
craziness. The rate at which those harmonies change are usually so fast as
was the case in the song that it really leaves you like
waAh. It was like really cool, and the way they did it wasn't always just like
chords, like there was some
really cool like electronic quiet interjections
like in between vocal lines like riffs that like
like it's like a little like a microcosm for like
Ooh, cool change.
Ooh cool change, and like they were just like so many different levels
MMM It was a lot it was a lot but it was really really really fucking good
Kevin: When I first heard duh duh duh duh duh dut, the first time
I'm like, oh no, it's one of those weird chromatic ones and like
Sometimes when I get these chromatic songs, I'm like, oh no, there's not gonna be anything for me to latch onto
And I'm not gonna like it because it's too confusing and there wasn't much latch on to on first listen
And it was confusing, but I also liked it
So that's just the power of SHINee and our, our beautiful composers
I: Yes K: I guess I: It's so spontaneous that every turn of
The section is just a whole new, whole new color
added to it, there's new dimensions that are added on or being explored
I thought it was really nice that they put in the G major 7 where the- or reverse G major 7 duh duh de duh
But then they didn't do the B flat after
K: Whatever I: The giant steps K: Its giant steps
That's a jazz standard
I: Look into it. It's actually really cool. K: Yeah
Fiona: I like that ba da ba da ba da ba
baa da how they play with the ding! sound
pretty cool, so many textures in the background of this
Daniel: Yeah, I felt like - well at first it was disorienting because just the way how the music cuts off abruptly and it makes you think that
there's something wrong with the computer, but then you start to realize that's sort of the
sort of the vibe that they're going for. They just like add these sporadically, almost, these other sounds
contrasting sounds and these textures and these voices and that makes you feel like
uhm, when you're halfway through the song that it sounds like, you know a musical style
It's such a (F: Wow) overused trope, you know
but it's just like... you just you have like all these different types of fruits or like, or like vegetables and then
um, as the song keeps going
however, I started to realize that a lot of the mixtures that I thought were sporadic were actually used over and over again
So by the end I felt like it became predictable in a way where these sparkie sort of interruptions lost their pull almost
Henry: *intense sigh of joy*
Umu: Fun fact, they origionally didn't have the modulation at the end
and an A&R said, 'you know what SHINee can do it, put in a modulation'
Cloud: And they're like, not only are we gonna pull one in it's not just gonna be like up a half-step
Here we go again folks
like- H: nO they use that chromatic line to get into it (C: They like literally!) and like the last the last one of that that
Motive was slightly different like oh that's that's interesting
And then they switch everything up with it to make that the new the new harmony like the new
Harmony underneath the whole thing. It was so cool, that was so so cool
C: yeah, any like chromatic line that they did, they were, it was like very unexpected
H: Especially some of the vocal harmonies, who did you say composed this?
Umu: This is by Andreas Oberg, uhh Simon Petren
H: My gosh U: Geustav Karlstrom and
H: Oh my gosh U: Maja Keuc
H: Just- C: There was a lot going on in that one too where you're like
my ears are just like trying to listen to everything at once and you're like not really sure what to focus on because the base is
so swaggy, but there's like all this other stuff happening on top and like H: that's that just convinces me more
When (C: It was a lot) like Sweden and Korea coop, like cooperate together collaborate and they make like, they literally rule the world
think Super Smash Bros Melee
armada, leffen and, like who else?
I'm just thinking like Swedish (C: Armada's Sweedish??) arma- armada is Swedish I think
Anyhow, this song was really really cool. I like the chromatic vocal lines. I liked all the little vocal harmonies they put in there
I wish I could listen to it a couple more times and pick out like what exactly they're doing there as far as the chords
It was too quick a listen for me too to- to hear that
Also that middle part with the rap. Did you listen to the slap bass in there?
the slap bass C: Yes H: hooOOo
C: Yess H: hoOOO C: I wish that I- yeah
C: Yeah, I can't do that H: So cool