Henry: Yeees, YES!!
Umu: Okay, you're now reacting to the k-indie solo artist, Samuel Seo,
and his track called, 'Yeonhui-Dong' released as a b-side song on his 2019 album called The Misfit.
The lyrics express his dreams for the future, as he wanders through a neighborhood in Seoul.
He talks about sitting in the park, drawing the flowers, and watching the kids play.
He can see his future home and family while walking the streets, the song shows his hope for love and happiness in the future.
Umu @ Aaron: What? Aaron: I just keep on looking over like that until he notices.
Nick: I noticed. I thought it was creepy.
I didn't want to say anything because I wanted you to stop.
U: The song is composed and written and everything by him.
Kevin: Now that's a song I need today, and I think that's a song I need every day. So I'm excited.
Elizabeth: Three, two, one.
Owen: Okay.
I like that anticipation how that the offbeat the (percussion) da dA is really leaning forward into it.
Like that's really early I like that.
E: Is he beatboxing a little bit in there?
Yeah, he's beatboxing a little, that's cute.
Also the bass playing is [chef's kiss]
N: It's so like bass heavy
Like this is a great song to just (A: I was thinking like, soul train) turn way up, and just blast through your walls.
Cloud: Honestly, even if she hadn't told us that intro, this is such like a slow walking song. H: Yeah, I love this vibe, that's good.
Mm!
K: Ooh!
Wow yeah, the harmonies are kind of nuts.
It's all R&B land. So I'm not even good at identifying things (harmony) at this point.
[C humming along] H: Ah C: So spicy
H: I like that brightness on that tone.
It's darkened again.
Ah, oh. Ooh that's good.
E: Oh, I like how like he's now incorporated the beatboxing into kind of the lyrics, that's cool too.
N: There's an interesting, like, swing to his *mmm chika ah mm chika ah* A: It's also a really fun bass part.
N: Mm. A: Like this like,
N: Oh, yeah.
C: Catch me walking home after this like, mm ah
H: I'm gonna feel so cool walking home, if I listen to this.
N: It's got a really nice like, flow to it, um, I think the like bass parts especially,
and then we're just like kinda, they give us a little bit more with the synths.
But it's kind of dense either way.
And then we've got like, the chromatic descent.
And then it cuts off.
[H singing along], mah (my), yeah mah.
Ooh!
C: I was just gonna say, like every time he says "be my love" like I want something to just like improvise like crazy on top of that.
Yeah, I know. It's so (C: It's so) long that he has room to do that.
Do something again. C: We've got time. H: Do something with it
Yeees, YES,
K: Of course, yes, (Isaac: Okay) nice, nice.
Different chord, different chord!!!!!
They went from G major to E major. I: That's harmonization.
H: I like those harmonies.
Sick
Sick. Sick. (C: Sickening *laughs*) I really, really, really like his
either intentional or unintentional, use of vowel color between verse, pre-chorus, and chorus.
Verse and pre-chorus, everything had a darker almost- it's all in Korean, too- but everything kind of moves in a darker vowel space,
but then once he does- goes to the chorus that "be my love" has like those forward sounding resonance,
you can kind of hear you can almost think of it as nasal, but not really,
It's not a nasal sound, but it's brighter! And I like that, it makes it-
it feels more elevated, even though the range isn't too separated from the verse and the pre-choruses.
C: See part of me is kind of sad that he didn't riff more (H: Yeah!) over the (H: I thought because) "be my love" H: he riffed on be, then he riffed on my
C: But the other part of me is like a little happy that he didn't, because now when I play this in my car,
and we're turning it up, I get to riff over it H: Ahhhh
Dude, but okay (H: I wish he did) that aside
It's such a full chord, because a lot of times like we'll let like, you know
Like we'll sing and have maybe like two harmony lines or whatever, and let the rest be implied,
but he had like a million voices for the "be my love" like chords.
H: Yeah, full harmony. C: You could literally even if you're not good at like harmonizing
you could just listen to that a couple times and pick out different notes and be like
oh every time he sings this i'm going to follow-
I love doing this in a song- where you're like i'm going to follow like a different (U: A harmony) track,
H: Different line, yeah I get you. C: Like or like not even a different like harmony line,
but like jumping around like you're like i'm going to pick this note this time, and then this note, and then this note.
And like you can do like stepwise, you can jump and do some steps. Oh, it's so much fun.
You're like we're gonna, we're gonna go... there
H: I feel like a cat. C: It's great.
E: I really like the harmonies he has on the "be my love" section.
Because it's like-
It's just very extended harmonies. So like, it's like
It's like stepwise motion in the key that you would expect, but like the actual harmonization
of those chords is like very dissonant, and there's a lot of like
extra notes set in there (O: Yeah) and it just like
It's dissonant, but it sounds like really cool O: Yeah
E: And not like crunchy in a bad way
O: What i'm what i'm thinking about is like because the bass has the root of it
and I feel like the way that, in terms of where the octaves are and where the...
where the literal voices are, it feels like it follows the harmonic series in a way (E: Mm) like it gets more
More more notes together up top and (E: yeah) more rooted.
E: Yeah, that makes sense. O: It actually plays really well to that.
I think that's what might not sound too... garbled.
N: I really liked the ending. A: It was cool.
N: I thought it was really nice that they brought in like more of the harmonies, and then they kind of like repeated the-
the figure that we saw in the bass initially, where it's like
bum bum bum [going down]
we heard that in like the bass
initially when they brought in synths and then they put it in the-
like other voices with a whole bunch of I guess it was just like three or four singers
And it just kind of like cuts off after- after three measures
which is a little unexpected, and they just like brought that back over, and over, and over to like take out the song.
I thought that was really nice.
A: I thought the whole melody was too loud. (U: Hm) I wanted to hear the harmonies
U: Mm N: Mhm, yeah A: I feel like I had to listen for them.
Um, (U: Mhm) and they were like really cool
voice leading going on especially like there was all this like contouring motion between the (N: yeah) upper line
and then like the voice that was like directly next to it. (N: Yeah), and that was cool.
N: I wish they brought that out more as well.
I: Yeah, just nice groove. Really.
It captures the mood of just relaxed and also slight commentary. I don't know why I felt like something you hear out of, uh...
K: like in the radio between songs when the the announcers are going like,
yeah, so Justin Bieber wrote that song- I don't know why that came up in mind-
like in between the pop songs, they just play some chill track.
It's time for Kevin's bias corner. That's not a new segment, I just wanted to say that.
For me personally the mood that the music conveys does not remind me of a day in the park.
And I know, I don't know the lyrics to all the songs I react to,
so the bias also comes from hearing what the lyrics are before the song. So that's just a little preface.
It's a bit of a typical r&b type of
sound and layering, and for me that always reminds me of like indoors, cozy...
U: Oh, really? K: Yeah, some like not fluor- not this type of fluorescent light, but yellowish natural light bulb like...
Yeah, it doesn't remind me of daytime, it doesn't remind me of being outdoors in the park.
Like I don't think I'd play this music driving during the day, it just doesn't feel- it needs to be
Yeah that that evening (U: Huh) type of mindset.
maybe he is walking in the park at night. (I: Maybe he's Beethoven) I didn't think about that.
Maybe he's Beethoven or Brahms.
O: I would have liked more contrast, I think, between the sections.
Um, I- I loved the feel of it. I mean it's something-
I mean it could also be it's also one of those songs
That would be nice just to like put on, and sort of get dressed to in the morning and just kind of have that
soundscape to really feel good in because it is that's that kind of song.
But as far as listening right here out of like especially like leading into the chorus, hearing those two sections right next to each other.
It didn't feel like there was enough...
difference between them that really made it stand out for me.
E: I... before I was talking about how much I really liked this sort of heterophonic feel of a lot of the singing,
because there were a lot of voices kind of layered over each other singing the same thing.
And what heterophony is is uh more than one voice of the music literal voices in this case is singing the same thing,
But it's all slightly a little bit off, like sometimes it happens with ornamentation,
like if you're talking about irish music, a lot of instruments will play the same line, but they'll ornament it differently.
But in this way, it's like a lot of people singing at the same time, so they don't move exactly at the same time
Or like maybe they change pitches a little bit, so it sounds not exactly like a unified
section that's playing everything exactly together, and it gives this more like
Casual wispy feel (O: Yeah) I think to the music
O: Sounds more like a group of friends than someone playing the chords (E: Yeah) on an organ. E: Yeah.
C: Okay, remember that one day we came in you guys were complaining about how hot and dry it was? H: Yes.
U: Today it's cold and- C: Today, it's coooooooold. H: I am-
C: It's so cold. H: perfectly comfortable right now. C: No I'm dying. I'm so cold.