JASON: OHHH!
[subs by twt @angelade17 aka the SKZ Dance Tutorials guy] [Rossini's Semiramide overture plays]
BRIANNA: Before we jump into reacting to Stray Kids,
we wanted to let you know that we are able to film and edit this video thanks to our Patreon!
CLOUD: Since we are unable to monetize any of our react videos uploaded to this channel, [sad violin meme music plays]
it's really our Patreon that keeps us running, growing, and improving.
BRIANNA: We have a lot of interesting and exclusive content uploaded onto our Patreon,
which includes uncut reactions to this song, reactions to Japanese releases, live stages, and more.
The full list of exclusive videos is pinned in the comments section below!
CLOUD: She looks so cute, she does like the shoulder thing. *laughs*
If you enjoy our content, please consider joining our Patreon at patreon.com/reacttothek
Joining our Patreon is optional. You can also support us in other ways, like leaving a like or a comment on this video.
BRIANNA: I hope you enjoy the reaction!
UMU: You are now reacting to the 8-member boy group Stray Kids!!
And the title track off of their 2020 "GO生" aka "GO LIVE" album.
Through "God's Menu", Stray Kids welcome listeners to their figurative musical restaurant,
saying that at the restaurant they'll serve their guests different flavors and experiences that will satisfy all 5 senses.
Some fans theorize that this music video is Stray Kids' reply to antis who have called their music "noise music".
So through this song they proudly embrace loud confident sounds,
and they film at a racetrack, kitchen, and construction site. [t/n: kings!]
So, in your faces, antis!!
This song is composed by...
oh fuck.
[slowly reading in Korean] Beh-ru-sa-choi? And...
Oh, VERSACHOI. *laughs*
It's in English right after the Hangul.
UMU: And the Stray Kids members Bang Chan, Han, and Changbin. (CHARLOTTE: Oh Umu.) HENRY: Nice.
JASON: Are they gonna have like screaming horns?
UMU: You'll see. JASON: That would be pretty cool,
UMU: You'll have to see. JASON: just like *makes horn sounds*)
UMU: Oh! That's the key it's in! *laughs*
JASON: Wait are you serious?
[T/N: text on screen says 'F Minor']
RAFFI: 3 2 1.
O_O
HENRY: *sings along*
BRIANNA: Oh!
CHARLOTTE: Oh my god, the tuba in the background I'm dead! I'm dead! *laughs* I can't-
HENRY: I didn't notice that! CHARLOTTE: OH THERE'S ANOTHER ONE!
JU YOUNG: Wow.
BRIANNA: Ahh! [T/N: it be like that]
I'm sorry but she's low-key hitting.
JASON: Yeah there's horns, yeah!
BRIANNA: Ugh, the harmonies, yes!
JU YOUNG: Oh I like the underline like thing, *sings*
JASON: OH! JU YOUNG: *keeps singing*
KEVIN: They sang down the harmonic minor scale. (OWEN: Cool, did that harmonic minor sound.)
JASON: Triplets! But that was so good, I didn't expect that.
I thought it was just gonna be another *imitates typical pre-chorus rhythms*
but that was REALLY good.
KEVIN: Woah! That fourth. [T/N: Kevin is referring to the interval between the two vocal lines. Text on screen corrects Kevin, they sang a 2nd not a 4th]
JASON: Ooh that low,
LOOWWW,
LOOWWWWW voice!
OHH!
HENRY: Ah harmony!
JASON: That gaves me a Gambino, (JU YOUNG: Oh I love this part.)
JASON: gives me a Gambino flavor right there.
SAM: Also it's interesting how they added like the lower parts of the piano
for the new part of the bridge,
in the second time they're doing the bridge.
JASON: Oh that's so good, they go major! *sings*
JASON: Ooh! JU YOUNG: Ah!
BRIANNA: Oh. KEVIN: Waaaah!
BRIANNA: Who the f*ck is that?
HOW?
KEVIN: It's different!
BRIANNA: Okay.
RAFFI: Wow. SAM: Aw I love how they fill that sp-
RAFFI: The production. SAM: Mm-hmm, the production is so good.
JASON: Wow, that was really good. (JU YOUNG: That's it? That's it?)
OWEN: Cool. KEVIN: There's an outro? No.
OWEN: Oh was there an outro? I missed it. KEVIN: Back door, back door.
JASON: Oh. JU YOUNG: Oh my god, back-
WAIT WE REACTED TO "BACK DOOR"! (JASON: Dude, bro I really like them.)
JU YOUNG: That was good!
KEVIN: I think this is a very smartly written song for many reasons.
You know first of all, it's supposed to be a really loud song.
But the short runtime of it made me want to listen to it immediately again.
And often with these really saturated loud,
complete like, you know ballistic experiences,
I listen to it once and I'm like okay that's good enough for now.
But they kept it a short runtime and that's smart from a marketing and wanting you to relisten to the song standpoint.
But also, the fake drop after the 2nd verse also makes the song like,
it gives it, the illusion that there was a bridge, and so even when it ended, even though I still feel like it was too short,
it gave us the experience of a complete song. So I think all that combined together makes it a really really well-written song.
OWEN: I think it also, the pre-chorus does a good job of delineating the line that will stick with you, the *sings*
And also when you have a loud song,
you can trick the listener in a certain way with smoke and mirrors
by having that quiet section be so mellow and so quiet.
So that when you come back to the loud, it feels even more, even if it's the same.
JASON: That was sick. JU YOUNG: I love the pre-chorus.
JU YOUNG: Pre-chorus is beautiful. It's like a contrast to everything else that's going on this song.
JASON: Yeah dude, that was so pretty.
UMU: What are the flavors you got from every single section?
JU YOUNG: The flavors? JASON: Bubblegum.
JASON: No. Oh I should never say that ever again.
[Spongebob Narrator voice] Flashback...
JASON: Oh his lips, oh my god.
That was like, like bubblegum.
I could just chew on those.
Okay not me, sorry! SHE can...
JASON: *laughs* I didn't mean that in that way! (JU YOUNG: What did you say? Wait what did you say?)
JU YOUNG: I was too busy, I was too busy listening- (JASON: Listen, that was-)
[Spongebob Narrator voice] End of flashback.
JU YOUNG: Spicy, tangy, sweet.
Spicy tangy sweet, like something like that.
(UMU: *sings God's Menu instrumental on scale degrees*) JU YOUNG: They really, they like dissonance a lot.
JU YOUNG: Why do you think people call this "noise music"? Like in your opinion?
JASON: Um,
I think it's too much for people to handle.
Like I think that- (Umu: *laughs*) what?
UMU: No yeah, keep going, keep going. JASON: I just think that they, they just do so many different things and they like put them all together.
JASON: That's a thing they're saying, they're like one of a kind. In a sense, I agree with them that they are.
Like I, I haven't heard recently like a K-pop group that put together that many different sections
of like, rhythm and like, that was a lot.
That's just a style though, you know like some people are into it.
Yeah I like this a lot though, I did I liked them. And I also just liked their energies.
Dude they just have happy energy.
UMU: Sam I've never seen you head bobbing SO hard before.
SAM: It's just fun to like... listen to that. Just to like- (RAFFI: "You make Stray Kids stay", oh I love that!)
(RAFFI: Sorry.) SAM: -to recognize it and to be like oh, when I heard this song, that's what caught my interest.
SAM: And to hear it again, it's kinda like enjoying a meal that you really enjoy for the second time.
You're like, I know I'm gonna like it, so I might as well dig in and savor it.
RAFFI: I liked throughout how they're saying "Here's the noise" but there's, there's discernment and like there's a point to it all throughout.
And I think it's cool like when Sam you know, you say like "I've heard this before and then I remembered the things I love about it."
Like, that's- I think that's the sign of good music, right?
'Cause it creates these characteristics, these attributes that we WANT to hear and like we long to hear.
And some people call it noise, but I guess that's just subjective.
UMU: So what are your thoughts on this song vs when you first heard vs this listen?
Charlotte you go first.
CHARLOTTE: Um. Honestly I'm still hung up on the tubas jamming out in the background
of the kitchen in the very first shot. UMU: *laughs*
CHARLOTTE: It's just so typically like Stray Kid dark-sounding major rager kind of thing, and like they're very good at that.
UMU: But there's something about this song that made them hit 100 million views before all other songs.
CHARLOTTE: Yeah, yeah yeah. Uh that's, that's um my boy Felix saying he's a five-star Michelin.
UMU: *laughs* CHARLOTTE: Um-
(HENRY: Yeah.) CHARLOTTE: It's got like a consistent like rhythm- like the "du-du"s.
I shouldn't say "du-du"s [T/N: sounds like 'doo-doo']. Well. Take that out.
HENRY: No you gotta, you gotta do the whole thing, the- "DU-DU-DU DU-DU-DU"
(HENRY: And you're good, yeah.) CHARLOTTE: So that keeps coming back alright? And I think that's catchy.
CHARLOTTE: People want that and they hit it, and they hit hard every single time.
And then that's accompanied with a chorus that equally matches the energy of that.
So I think it's very,
I dunno, everything just feels like it's moving forward yet we're still sitting very much in the pocket of everything
because we have those moments of like sitting just like calmly, and like it just kinda lets it die down and builds it back up.
Then we you know, bring it back- so we're like on a rollercoaster, and it's just a nicely timed rollercoaster.
HENRY: I totally agree with you about the rollercoaster thing Charlotte, I think they have a great balance between like energies.
You have the "DU-DU-DU DU-DU-DU" and then you have the *sings pre-chorus*
in the pre-chorus that like, peels it all back and it's just their voices,
but then there's that upper harmony too that just like, moving in like parallel- like in parallel rhythm motion.
Uh and that's, it's a- it's a great break and you get to appreciate their voices.
And then they add in the drums, the *sings*
And then you're right back into hardcore industrial rap sound.
That just, I think it's a great balance. Also that bridge is, gives me chill-
Not chills, makes me sweat. Just like *sings* ugh there's just so much swagger in that, in that break.
Like so much confidence in "We are building up all this energy, but we don't need it."
"We don't need it, we have, we- it's all in here, it's all in here. Look."
CLOUD: I thought the "du-du-du" was cool too 'cause like, when I say "doo" it's like "du".
But like theirs was like, almost like a th like a "du-du-du". Like it felt very wide.
'Cause like "doo" to me is like rounded, but like a very singular kind of like "doo".
And theirs was very like, more- more resonant.
CLOUD: I- I feel like I'm talking out of my ass (UMU/BRIANNA: No!), but it was more like a th, like "du-du-du". I was like oh coolI
BRIANNA: There's a certain like trap beat that they use, it's like boom, boom boom boom boom in the bass.
That allows you to like, your cadences can kinda just free it up, because you can do a lot of different subdivisions within that.
And that's where you get kinda the hype music or the "noise music" that you were talking about.
I dunno, I thought it was like a hype song.
BRIANNA: It was not going to be melodically like interesting, I mean there was one part that was, I think it was the pre-chorus. (CLOUD: Okay but that-)
CLOUD: There's that one part that gets me every time, when they do like the *sings pre-chorus* some-
CLOUD: Hold on. (UMU: Is it the pre-chorus?)
BRIANNA: I think she's talking about the um secondary dominant to the five. (CLOUD: At like, at like 1:56.)
BRIANNA: Oh I get what you're saying. CLOUD: Yeah I want them to go like,
CLOUD: I want them to do like a sev-one. UMU: Mm. (BRIANNA: Yeah.)
BRIANNA: That whole section, it was the most melodically interesting section,
and on top of that they were harmonizing, which I don't know why I don't hear enough of in K-pop groups, you have 10+ people!
And yeah, they- they just like harmonize so well and I thought their textures just blended perfectly together.
And they really, like what you said they played a lot with like the chords within it, and they kinda did like surprises and stuff.
Like when you're doing a secondary dominant, you would expect the leading tone to go up and they did go down.
I think the rest of it, I just liked throughout, I was like okay period.
Like I was just, they kept a nice like funk and intensity throughout.
SAM: Transitions are very nice. UMU: What about them?
SAM: Well I talk about, musically I talk about filling in the space a lot,
and how you can sort of connect your bridge to your chorus, and from your chorus into your verses.
And I felt as though, first of all their "du-du-du du-du-du" is so catchy and so energizing that it just-
My ear is so inclined to just eat that up and just, and just embrace what's coming next.
OWEN: The timbre switch in the softer section, how they went to all those bell sort of sounds.
It was almost like a Rhodes-y kind of sound, the electric piano that you might hear in jazz tunes from the, like the early electronic era.
That really soft timbre shift from that *sings intro*
That is I think what made the transition work so well for me,
is- is the, the timbre itself. And also I guess the more open space with the-
The beats stayed the same,
but I think they made the phrase twice as long.
And that also kind of opened up the space.
KEVIN: Uh huh. (UMU: Oh like the vocal melody?) OWEN: Instead of *sings*
OWEN: They went *sings* (UMU: Right.) *counts 1, 2, 1, 2*
SAM: *sings* Like how they go into that "du-du-du du-du-du"-
Oh my lighting changed a little bit. But like how they transitioned from the melodic verse into *sings*
I just think that that is so just, energizing.
So first of all, using the half-step to go here just like makes you feel so good.
And then going back, but instead of going to somewhere in the key, you decide to go to the B-flat major just makes it sound-
There's just something about that that you're not necessarily expecting it in this song.
There's just something about like, going from [plays piano] here to here that is so unexpected but so satisfying.
So that way when you go back and then to *plays chord*
That's just, you- it just makes you so interested and engaged in what's gonna come next.
And I just, I love when songs do that.
UMU: Raffi anything to add to that? RAFFI: Nah he's got it man.
RAFFI: Besides that I'm jealous of your perfect pitch. That's just not fair,
but whatever. It's fine.
SAM: Aw, I'm jealous of your beautiful voice.
RAFFI: OKAY THAT'S ENOUGH.
[T/N: subs by @angelade17 ! Another great CMR reaction/analysis of Stray Kids :') ]
(KEVIN: Yeah, if you taste, I see it illusion.) OWEN: I'm sorry, five-star Michelin? UMU: Yes.
OWEN: Those don't exist.
Do they?
They don't.
I guess you can have five-stars as a chef.