Henry: UHHHHHHH
H: YEAHHHHH
H: OOOHHHHHHH
H: In F sharp minor resolves to flat 6?
[Rossini's Semiramide]
Umu: Hyunjin is the second member to debut in November 2016; with their color being yellow, and cats as their animal.
Charlotte: Kitties!
U: This song Around You, composed by Juhyung Lee, is about a girl who doesn't have the courage to confess her love to a guy,
And revolves around the guy she likes, which from afar is just like a cat that keeps stalking someone.
Elizabeth: Why are cats always equated with female and femininity? U: Oh. E: And sexuality.
Henry: I have no idea. E: I feel like there could be a very interesting essay written on that and probably has been, but -
H: Well you know what's weird? It's that it's sometimes that, and it is unfortunately paired with fragility and weakness.
H: I don't like that at all. E: Cats aren't.
E: But cats aren't is the thing. H: I know! They're so resilient! Like, they -
H: Those fuckers have nine lives for a reason, like -
E: Yeah, it's very - it's very interesting to me. (H: Yeah.)
E: That that's always like the first thing you think of, being a very feline energy. I don't know, that's -
H: Enough.
H: To the video.
H: 3, 2, 1~
H: I love the logo. The letters that rearrange, and then [FLY]
Peyton: Ooh, #Feels
Charlotte: Aww, it's fluffy.
C: Oh! Oh! Ki - kitty -
C: [Screams] P: Ho! Big kitty.
Elizabeth: Oh.
E: Her voice is so much different [than Heejin's]. Henry: Alto. Yes!
E: It's my range. Heck yeah.
Peyton: See yeah, this is music I'd be like, "I'm going listen to music".
Charlotte: Syncopation though.
P: Yeah.
P: That's how you give energy to music without a rhythmic force, you know? C: Oh what?
Kevin: Ah, I love how it opens up with the vocals. Come on. Come on.
K: Minor 4.
Jeremy: Hey you!
J: Ooh that chord progression. I love that. Rachel: They always have such good chords!
Peyton: So, rocking this Major seventh chord.
P: And then, going like the dominant ...then the minor chord.
Charlotte: Ohh.
P: Woah! C: They pick such nice cords.
P: Mmkay, now we're going.
P: Woah!
P: Wow! That's cool!
C: I like the suspension in the last one. P: Yeah. C: Oh, it's good.
Henry: Let me see more meow meows.
Elizabeth: See, this does sound like a love song.
H: Yes, that's very true. E: You know, you know, it's very like -
E: Breathy, and like slow, and you've got like the little bit of piano.
H: And it's just like -
H: Ooh, very..right hand E: Yeah, and like the the sustained vocal chords in the back - See, this feels like a very romantic song.
Davis: Yeah see, like whenever - Lindsey: She keeps landing somewhere that you don't think it really will. D: Yeah yeah yeah, I was just about to say that.
D: Yeah, so you'd think - It does land on like a one.
D: But whenever you like, extend the cord like with like ninths and like thirteenths like they're doing here,
D: It doesn't have the same sense of like arrival. L: Resolution? Yeah.
Kevin: See, there's a lack of Major Three in these dominants.
K: It's super jazzy.
Henry: UHHHHHHH
H: YEAHHHHH
H: OOOHHHHHHH
H: An F sharp minor resolves to flat 6?
H: For the bridge? I'm into it.
H: Fuck yeah.
H: Oh yes. Oh, look at that meow.
E: I definitely get the the unrequited love idea, and like the shy idea, because - (H: Oh I'm hearing it.) E: All of the resolutions aren't complete.
E: Like they're either seventh chords or inversions and -
E: So you definitely feel like "We're not quite there". (H: Yeah.)
Kevin: I noticed some of the vocal harmonies are actually - they don't actually start like perfectly in pitch.
K: But that gives it more freedom.
K: Lack of autotune is a good thing.
K: Hot pop producers.
K: fromis_9?
Elizabeth: Oh, she's looking at the camera, and she's staring into my soul. No.
E: Mm mmm.
E: Oh no, why do they all look at it?
E: STOOOPPP! Henry: Ends on flat 6.
H: Too many cat heads.
H: But it ends on flat siiiiix!
H: YEEEEESSSS.
E: If you had not told me that those two girls [Heejin & Hyunjin] were from the same group, I would never get I would never have guessed.
H: I would never have guessed. That's very true. E: I would never guess that in a million years.
H: I've been like, oh wow, these are two very very different - they belong to diff -
H: I mean, I suppose it's kind of cool that they represent different directions, and they all bring it together to be one conglomerate group. That's very cool.
H: But like, oh man.
H: Yeah.
Henry: Such smart pop writing.
H: Got it - got a lot of of substitutions in there.
H: Wasn't overbearing.
H: Like, it was very much interesting in terms of harmony, and also in terms of melody.
H: Plus also the motifs were nice and succinct, and so you didn't get bored hearing the same thing over and over again.
H: Yeah, it was really smart writing.
H: Video? Needs more cats.
H: Just saying.
Elizabeth: But like real cats. Not the fake cats. H: Real cats. Not like cutouts, or cat heads
H: No no, real cats.
Charlotte: Well that is interesting. Cause you said that her color was the yellow, right?
C: And I just think it's interesting because I see colors when I listen to music.
C: So I Saw like sunset colours? Which are like golden yellows and oranges, and a little bit like purple-y blue in there.
C: And so that was interesting that I actually saw like, what her color is supposed to be. That was cool.
C: Very like, interesting chords that they picked too.
C: That like made it not just like a typical like, "Here's a ballad-y type song that's just gonna bang out the typical kinds of chords".
C: It just had some suspensions, and then probably a couple what, flat ninths?
Peyton: Yeah, lots of major sevenths too, which is like - C: But like, in the most unexpected places.
C: That like really make your ear go, "Oh! Hey!"
P: Someone obviously knew what they were doing, when they wrote this song. C: Mm hmm.
DavisL Yeah, I think, you know, the slower tempo and the more space in between beats, you know -
D: It creates a bit more of like this like atmosphere, this sort of like, floaty thing, and -
D: You know, like I was saying it's a very artistic approach, I think, musically, visually.
D: It just seemed like super thoughtful.
D: Which like, I'm into. I think that that's like a really great thing.
D: It's like, whenever it seems like an artist like take the time to like put a bit of like genuine vision into it, you know?
D: They're not, they're not just trying to make something like super colorful and flashy - Which definitely works [themselves?????].
D: But, this like, I don't know. This like, gets to me.
Elizabeth: I liked the way the harmony painted the picture of the mournful lover who's like, "Oh, I'm never gonna get what I want".
E: Like you could really feel that through the music. So mission accomplished, I guess. (Henry: You're right.)
H: I like that you never see the guy, really.
H: Like you see him sort of in passing when the bridge comes in, but then she's leaving.
H: I feel like a lot of videos a lot of times, when it's about a woman who is into a man,
H: And the man is just kind of off doing his thing, and the woman is just on the sidelines like [Hnng, I'm so sad]
H: It always trivializes the the plight of the woman in that video.
H: Right? It makes them feel helpless and weak, and it makes the man feel very like, he's in control of the whole situation.
H: And with this it felt very much like they both just occupy the world, but the focus was on her perspective, which I really appreciated. (E: Yeah.)
E: Well, that's also smart.
E: I mean, this is technically an advertisement for her. (H: Yeah.)
E: So, you know, if she wanted to do a love ballad, it would have been a bad idea to make it about the guy.
H: Yeah. E: Because you know, then it draws focus away from who they're advertising, really, so it's -
E: Smart economically.
H: It's true.
Jeremy: Well, it was very chill, and I actually kind of liked the vibe.
J: It kind of just made me like, really relaxed. Rachel: Yeah, it was much more complex than the last (Heejin's ViViD). J: Oh yeah.
J: And the chord progression, I love like those places where the chords just weren't what were you expected?
J: And you were like, "Ooh". R: Yeah. Also, they they change the progression between verses which I think is something pop shongs - (J: Yeah.)
R: Pop shong -
J: Pop shongs?
R: Pop songs should do more often.
R: Because it makes it more interesting to the listener.
Isaac: It was very light in texture.
I: So like a lot of the way they mix the sounds,
I: It sounds like it's far in the background, or just like -
I: You can - you can make the distinction of the chords, but it's very faint.
I: So yeah, it takes a little bit to like key into it.
I: Um, I thought it was very interesting how they actually use that too.
I: It's like sometimes it would break out of that little, I guess - how do you say it? Kevin: The distant haze?
I: Ooph, that's good. The distant haze.
I: Having it a little bit forward in the sound world.
I: The piano would just like abruptly just like - It's very pressed.
I: There's that one press like [Demonstrates] Kevin: [Agrees]
I: Overall really like the way they created the atmosphere.
Kevin: A lot of the earlier LOONA solo singles.
K: I just love them, because of how nothing ever stays the same between the different verses and the choruses. There's always something different going on.
K: And It shows that within the same song structure that, you know, there are millions of songs all over the world written with that same structure.
K: You can always do just - just add a little variety, and you get a song that that people will like and -
K: Well at least.
K: Us musicians will like.
K: What I'm trying to say is, by doing some - make - adding some variety, you write songs that stand out from the rest.
K: And contribute to a sometimes stale pop industry.
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