Before we dive into Sean's and my reaction to (G)I-DLE's Oh My God, which indeed blew our minds,
Have you guys checked out the In My Feels podcast with a JRE and Emily Haydel?
It's a new podcast that launched at the end of 2019 that has exclusive in-depth and emotional interviews
Including ASMR segments with Kpop stars and famous people in the Kpop industry.
you can listen on any podcast platform, and as a premium follower of In My Feels on the Himalaya app,
you can even enter in their many Kpop concert ticket and signed album giveaways as well as see the full-length episodes for this podcast .
all the musicians on my channel are standing on their tippy toes waiting for Emily and JRE to spotlight some producers and composers,
but until then I hope you guys make sure to check out In My Feels with JRE and Emily right after watching this video.
Hello everyone! My name is Umu and I'm React to the K's channel creator
and I'm Sean, React to the K's channel arranger, and welcome to our reaction to (G)I-DLE's "Oh my god."
Umu and I socially distanced so hard that we are on different sides of the country,
but we are each recording reactions, and we'll talk after this
So I hope this turns out well and I hope you guys enjoyed the video
I'm I'm absolutely terrified like excited-terrified
but I saw the trailers, and I have not heard any of the audio but this comeback looks like they just went all out.
And so (G)I-DLE looks like they're gonna kill it, so 3, 2, 1
Okay, this was indeed the intro
We're turning this up
Oh, I did not expect this to be the verse
It's a nice abrupt leap up
It's funky — at first I was fearing for my life and now I'm like
whaaAAATT
Interesting choice to go half-time in the chorus
with that lower harmony
Glad they gave this plenty of space [and didn't cut the rap short]
oo
OOO!
Soyeon really likes licking dangerous things, huh
So much energy during this section
Which makes this hit more because we have so much rhythmic tension in the pre-chorus and then space, and then hit where we went half-time, I believe this is
compared to the pre-chorus. Or maybe even twice as slow
ooh
ooohh
우
Is this the bridge?
Okay
So that's where the whispers that they were hinting at in the previews were.
SHE showed me all the stars
So this is back to the beginning vibe
I like the form of this song
ohaaAAAA Oh that's the end
Okay
HOOOOOOWEE
Hᴬᴬᴬᴬ
Okay going in for a second listen — I had forgotten to put subtitles on the first time. So I'm gonna have them on this time.
3, 2, 1
What I love about this section is that we have absolutely no rhythmic drive other than "da da da da" in the vocals and then we had like the bell and like one singular knock
And now we have 1 2 3 4 with [imitating trap hi-hats] high-pitched
Pretty high in the range, where in the chorus, everything is really low
Some more subdivision — that's what's providing the energy
the faster rhythms
Oh that is in the same range, but the bass makes it feel so much more low
I kind of wish they'd filled this in a little bit more like
I understand backing off from the verse compared to the intro because they need to leave for someplace to go,
And like it does have a bass like it clearly has the bass note, but I wish there were a little bit more just either
chord or just something filling out the sound spectrum like happened in the intro
ohohohoho
That gets to me every time
Okay this is the LION similarity
3 4 1 2 3 4
Oh It's different this time around I don't remember those harmonies or the percussion
So they just build upon what they had before
Okay, this is a bridge — it is new vocal material
I'm glad they're continuing from LION having — giving Shuhua some real lines
Yeah, this is the pre-chorus instrumentation with the chorus
Her hands look like — if you guys watched RWBY look like...I believe Sapphire? No, what's her name?
I do like that they change that a little bit at the end and had her slow down
Okay, can you hear me?
Hello
Hello, ah, you sound much better [than when I didn't have headphones in]
Would you like to go first?
Sure. I thought — I noticed one of the things that I noticed was in the chorus, the "Oh my god"
It's a very Soyeon thing — like she's had that slide into V or at least elaborating around V — sorry, not V; the dominant scale degree the fifth scale degree.
The conventional diatonic scales have seven notes in them
The first one's called the tonic and the fifth one's called the dominant, just counting up,
and so Soyeon's had a few songs where she'd have prominent melodies that were kind of moving around the dominant and elaborating into it.
So like in LATATA (I don't remember the words but like) [singing prechorus of LATATA]
is then sliding down from [scale degree] 5; in "No" which is performed by CLC but is still composed by Soyeon, that has the [singing chorus of "No"]
And then in Senorita, it's not quite so slidey, but it still has [singing chorus of Senorita]
She really loves scale degree 5
Yep, and like this one's back to the sliding approach to it, which is more more characteristic of LATATA and "No"
but yeah, that's something that has like — it's something I sort of think of as a stylistic characteristic —
I mean not that only appears in her songs, but it appears a lot more consistently in hers than anyone else's
It's like one example outside would be love shot has [singing the chorus of Love Shot]
that is a slide into [scale degree] 5 — that that's an example outside of her music but like I haven't heard anyone else like
either as a group or I mean it really is her as a composer though because she did it in a song for CLC like
It's not just her idea of how (G)I-DLE songs go — it's how she tends to write melodic lines.
Also just going up and down that scale like the bridge in this song
It's similar to the second verse of LION.
Yeah
So I just find it so fascinating and also, oh, what's the word, um...
Satisfying for a group to have a consistent sound to have melodies or sounds to lock on to
but in the sense of (G)I-DLE or Soyeon is though certain motifs appear in all the music but in completely different contexts
Yeah
So you can pick it up and be like, oh, I recognize this from somewhere, but the instrumentation behind, the concept completely different
Right, right
yeah, like they definitely...like it's —
The big consistency that's not in all of (G)I-DLE's music, but in a bit of it, is the melodic...is those certain melodic patterns
but like the...like they change style a lot but melodic patterns can be imported to a lot of different styles
So like she's...they could do plenty of things that are completely different from anything They've done so far and still keep — she could still keep using those patterns
Right, right
And then another — two other things that I wanted to talk about with this is, I believe the second — all choruses are different, right?
All the choruses?
Yeah
because it's just "Oh my god" with the bass the first time, then it's oh my god with harmonies the second time,
and then the third time it's combined with the pre-chorus percussion.
Oh, okay. I hadn't I hadn't noticed that combination
It's just — it's the second and the first one. I'm not 100% sure whether they're different
Okay
I'm just gonna quickly listen not take my headphones off it
Okay, there are harmonies the first time
Yeah, I think there are new background vocals in the second chorus
Okay
Yeah, that makes sense because the first course did feel very Umu: Empty Sean: Sparse
Like I was...I was kind of— I think partly just because the like the intro while it's not— like it's fairly austere, It's not like big thick chords, it still feels like a very full sound.
And I was kind of wishing — like it's not surprising that the verse Thins it out cuz that's that's what was expected for a verse is to leave space
but I was kind of wishing for a little more in the chorus and.
It does make sense that it was kind of pacing across the choruses. I still kind of wish...
I wish they had brought back — Well, they did bring back the intro. Although, I did like that Minnie slows down and on the final one
Which just like, I mean obviously putting...slowing down at the end of a piece is really common
But, well, not as much in Pop, but really common in classical music. Umu: Was there a ritardando?
Sean: Yeah. Yeah. Umu: I didn't notice that. Sean: Yeah listen to the very end.
Aaaahh, there is a ritardando. ooohhh
And I thought that was a nice way of like
Making very clear that like this wasn't just copy-pasted from the beginning to the end
Yeah, I literally have no idea what this music video is about
But I love the aesthetics of the music and the soundscape of the music that supports what we saw on screen
Yeah
I thought it was a beautiful marriage of colors and textures in both music and visuals.
Yeah, like in the future, I want to pay more attention to it,
And also I want to watch PD's video because I assume they'll take apart a lot of how the music video would have been made or something about that
because I assume in their 37- or 39-minute reaction, they must have talked about that somewhere.
All right, folks. We've reached the end of this video.
We are going to check out the two new b-sides released on this album. So that will be released in a few days,
Thanks so much for watching, and we'll see you later. Bye bye!