Umu: Now you're reacting to the five-member boy group SHINee and a b-side off of their second album Lucifer.
In the lyrics, the members are complaining about a girls whose moods are constantly changing
One minute she's feeling up and then suddenly she's feeling down
Isaac: *Katy Perry* "you're hot then you're cold"
Umu and Isaac: "You're yes and then no"
Isaac: "You're in and you're out"
Umu: But she's so pretty they're willing to put up with her emotional rollercoaster Isaac: "You're up and you're down"
Isaac: What?
Kevin: God you can't, you can't- watch out! Isaac: no no
Kevin: It's a trap, it's a trap
Umu: Yeah this song is composed by
WiiDope and the lyrics are co-written by the member Jonghyun the member of Minho and the songwriter misfit
Fiona: 3 2 1
Fiona: I love this beginning though. Daniel: It's really strange
Fiona: It's so happy and like singsong-y... playful like in the schoolyard you're holding hands.
Daniel: Yeah.
Daniel: oH
Elizabeth: Are we getting the orchestral hit in there? Henry: Oh, yeah, but it really sounds like
it really sounds like Windows Vista like error
Henry: *dying* You know what I'm talking about?
Melissa: So now it's like it's like really smooth and like
lyrical, I would say legato but earlier it was like very like
Like what's the word like detached and maybe yeah, like like this and maybe that's like her mood swings, bro
You know like sometimes she feels like legato and sometimes she feels staccato
happens to everyone
Cloud: In a way, this is like the coolest thing ever because it's like they sampled
a million different songs, and then found a way to match it up
cohesively, (H: yeah) but at the same time I'm like
Cloud: w-what the-
Stephen: It reminds me of something Insync would do or Backstreet Boys,
Seiji: yeah, but somehow the synths are still really good
Stephen: Yeah, Seiji: and like pretty modern sounding. I don't know how
Seiji: but...
Stephen: It definitely like I feel like it's the chord progression
It's a chord progression that Britney Spears would use but like for a boy band
(S: hehehe) like that kind of like sort of minor-esk, you know... i dunno
Fiona: This part's more like *bops* Daniel: It feels like acapella
tiering the harmony you know like uh-huh, you know what I mean?
Fiona: *sings*
Daniel: Yeah, exactly
Fiona: I love this part
Isaac: *Imitating synth* wutuwutuwutuwutu
Kevin: that's a 2015 rap break very different
Melissa: Bro the instrumentation of the section's crazy, like there's not really a beat it he's like rapping. (J:Yeah,) like what?
There's like one cello note and like a little tweet sounding thing
Isaac: boop
Isaac: Do you hear that? *tries to mimick* now it's gone but
Henry: What what the hell... what was that?
That's good
Nick: It ends up kind of feeling like they're using silence in a really cool way
(A:Yeah) just cuz all of the all the things that we're expecting.
Aron: Yeah, it's like the absence of
Certain elements.
Daniel: I love how they added the rap on top of the
the thing- Fiona: original thing. Daniel: Yeah
Daniel: It's kind of like a few. You know what I mean?
Fiona: There's just more and more and it's like Daniel: well not really here
Fiona: You could take that
Kevin: That's so many voices combined together like singing separate things
Henry: oh and the little
Henry: *vague gestures* R&Bs..
Henry: Autotune?
Cloud: They've had the going in the background this whole time
Henry: It's a- oh gosh
Nick: It's also interesting they're using like auto-tune like really prominently in one or two of these voices
Oh, I'd wear it all those sorry there's an ad
But they're using autotune like really really a lot in one or two these voices in the middle of the harmonies
which is another like really classic 2010 thing with a
T-pain it ends up sounding really cool though to hear that in the middle of voices that are less processed digitally
Aron: Yeah, exactly. Exactly. It gives like a platform for certain voices to stand out
I don't know their hierarchy if they have like a lead singer, but they all seem to like
mix together well
Melissa: Retro auto-tune is like vintage now James: that was interesting
Melissa: you go to an antique store. You see some auto-tune and you're like, yeah, man
James: Back in the day back when I was a little kid. There's a nice blast from the past. I would say
(M:yeah) just in that I think the music at that time was like
really starting to get a little funky like that whole
James: *singing*
It was like, I don't know what words those were but it certainly
Sounded like kind of out there and just like the the melody of whatever that was. It's just kind of like
Okay, and they'd add layers on to it to kind of build the song. Yeah
Melissa: It reminds me of like Renaissance music that's based on chant. So like when they like state the chant
like, you know one voice like one one line one note
at a time and then like everybody comes in with like some polyphony and
Then they like go back to chant later for like a line
or two and then end fluffy
It's like the same thing.
Cloud: I want to let go back and like listen to it Henry: find all the little things
Cloud: There's like little things like at the bottom of the like chorus wherever that just like sneaked in and they
And then would be gone
I'd be like did I just did they just what I've been like later like it was almost like like that
foreshadowing like
Cloud: We're gonna do it
Umu: WASN'T. THAT. LIIIIIIIIT?!
Cloud: I was so confused for so much of that song
Henry: I am really confused
Cloud: I was sOOo confused
Henry: It was well done though, I gotta say like
they put a lot of cool sounds together
Cloud: it was like a stampling thing. It was like I took like a whole array of song. I went to the song buffet and I
just like
Sampled like everything just like it's very up and down
Henry: yeah Cloud: Like we are....
Cloud: it was like we're like happy little like a little kid show
like that Umu: OHHH
Cloud: You gotta like go go go
Cloud: Are we like hip hopping
or in the kitchen baking
Henry: well to that vein it is very effective
I think the two big things vocally that stood out to me the Third's that I said seemed to sound way more open
I think we're open because the lower
part of the third
I Think it's like scale degree six and scale degree one like La and do. The lower one was in whichever singers chest voice
which was very full sound and the higher one I think was in someone's head voice or falsetto. it was a lot
More floaty and I think just off of the Tambres it
Sounded like it was way more open than it actually was being just a third second vocal thing that I noticed
what I think kind of bothered me about not just the glockenspiel and the
Go-go was also there's a vocal line doubling it the whole time that
Like the kids song like and that's how the song starts right?
But they're they're singing it in a fully supported head slash- at like a mix
more head voice, but it's
Cloud: Whatever James called it that one time
Henry: It's very full and supports
You can share a bit of resonance a bit of vibrato in there as opposed to like a really light
More evocative of a child's voice kind of timbre which I think would have fit with a glockenspiel sound
But they didn't they didn't go for that. They went for a
Fuller bodied adult sound with that glockenspiel which for me was kind of a little unsettling a little stark
But it's so freakin much
I couldn't like I had to I had to decide to like listen to other things to within the music that made it more interesting
It kind of became
Background structure to the song.
Isaac: THIS IS SO GOOD
Isaac: IT'S SO GOOD
Kevin: I'm such a fan of it Isaac: That rap no,
Kevin: it's alright. It's almost so bad. It's good
But I think it's actually good
Isaac: I have to agree with I just the rap
It's just losses momentum there, Kevin: but it's so good,
Isaac: but he redeems itself later because they add I don't know
There's a rap. I don't know if they consider a rap, but it just sounded like a rap. That's the way to do it but
man,
I guess it's that oh, there's nothing there and then they give you something even better later so... Oh my goodness
Kevin: what a weird song...
Kevin: It has a lot of influences but like
it does become something like by the end that usher Flo Rida feeling because I don't have the
Kevin: *sings*
That's only in the verse yeah so near the end it kind of does shine and become its own thing to shine. Isaac: Shinees
Fiona: I really like the original theme
Their voices sounded like plucked string instruments
Daniel: yeah, I like how they structured almost the entire piece around that one motive and then they have like these rap sections and near the
End we see at the recap where all of those elements line up and they stack on each other.
I thought it was there was great use of syncopation in silence and anticipation and all those things and then I don't know
yeah, very characteristic of a certain time that
was
Fiona: Best
Daniel: I thought it was really effective
Stephen: cool. Seiji: That's interesting
I can't really remember what 2010 really sounded like I don't remember it necessarily sounding like that though. So it's kind of interesting
Umu: You said you had something in the beginning you wanted to talk about
Stephen: Yeah, it was really cool about how all of the
articulations for
All of like the rhythmic hits that they were doing. They're all very strong. They were all very pointed
They're all also like staccato. There wasn't a whole lot of lovato or anything like that or sustain thing going on
Changes as the song progress but they still kept that overall effect.
It made the pulse have a little bit more weight to it
Which was good for a tempo like that, you know, oh also man
That like bass synth thing that they got going on the end.
Stephen: whOOOOOA
That was sick.
I approve
Daniel: How am I sweating
oh my god where's my water.
hydration or die-dration am I right?