Brianna: Wendy with the vocals!!!!
James: the scales!!!!!
Brianna: *summons her inner Wendy*
Umu/us all: Get better soon Wendyyyyy Daniel: wait what happened is she okay
Umu: she fell down an 8 foot drop
and broke her- Daniel: Oh
*explains what happened*
Daniel: My god, I'm just gonna say I'm really sorry. I hope you feel better
Umu: it's scary
Daniel: Please rest well your health is more important than anything. Yeah
Umu: Yeah Daniel: yeah
Umu: You're now reacting to the five member girl group Red Velvet & a b-side song
that was released on their Rookie album in 2017
Kevin: wow
Umu: Yeah, rookie rookie!
Happily ever after is a fairy tale told from the girl's perspective
She meets the perfect boy and although he's not a prince
they'll live happily ever after in their own love story.
The song is composed by Sebastian Lundberg, Fredrik Haggstam, Johan Gustafson, Courtney Woolsey, and Deez
Brianna: We love a clapping beat! Who needs percussion?
Brianna: *clapping* ay ay ay ay
Kevin: It's just a Red Velvet song!
where's the fairy tale? (Isaac: oh)
I mean I a Red Velvet song is a good song
Brianna: The bass line I think in the background sounded like a voice.
Oh, I think it is their voices yea
James: mmhm Brianna: so...
Isaac: *singing*
Kevin: oo oo syncopation,
oh my god syncopation
Elizabeth: This is so tightly produced
like there's a lot of different sounds happening and they're all present in my ear
Wait I like the car unlocking sound
Wait that's great.
Kevin: oh I like the synth blasts
very 80s or 90s TV show BAM
BOW
Aaron: I think all these like this chromaticism that's going on in the bass part
creates this like fluidity
that I'm feeling like
Flexibility of the music... that's interesting
Nick: I really like the bass like fewwbububu. Aron: Yeah
Nick: It's groovy
I think that's the word for it
Fiona: I like that call and response section, Daniel: mmm
Daniel: It's this ascending that's coming back again
Daniel: oh that's different
Fiona: I love that
Fiona: It's like here's a drop beep beep Daniel: yeah
Kevin: (the musical mode) Dorian
Kevin: There's so much major/minor play that the major sounds like minor a minor sounds like major now
Nick: This bridge is like
so good, the like
They're not afraid to like modulate their voices in good ways
Brianna: the melody is very good James: Yeah, thank you
Brianna: She said *slays vocals again*
James: that's a little bit of Christina
Brianna: Sorry, I'm a little sick so she might be off-key (but still kills it -subber)
Daniel: There's just so many things being tossed at you
it's kind of hard to like parse out.
Fiona: it's like *reach for the sky* Daniel: Yeah
Daniel: you're like-
Henry: I feel like that percussion is almost evocative of a lot of like body percussion like that sounded like mouth clicks but
A bit more instrumental(like)
Fiona: HAP-
Daniel: ay alright Fiona: I liked that
I liked how fast it was... the tempo
Daniel: Yeah,
Fiona: it just made it so fun and all the fun little elements they put in. Yeah
Daniel: I love this, but I wouldn't- I wouldn't listen to this if I had like three cups of coffee like
at like 3 am
and i need to get an assignment done
cuz I will probably have a heart attack cause they're just how like (umu laughing) D: upbeat everything is
Fiona: but if you had two cups of coffee and you listen to em you'd be fine Daniel: and if i did it at 2 am...it's okay. fine.
Aaron: Yeah, no, I believed if definitely listen to Red Velvet before Nick: yes.
Umu: they did Zim zim zalabim
Aaron: Oh hell yeah, hell yeah, Nick: that's them?
Nick: that bridge slapped! Was so good
It was like a little bit
Expanding from the musical language of the rest of the song which I thought was
Like it was really good because the rest of it is a little bit like I don't know
I don't think I've ever been in it forever 21
but I imagine that this is like look what would play on the
loudspeakers
Aaron: the the reason I really like the repetitive nature of it is because like
all the chromaticism and stuff that you generally hear with like voices sliding in and out of harmony with each other
It's generally reserved in like barbershop quartets. And I think that they were able to like make that into the whole
Soundscape of the song and I think that quality gave it an overall
Feeling of like fun and elastic and like happy and kind of bouncy
Henry: I think what like took my focus of interest was the different instruments coming in and out
like you said all the percussion but there wasn't like big enough shifts or
Moments of like a new thought and emotion, you know it all felt like it was one big effect (but pronounced Affect)
if you catch my drift if you're scooping what I'm poopin
cloud: *laughed*
Henry: I felt like it all stayed about the same level of intensity the whole way through which that to me
Didn't make me as into the song it wasn't as impressed to me
So I think instead I was just able to catch on to like little
Instrumentation choices that are innovative I suppose
Cloud: I kind of disagree but (H: you thought that instrumentation stuff was-) no
I mean (H: evocative?)
I know there was a bit like a
grow
Like kind of throughout the song like I do think that the last chorus was a bit more than like the ones before it
They usually do that in their songs
Like they usually add like a more instrumentation for the last repeat of the chorus or maybe more vocal harmonies or whatever
I kind of I like their melodies to highlight. They don't just stay in one range
like they do do some upper stuff and it's not just like
oh here's stuff that's really easy for all of our audience members to sing like they do have some higher parts
Elizabeth: Like we got like a seventh in there, which is like when you hear that it pops out
You know saying?
Umu: makes for a good melody.
Elizabeth: It does! well
It's like I feel like it's a lot more just more heavy and energetic
Yeah, and it's like exciting and it feels spontaneous because then you like don't really know where the music is gonna go
like your ear is like surprised when you get over the beginner feel like that
Owen: do you want to listen to a little bit again?
Little bit little bit Elizabeth: go for it sure yeah,
Owen: just because like at first pass there's just so much going on that
I feel a little bit overwhelmed and it kind of
Owen: wait
Owen: *plays 4 notes* okay Umu and Elizabeth: *die*
Owen: And the percussion is so active to the fact that it's like you have the 16th and it's all
there's just so much going on. each chord hit gives another energy aspect of it too and even
the octave leaps because the, higher one gets up to the E more
that's gonna give that like syncopation to it. Anyway, yeah
This is- so much going on
And it's crazy that this upbeat thing is like our respite like we get the rest during this section
Even though it's still like pretty pumping pretty good also, yes. Yes
Elizabeth: Even like quietly in the background. There's like the-
Owen: oh Yeah, yeah, yeah
Elizabeth: why is that happening
Elizabeth: i like that a lot
I like when it's on the offbeat cuz it's like leans more
You know, there's no like there's no time lost on the offbeat like it's leading like it
Owen: Oh sure like you can't you're not gonna have like ha ha
Owen: you're right it did
Elizabeth: Ha ha or there's like like if it's staccato there's like a space, you know, it's like, huh huh
There's no like there's no weak beat as opposed to a strong beat. you know what i'm saying?
Umu: well now you'll be comparing don't you wait no more which was a b-side released on their red album
this song
Tells the story of a girl who wants to get closer to a boy, but he keeps hesitating
She doesn't want to make your first move, but she's moving too slow
Umu: and this song is composed by
Brianna: Why are you reading my diary? James: Oop
Umu: The song is written by Dwayne Abernathy jr
Taylor parks and Ryan s.jhun
Kevin: less than 3 minutes 3 2 1 Isaac: like most cartilages
Kevin: Triad oh, here it comes
Kevin: Oh that's a weird
Okay, there we go
Elizabeth: Whoa, okay, whatever that synth is doin is epic. I love it
Owen: It almost sounds like it was octaves but it's gonna it's got such an interesting sound yeah yeah
Elizabeth: Yeah
Aron: I think that they harmonize really well with each other like their voices blend really well
Nick: Yeah, they're using really
weird
Harmonization but like I don't know like what to say about it yet
Fiona: So I like this call and response with don't you wait no more
Daniel: exactly
Henry: That's interesting how they're doing like matching the tabadatata with pom pom pom
both: ooooh
Brianna: modal mixture! James: colorful!
Colorful
James: We love harmonized riffs yes we do
Brianna: Wendy with the vocals Brianna: the scales.
Brianna: *deals 20 damage with killer vocals*
Kevin: Oh man yeah, the triad thing is a little much I
It just sounds so passive it's so neutral tah dah dah dah dah dah dah, like, you know
There's no there's no leading. There's no motion
Fiona: it's like
I'm gonna lasso you in
Fiona: oh I like this coral landscape they are creating
Henry: oh
That's really
Cloud: that one was alone
Henry: that was... yeah that's very attractive
James: These ladies are badass
Fiona: That's so it just gets more and more specific like the lyrics
and so it's kind of the reputation of
The melody it just like intensifies the meaning I think it's like okay. What do I do what I just like obviously do something
Daniel: *evil laughs*
Elizabeth: Okay, that was cool I like it Umu: did you recognize the Triad?
Owen and Elizabeth: *sing triad*
Elizabeth: I can sing it I sang a music triad
please give that footage to maura
Umu: Earlier she was telling me that she was in a horn lesson and like she accidentally like wasn't able to sing
a major triad
Elizabeth: because i've only been playing like atonal music for like a whole semester
and i was in atonal theory
So now my brain just doesn't remember what chords are
Owen: Like I like how they built the lu- I think the entire song was just off that one motif of
bumba dum ba dum (E: don't you wait no more?) you know?
And even if the bass (yeah) all of it the drums everything was with based on that and so I think that's smart
Because anytime you're gonna hear even some small snippet of that song, but they've got the radio or anywhere
It's gonna bring you back this song. (oh it's that song!) yeah, and that's I think that's pretty smart
Elizabeth: I've always been fascinated by music that takes one small idea and then
Makes a whole piece whole song out of that. I think that is
Exciting in a lot of ways because I think it proves that there's a lot you can do to music besides an actual like musical
idea, or
melody or rhythm
there's there's a lot you can do with that one thing to make it seeing and to
transform it and I think that's one of those vaccinating things about music is that you can do a lot with so little
So I really appreciate that.
Owen: Yeah
Kevin: on surface
I like how there are these things like I like how they're singing in triads because I've never heard a song
Well, I've heard of a few only a few songs. I've sang in tri like
*sings*
But when it's executed
like this
Yeah, the Triad sounds so neutral. I like that the *sings again*
You know the 2 and the 4 in the 1 2 3
4 5 that's what gives it motion and character when you're just seeing too many 1 3 5s. It's not really emotion
It just sounds kind of edgy and weird and the yeah, the bass synths. Just come in not on the
Route, which is cool, but at the same time it just makes me feel like a little uneasy a little eerie
And I it's a little uncomfortable.
Isaac: Well, I guess the uneasiness comes with the story that they're trying to portray so
Kevin: whoa
Isaac: Just yeah, it's just like it's uneasy too.
Kevin: So that's what they're feeling. This was THEIR feeling. Their guys are being too slow.
Kevin: I have to take notes every time you know, I have to really evaluate whether I'm being too slow
I'm gonna listen to this song
Brianna: some of the vibes are like churchy like the preacher say something in there
'Like don't you wait no more' 'can I have an amen?' 'Don't you? Wait no more.' 'Give me an amen'
'Don't you wait no more.'
That's like (yeah) literally a church vibe James: and they're in the runs also
Brianna: yeahhh
James: they were very like
Brianna: mm-hmm
James: Hmm. Yes.
Brianna: Yeah Wendy was really out here
Brianna: she said vocals
Brianna: She said James: she was out on the street Brianna: runs
Umu: do you guys like happily ever after or don't you wait no more more?
Brianna: Don't you wait no more James: Yeah, I like this a little better. Brianna: Yeah
Umu: why
James: the vibe
James: the beat
It was like it was catchy in a different way like this was
Brianna: I feel like it had more substenance vocally
James: It had a little more soul. (Yeah) the last one was like aw cute
I was thinking like sort of for some reason I don't know why but it was like
Giving me like Power Rangers or like, you know, I don't know
I don't know why that came to my mind, but it was just like girl power like ah
Like cute that was kind of the vibe i got.
Brianna: I don't think girls Go GIRl Power AH (she's not wrong...)
James: Okay, whatever. You know what I mean that don't come for me.
Brianna: a cute bitch does not go UH (#facts)
James: I'm not- I'm a man, okay?
Brianna: we know James: iM a MaN Brianna: are you sure
Brianna: About the same time. It's also subjective subjective
I feel like our ears are more like in tune with stuff that like have more R&B influenced and like have more like (yeah)
Soul influenced but the other song like some people may like pop better
We just are you can tell like our ears just prefer like that type of soul inspiration
James: We are partial to those kinds of lines and that kind of yeah Brianna: sound
James: gIrL pOwEr liKe UhHHhH
Brianna: F*ck music
James: uh
Brianna: we out here writing essays James: we out here- pfffhuuuuu