Jason: Rainbow~ Rachel: Yeah, what is that?
Liam: There's a lot of cool stuff going on harmonically.
[Rossini's Semiramide Overture playing]
Sam: I'm sorry, my computer is very gross. Raffi: I don't wanna...
Raffi: ...get my integumentary oils on your computer.
Sam: Integumentary, that's a big word.
Raffi: Integumentary
Sam: Rhymes with "documentary"...
Raffi: And "elementary"
Sam: Oh sheeeeesh
Umu: What the f*ck just happened?
Umu: Ssso you are now reacting to the 7 member boy group NCT Dream
and their 2021 release 'Hello Future'.
'Hello Future' is an encouraging song that sings of working together
to create a brighter future filled with peace.
In the lyrics they say that even if you try to fly high
sometimes your wings are snapped.
However they encourage their listeners to love without regret
and work with the people around them to build something beautiful.
This song is composed by Kenzie, Adrian McKinnon,
and the producing duo Moonshine.
Jonatan: My name is Jonatan
Ludvig: Yeah, and my name is Ludvig
Jonatan: Together we are- oh wait, what?
I see what's coming...
Adrian: Come on...
*Greetings* Umu: I had to stall for so long!
Adrian: What's up guys?
Henry: Hi Adrian.
Cloud: 'sup?
Henry: Let's see what they have for us.
N
NC
NCT
NCT Dream!
Whoa man...
Woah man!
Cloud: Oh this is so trippy...
Jory: That's straight up my dream car, I won't even lie.
[t/n: ~moonshine!]
Henry: I expected this to be more minor, but they're in major.
Sam: OOoohh... Raffi: What is happening?!
Will: That was an interesting note, right?
*vocalizes*
♭6
Ju Young: The countermelodies are really good.
Raffi: I love it.
*Ju Young screaming*
Liam: Ooh, what is going on there?
Jason: Rainbow~ Rachel: Yeah , what is that?
Liam: There's a lot of cool stuff going on harmonically.
*Henry figuring out harmony*
Henry: There's a ♭6 in there!
*vocalizes*
I think that's just more of the switching between minor and major.
*Kevin mimicking ~that~ sound*
Jory: Haha, sick glasses.
Owen: I really like the guitar overtone sound.
Kevin: Interesting swing.
Henry: Jeez, it's so high!
Ju Young: His voice is so good?!
Will: Those little vocal things...
and now it's gone, that's cool.
Liam: Got that clapping sound hyping it up...
Liam: Aaaahhh~
Rachel: That's so nice. Liam: It's so satisfying.
Liam: Oh my gosh...
Jory: That's my favorite note.
Jason: I like his hair.
It's like rainbow hair, it was really cool.
That guy!
Wow, their outfits are fantastic!
Jory & Jason: The 808 is going crazy!
Kevin: MMmmMMMM Owen: All the way back.
Kevin: I like the beat during the rap section.
Jason: What a cadence.
Raffi: OH that's beautiful!
OH my GOSH it's so beautiful!
Kevin: That was a great way to cap the second rap section,
I didn't even realize what's happening
until all those crazy stuttering happened.
Jason: And that dance, I wanna learn that dance, that sh*t is FIRE!
What they're doing with their feet...
Liam: MMMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM
Oh, that was cool!
Cloud: He said "We're going way up" and he sang way up.
Liam: Like the bass fill right before that, MMmm.
Kevin: I like the high notes, the descant.
Jason: These guys are the epitome of like...
cool.
That's what you want to be.
*Sam & Raffi imitating ~that~ sound*
Liam: Mmmm
Rachel: Huuuh~
Rachel: Oh my gosh that was SO good. That was so interesting. Liam: Wow! Wowowow!
Rachel: Like there was so much going on I wanna, like I just wanna-
Rachel: go back and (re-listen) Liam: Go right back.
Ju Young: It's so weird because they're singing more of like major,
but then the instrumental sound minor, so it's like...
there's this colorful connotation in the video
and in what they're singing,
but then there's this hesitation and this pull from the instrumentals.
Henry: *Wubwubwubwub*, like,
hearing that at the beginning, and throughout, kind of,
we have a lot of really low bass sound, like a 1-5-1,
which I typically, when it's so low in that register,
I imagine that it's going to sound in minor,
just cuz of like what I'm used to hearing from pop and hip-hop music,
is like, usually when you go that low it's gonna be grungy
and it's gonna be cool and it's minor - yeah. (Cloud: It's gonna be groovy)
So like sticking it right in the, putting your flag in the mud in a major
was a dissonance for my brain.
Adrian: Honestly that part, when it goes into major after the rap,
it threw me off for the longest time
because the way I was hearing it was dark dark dark dark,
but they wanted that lighten up, lifting sort of,
you know, on the major side of color thing,
so we played around a lot with staying in the major
but also hittin' you with the minor every now and again.
Cloud: We were like going major with regrets though,
we like had some minor modal mixture,
and what was that lament bass, like in the middle...
where it's just kind of *1-♭7-6-♭6*.
Sam: The first chromatic tone that Raffi and I heard,
I think we like looked at each other and we were like:
"What was that?"
Sam: I'm curious to know what the intention was behind it.
Raffi: I have a guess.
Sam: You have a guess? Raffi: Yeah.
Raffi: So this beautiful, like major 7th that you pointed out, right?
And then it takes a turn and I feel like that could be like,
they're trying to get across the beautiful moments of life
as well as the hardship, so that's kind of what it felt to me,
we have these highs but they don't always last
and they go into something maybe darker but
I think it's interesting how all the voices were layered together,
because like through it all they're still together.
Henry: It's just really weird to hear like SO solidly major,
we heard like major 3s throughout it
and then on the first verse they even cadenced with, in the melody, a:
2-7-1,
like a really strong, like "Here, here is Re Ti Do", (Cloud: here we got the cadence!!!!)
like "this is definitely our tonal center",
and then they throw in those like- I don't even wanna say blues thirds,
it was like a very shift to minor.
To me it kind of presents a sense of uncertainty too, like
Henry: It could be good, it could be bad, you kinda have to find out. Cloud: When I come back down is everything gonna be on fire?
Cloud: Who knows... Henry: Right, like prevailing it seems to be
kind of optimistic and major an positive,
but like there's worries and there's fears that come with that too
which might be why that minor sneaks in here and there
and it prevails 'til major,
and there's this, I guess the *wubwubwub* that goes on and on and on
is maybe like the incessant continuing passage of time-
I don't know, this is getting deep...
Jason: The chorus harmony is just so pretty, it's like,
it's interesting, they had like a-
and they keep doing things with their hand
or they're making a rainbow or something, it's like almost like...
something is rising, something is being created,
cuz it's almost like - I wanna figure out the chords.
*Liam & Rachel figuring out the chords*
Rachel: Ah!
Liam: This really is not the best tool to be analyzing something. Rachel: Yeah, this isn't... // Umu: We can travel to the piano.
Liam: Yeah I think that's in the bass.
The ♭6 to 5.
*Ju Young also figuring stuff out*
Ju Young: And then you have:
How do I put that together?
*Kevin figured stuff out too!*
Kevin: Then they go in here *plays ♭VI*
Ju Young: And I like that because it's crunchy and it's not tonal.
Kevin: Cuz we hear, we think it's pentatonic and then we add a (major)7th
and so we're like "wow", like the 7th was already good enough,
and so when it goes down to the ♭VI modal mixture,
I don't know why I don't like it because I think it fits the song very well,
it's about saying hello to the future,
they clearly have a little sci-fi, you know, timbres and everything,
it's a weird sort of, yeah, it's like:
I don't feel it but I think it's well used.
Owen: I just think that them using the major 7 is different
cuz you normally hear *vocalizes*
Henry: ...should be the C♯ minor pentatonic
but you can also switch that to tonic for do-re-mi-so-la-do for the chorus
to have that major sound
Owen: But when, in the pre-chorus they have,
Owen: I think that color shift is subtle
but it really just changes kind of how you perceive the sounds that are going on
and I like that sort of,
whenever you have a chord in classical music that can like
just sort of change the lane that you're sort of hearing the song in,
then it's kind of a nice little deviation
for what the music is expected to do
and I think that just, that one note changes how the scale is set up
and I think it's a nice color shift.
Kevin: It also fits the welcoming vibe of the chorus very much.
Umu: Yeah, I'd like to dive more into the chorus melody,
did you guys like that, the 7th leading tone?
*Jory already singing* Will: Yeah I love it, it implies like a major 7th.
Jory: It was beautiful, yeah. Will: That was cool, and then it resolves too
Will: because it goes to IV and then it hits the 1. [t/n: The IV-chord (G♭ in D♭ major key) has the 'note 1' (D♭) in it.]
Will: And then it does the minor thing again, so it has the ♭VI chord,
Will: so that's cool. Umu: Yeah, what colors are you seeing,
Umu: what emotions does that melodic movement give you?
Jory: Oh, so euphoric, so euphoric, yeah, it was...
The first thing I noticed, like when the chorus hit, I was like:
"Wow, this is beautiful."
Like even though the production isn't usually-
it wasn't like trying to tug at your heart strings
but that melody was like selling it.
Will: I like it too, and in fact I love it when melodies go outside of
what the harmony is stating in terms of, you know,
say the harmony is just like triads,
which in this case it's all triads in the harmony,
and then the melody can add some interesting colors,
like the major 7th on top of it,
and it implies more interesting harmony than what is actually there,
which is really cool, I love it when I hear that.
Jason: I was almost very reluctant in the beginning, I was like:
"Well this is gonna be it, it's just gonna be this *wubwubwub*?"
But then that slowly started building and that,
the depth that was created from that one repeated line,
I just, I found that pretty fascinating
in like a production sense, I though that was great.
Jory: The beginning of the track felt like really spacious,
it wasn't like too crowded in the mix and it was like very wide,
and then all I could notice at the last like two minutes of the song
was like how hard they were cranking the drive on the vocals,
it was like getting kind of fuzzed out, and I was like: "Okay that was cool"
And then it kept happening and I was like:
"Okay, I'm a little fatigued now cuz that's a LOT of overdrive."
Umu: Right...
Will: I didn't even really notice that, yeah, I was, Jory: Really? That was all I was hearing, I was: "oKaY!"
Will: Yeah, I was down for it, whatever the vocal production was,
I didn't think it was too much.
The things that stood out to me were kind of the drum production
and then that one section,
that kinda like, the breakdown section towards the end,
that kick drum rhythm, that super active kick drum rhythm,
and then all the chords were side-chained to the kick drum
so every time the kick drum hit the chords ducked out,
so it got this crazy like *demonstrates*
kind of, you know...
the growth and decay, it just made the track groove so well
so that was cool.
Jason: My favorite part of the track
was the section where everything cut out and you just had the bass.
I thought it was SO effective, like such an effective use of silence.
I also really like the bridge!
Raffi: Where it got really soft and he was singing in falsetto?
I want more of that.
Please. Thank you.
Please and Thank You!
Jason: It was pretty damn good.
Alright, let's see.
Ju Young: "Way up~"
Jason: Yes, it's this part.
THAT!
I thought that was really great use of silence.
Rachel: Oh my god! *Imitates rhythm* Liam: Yeah...
Liam: He's like *demonstrates* Rachel: He goes off- yeah.
Liam: Like that, that kinda like hemiola thing.
Ah, I gotta hear that again.
Liam: Oh man... Rachel: Mmmm yeah.
Liam: That is so cool.
Rachel: *Mimics*, yeah hemiola, kind of. Liam: Like it's really subtle,
Liam: he's not like going crazy with rhythm or anything
but it's like a really nice touch,
it just throws it off that little bit
and then brings it back to the stable 8th notes.
"Ready to clap back"
Liam: Oh!
Liam: Oh! Rachel: Very nice.
Ju Young: This guy, according to all the viewers, is Sam!
Seth: Guys I'm gonna jump in here, how is this possible?
I'm looking at two identical [Mark Lees]!