Stephanie: Awe it's so happy! Yay!
Like Hello Kitty-happy!
Henry: Before we see Weki Meki, we wanted to let you know
that we were able to make today’s video thanks to our sponsor Skillshare.
Umu: Did you rhyme “we see” to rhyme with—
Henry: Before we see Weki Meki Umu: Oh.
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Alright, let’s go get to reacting!
Umu: Are you ready to be *dazzled* by these girls? (Sam: Dazzle.)
Raffi: Yes! Dazzle me. Sam: Yes.
Umu: Those are literally the lyrics! “Dazzle me, dazzle me.”
Raffi: Oh really? (Umu: Yeah!) There you go, it’s meant to be! I was meant to be dazzled.
Umu: You two are now reacting the girl group Weki Meki and their 2020 release ‘Dazzle Dazzle’.
'Dazzle Dazzle' is a playful, teasing song that demonstrates Weki Meki’s dazzling and confident charms.
The lyrics dare the boys to try to win them over by being more creative
and to *dazzle* them with their love confessions.
Charlotte: Yeah! Umu: The song is com-poised—
Henry: “Com-poised, kumquat.” Umu: You distracted me!
Charlotte: So sorry!
Umu: This song is composed STAINBOYS and Anna Timgren.
Jason: Damn, I gotta step it up!
Umu: Yeah, they’re telling the boys like, "Yeah step it up! Get creative, come on!"
Ju Young: Oh my god wait, I like this! (Umu: Yeah!) Guys need to be more creative!
Jason: What did I do wrong?!
Umu: This is a song for the girls!
Ju Young: Yes this is for the girls! (Jason: What have I done wrong??)
Jason: I can enjoy something for the girls.
Ju Young: That just sounded so wrong…. (Jason: Excuse me?)
Umu: That does sound a little bit wrong...
(Ju Young: So wrong...) Jason: No it doesn’t
Jason: I got the hair down. I'm one of you! (Umu: Oh yeah are now you one of us now that you've let down your hair?
Jason: I'm one of you!
Kevin: I like the message, let’s see what it’s all about. (Umu: Alright.)
Umu: You ready?
Kevin: Yep.
Umu: Three, two— Kevin: One!
Henry: I like the pops, I really like that.
Charlotte: Why does it sound like bubbles?
Henry: Yeah!
Raffi: That was a dazzling opening.
Sam: Mhm.
Rafael: Cool beat.
Kevin: I feel like they’re like planing towards...(Umu: They're jumping around) up and down.
Umu: ...everywhere (Kevin: Yeah.)
Sam: Is this Mixolydian?
Because this mode is
definitely…
not normal.
Stephanie: Oooh awe it's so happy! Yay!
Like Hello Kitty-happy.
Kevin: It’s my jam...
Mixture! Major up, minor down.
Brianna: Oh wow, these harmonies are everything!
Raffi: There’s vocal harmony, I think on every...note.
Sam: I think you’re right!
Raffi: Every sung note!
Sam: I think you’re right,
I didn’t even catch that.
Wow.
Even their spoken stuff has harmonies.
Raffi: Yeah!
Jason: That’s pretty cool.
Ju Young: Oooh! Aye! Jason: Triplet!
Brianna: Oohhhh.
Kevin: That little minor!
Umu: Yeah!
Jason: Nice countermelody on there.
It kind of sounds like Club Penguin.
Umu: OoOOhhhoooh Kevin: WhaaaAAAT?
Umu: We’ve totally harmonically and stylistically shifted
Jason: I have fallen in love
Kevin: So they went to A minor (Jason: ...very slowly)
From G major to A minor.
Ju Young: Okay, we’re back to the midi trumpets.
Jason: The chromaticism really hits.
Raffi: I love the “Dazzle me!” (Sam: Yeah!) The up.
Henry: Syncopation!
Umu: Oooh! Oooh!
(Umu: Nice vocal riffs!) Kevin: He got her! Mr. Smiling Man got her at the end.
Raffi: That was fun, I feel dazzled!
(Umu: Yay!) Yeah, (Sam:Yes) you dazzled me! Raffi: That was fun, I feel dazzled!
(Umu: Yay!) Yeah, (Sam:Yes) you dazzled me!
Ju Young: Oh my god, I like this! This is the anthem for the girls.
Just their voices were so soft.
Jason: Because they start with—
And then they add in—
Ju Young: Yeah, that sound! I really like that sound.
Jason: So—
Ju Young: Hemiola? Jason: Is that dotted...
Dotted quarter against quarter?
No...What is that?
Rafael: It was three dotted quarters.
So like…
So it’s like two-bar phrase, which is cool.
Hides the middle of the bar line,
but then they have the backbeat still keeping it in
So you still feel it.
It is something that is done a lot, but it’s cool.
And then when it goes into the chorus, they completely get rid of that.
It's just like four-on-floor, like almost the disco beat.
And then they go into like another syncopated beat right after that,
I don't remember, that was like...a good transition between the
straight four-on-the-floor and the full on middle of the phrase obscured.
That's what I thought was cool.
Brianna: There was like a weird section though, like the bridge it went to like...
I know it changed like keys or like modalities
but it was just like a weird transition, I just don't think it fit the next section.
Owen: Yeah, the bridge...it was definitely a big step out. but it was just like a weird transition, I just don't think it fit the next section.
Owen: Yeah, the bridge...it was definitely a big step out.
So the harmonies were pretty cool, especially the bridge transition.
and using the common tones of like the third from the regular key
to sort of get back into it and change the bass to get the...
to bring us back into whatever it was, G.
I was just listening to the chorus
it kind of—I really like flat seven to one.
in like sort of a backdoor to two-five.
although they did flat six to flat seven to one.
And also in the melody, how they did—
And then when they did—
I really like the open fifths of it
I think it gave it different character, just hearing like—
That sort of sound, it's something that you...
I don't know, you just wouldn't hear it very often, and I think that was a cool sound.
Umu: What musically did you like get those...
Stephanie: Happiness? Oh I thought it was from that really the high—I think it’s like the synthesizer.
Leon: Oh the high frequency stuff?
Stephanie: Yes those!
(Leon: Yeah.) And I could really...in my head, I could see the, like really up high
Physically, like really high up there
It’s kind of like that voices from the sky like the blue sky, like rainbows,
and like happy people and the rainbows just like singing and hyping it up kind of a thing.
I also thought this isn’t my very favorite although the melodies yeah
what they’re singing is really catchy and that's what makes it fun to listen to
but towards the end I was thinking, "Ah, it was a bit repetitive."
Although, I thought that the middle section, when it completely—when the texture, not the texture, but
the mood completely changed was really unexpected, that was really cool!
Umu: So you were saying "What, what are they going for? What is this vibe?" Charlotte: Yeah.
Umu: What musical elements made it seem confusing?
Charlotte: I just thought that in terms at least of what I’ve been exposed to in terms of Kpop girl groups,
you have like the cutesy-bubbly, you have the cutie ones,
you have the badass chics, you have the like—more like on the sexy side of things,
and then there’s the mix of either those four that can happen.
But never have you just had this like cutesy bubbles to cutesy to bubbles to
more like down-in-the-beat kind of feeling to then back to bubbles
and I’m just—like the Powerpuff Girls, but all in one...is what this makes me think of.
Henry: I like!
Umu: Yeah, I’m curious, as someone without synesthesia, this is just a super colorful song. (Charlotte: Synesthesia? English hard.)
Charlotte: Yeah it’s more like….
Umu: Oh so a bunch of little boop-boops Charlotte: So it's just like all over here!
Charlotte: And it’s all over here and we’re like one color scheme and we're in another!
And they don't ever mesh with one another? Yeah. (Henry: Maybe that's why I like it.)
Henry: Because I have a terribly short attention span, so it keeps me fresh.
This is one of those songs that I listened to the first couple of seconds and I immediately knew I would like this (Umu: You knew, "I would like it.")
And this is going on a running playlist, a driving playlist, whatever!
Umu: Did you want to figure out the harmony on the piano?
Henry: Yeah, what is that?
Three, one, flat seven…
Why does this keep happening, Emma? (T/N: Emma is Umu's real name)
Why is it always when I think something in K-Pop sounds like, “WHAT was that harmony?!”
It’s literally just a parallel major to a parallel minor!
Why does that always happen?
Why is it every single time I think, “Oh this is some WILD harmony!”
It ends up being…and somehow that blows my mind.
Charlotte: Because it sounds cool, and we’re trained to only understand
when it goes relative rather than parallel.
Henry: We talk about this in so many of our videos, so many of them.
We go from one, and all the diatonic chords with this one key.
You have major one…
minor two…
minor three...
major four…
major fifth…
minor sixth…
diminished seventh…
and then major one again.
So when you use something that’s not in there, like…
you choose a chord from that, that’s called modal mixture!
Sam: Okay, I like when people use minor fours in their choruses.
So when it went from G major to C minor.
Here.
Yeah right there...like that just like feels so—you feel that in—
You feel that...,
Oh!
Yeah like just going from like…
Like that just like, you feel that right there.
And I feel as though it adds more…
Raffi: Dazzle!
Sam: Yeah, it adds dazzle!
It also adds...sort of like character in a way where its like,
“Okay, one major four going somewhere. That’s cool.”
But there’s that colors to that shimmer.
It’s not just like shimmer, but like grey.
I also like the slow section.
Yeah, it was nice and shimmery.
There was just a lot of glossiness in the song, and I enjoyed that.
It just felt…yeah, I had fun!
Raffi: Something that stood out to me too was coming out of the slow section like…
I’ll call it maybe the pre-chorus towards the end, when it’s building.
It repeats twice, and the first time it almost sounded the same
as before but they took some part of the instrumentation out.
I don’t know, just layering makes a big difference
because then there was room to grow and build.
Umu: This is the exact kind K-Pop song that...I hope is released like almost every month.
Like this is what I look forward to in the K-Pop industry.
There’s just so many different sound effects,
so many stylistic changes between each section.
But the most important thing is that melody, those harmonies!
Kevin was talking about the different—the fact that they’re switching between major and minor
and jumping to different intervals that you don’t really…expect to happen.
And that just made me so excited and my brain feels ALIVE!
And I just want to go back in and re-listen and re-listen and re-listen
because I’ll just have so much fun picking it apart and
noticing more things as I go back to it.
Kevin: Yeah, for first listen this was really engaging and…
what I really like about K-Pop songs like this is that
they have relatively short run times but it always feels fuller.
It feels like a three and half minute/four minute experience.
You know, the song has a lot of chromaticism which is like semitones,
and notes kind of crawling up and down.
But I like that it doesn’t make itself known.
There are some songs where they kind of try a little too hard to make them…dazzle us, I guess. Umu: Yeah.
Well, not written for us but like—
Umu: Dazzle the audience.
Kevin: Yeah, to dazzle the audience.
But this one, I kind of had to really search for them.
And like, oh, they’re there. but they fit the mood so well
They fit all the crazy stylistic and harmonic and instrumental shifts so well that
you know, I could turn my brain off while listening to it as well as
analyze it, like the really crunchy type of analysis, if I want to.
Umu: I think another thing that I really liked about this song was the way
that the vocals interacted with the instruments
because sometimes the…
da da da da da was in unison with what the instruments were doing.
And at other times, like they completely removed the instruments
just for the hook like the, “Dazzle me, dazzle me, dazzle me, wah!”
And so therefore, it just really pushes and pulls your attention
and it is able to drive you to exactly what the songwriters want you to pay attention to. (Kevin: Yeah.)
Henry: That’s what antecedent-consequent, great phrasing right there!
I am going to now go through this and makeup things that I like about it, because I like it.
Charlotte: NEEEEEEEERRRRDDDD Henry: Isn’t that what the channel’s about?