Peyton: "OHH SHIT! OOHHHH SHIT!"
Isaac: "OOHHHH!!"
Kevin: "OH!"
"AAHHH"
"OH."
"HEY!"
"OH!"
Charlotte: "Give me the RAGE."
Both: "AAhhhhh."
Umu: So Stray Kids is a boy group consisting of nine boys ranging ages 17 to 20 years old.
They were all hand picked by the leader of the group and they're under JYP entertainment.
We'll be reacting to their official debut called 'District 9'. The song has a theme of figuring out their identity,
embracing differences, and finding a place where they can be themselves without judgement; AKA their 'District 9'.
The song is created, produced, composed by the rapper Changbin, the vocalist Han Jisung, and the leader
Bang Chan and the songwriter called Trippy.
Nikki: "Get Ready."
Lindsey: "Are you pumped and ready?"
"I'm PSYCHED"
*Strange sound effect is she okay*
Umu: District 9!
"Three, two, one!"
"Beep beep beEEp beep beep"
James: *gasp* "MoRsE cOdE?! SOS?!"
Hugo: "Fun fact I'm related to the person who invented Morse Code."
Elizabeth: "That's interesting.. Henry: wow Elizabeth: "they're making rhythm with found sounds."
Peyton: "Oh wow! That was different than I thought it would be. I thought it would be like: *sound effects*
but it's.... *slightly different sound effects*"
Charlotte: "YES."
Lindsey: "This guy's voice is SO cool sounding."
Henry: "I feel like I'm being yelled at."
Elizabeth: Ooh. Are those real drums?
"OHHHHHHHH!"
"Babadababadababada!"
"AAAHHHH!"
Lindsey: "What!"
"Woah."
Nikki: "I love their- the camera movement." Lindsey: "There's like.. grungy guitar."
Kevin: "I like the idea of singing a couple of notes and then rapping for the rest of that chorus line, that's a really brilliant idea and works really well on here."
"He's so deep sounding!"
"Yeah."
"AAAAAAHHHH!!"
Lindsey: This is like the Harlem shake section of this huh?... Yeah, there's like *synth sound*"
Nikki: "I really like that they're, like, still keeping that in when they're, like, now singing."
Katie: "It's cool because it's an alarm bell but they've changed the rhythm for it to sound like... like part of the song."
"But, like... if you just let it go without... like, the rhythm it would just sound like a prison alarm bell."
Charlotte: "He's so good!"
Peyton: "Yes."
"If anybody likes this rapper, go check out Childish Gambino."
"OHH SHIT! OOHHHH SHIT!"
"OOHHHH!!"
"OH!"
"AAHHH"
"OH"
"HEY!"
"OH!"
Kevin: "I like that. The extra half measure as we *points to Umu* figured it out."
"But like- before the chorus... it just... cushions it a little bit. Prepares you for it."
"He's so- he has such a deep voice and I just never expect it but I love it."
"Yeah, guy's like... one of the... one of the, like, 80 k-pop musicians that have deep voices."
"I said it. I'm a sucker for baritones!"
Henry: "Woaaahhhh, okay."
"That's so interesting. They finally, like, enter into a new part of the song,
and it's right when they've, like, broken out of their weird, like, prisoner hellscape."
"Yeah, and the rhythm is... is slower when they break out."
"Texture changes. It's very much like... an interesting progression. Not harmonic progression but just, like,
the way that the video and the song is working."
James: "FiRe?!"
James: "dude this is awesome."
"We got fire, we got an awesome rap, we got a rock and roll lament bass. Everything is great!"
Lindsey: "This is like... I like how with the bass drum they, like, move the thing. It, like, shakes a little sometimes."
Elizabeth: "Well, you can tell that it's not exactly harmonically interested."
"Beacuse the chorus is, like, one note. It's just... it's about the rhythm."
"All- all about them- all about that pentatonic, the minor third and perfect fifths."
"About it."
"Charlotte in the club."
"I- I can't find her.
"Ugh!!"
"DISTRICT 9."
"pHEW."
"Oof."
"Her loins."
"They're on fiRE!"
"HOOO."
"I'M SO PLEeEeEeEeEASED."
"That was. That's a clip.
Yeah, so what do you think of that song, musically?
"I hated it. I'm kidding!"
"No, it was- it was good, though. Like, like I said, I have all the ingredients. So it makes, like, a good what they were trying to go for."
"The triplets, the three against two the- ah- uh- um- ah..."
"Yeah a lot of it was, like, the rhythmic intensity, you know. Like, it was like: something is always like-"
"When you play with rhythm and you do it well, this is what you get."
"UH."
"Rhythmically it was really complex with the- with the rhyme."
"Um, the sound effects were really cool,"
"they manipulated things that were going on in the video like the alarm bell and the police sirens into, like,"
"rhythmic components of the song. And the rapping was more than just:"
'Triplet triplet triplet triplet buh-buh-buh-buh', it was, like, actually had a pulse and varied rhythms."
"And interesting to listen to."
"Um, the video was really cool. They did a lot of like fun camera effects. It was... just a really solid video."
"Yeah. It was a lot of fun. I think the intensity... because, you know, if there's not necessarily, like, the wildest of harmonies, if there's the wildest of rhythms"
"accompanied by unique sounds and like... the scene. I think it ends up speaking for itself. So yeah, you nailed it."
"I actually think rhythm is one of the more interesting things you can do with music, personally."
"I mean you know, something something chords, but..."
"That's true."
"I really liked how in the very beginning they took, like, found sounds like alarms and other sounds and then..."
"Created a rhythm out of those? Like, I think there was a dial tone as well? And they used those sounds to create the rhythm."
"So it wasn't just 'Let's have a drum! Let's have a synthesized bass!' it was 'How can we make this rhythmically interesting with lots of different sounds?' "
"So, like you were saying, the texture changes a lot in this piece,
"and so you know you really notice when the- the sound changes. I think that's really cool."
"For sure."
"The rhythm of the raps."
"Yeah."
"There were some moments when... uh..."
"GOOSH GOOSH GOOSH GOOSH"
"When they were just dealing out."
"Yeah."
"When they were going really really fast putting it on all of these off beats."
"Uh. It just made it really really... uh... interesting to listen to."
"And the melodies were solid. You knew what you were listening to. And then also the weird eight, the"
"Dadabadadabadabadabada..."
"Yeah."
"Could you think of that as 8/8? I don't know."
"You could, I was going on 'one and two and three and four and one and two and three and four'
"But it really felt more like 'DAdadaDAdadaDAdadaDAdada'..."
"Which kept that driving motion going forwards. (It would have) Been fun if they'd put it in seven."
*Finger snaps the beat*
"That was so good!
"That was real rad."
"You knew I was gonna like that, didn't you?"
"That was- wow. I liked that one very much."
"Yeah."
What did you like about it?
"It was so hype."
"It was very hype. It was-"
"So hype."
"It was- I mean, I don't know anything about the language, but I felt like they really, like, used it super well in the rap of that song."
"And I don't know, you know, like, when you listen to American rap sometimes, like,
"They'll do kind of play on words and stuff like that, and I don't know if they did that but I- I feel like they did and..."
"That's all I can- that's all I have."
"Yeah, I always, like, people in the past have talked about how..."
"Like, Korean sounds really good in rap just, like, the nature of the language."
Heavy consonances.
"Yeah, yeah, so it's like very cool,"
"and I think they really took that and utilized it well in this and they had..."
"Honestly, I feel like a lot of the rhythmic stuff was fairly predictable, but then they threw in enough little, like,"
"things that were like 'whAT' "
"That it, like, kept it interesting the whole time even though it did have a lot of repetition and stuff?"
"And then I like that siren thingy."
"Mm-hmm."
"You know, there are a few, like, k-pop rap songs where you can hear everyone."
"They know how their voices sound and even when they're adding just fillers in between the the post choruses you can tell they're using their-"
"The inflections of their voice to their full extent: 'Better wATCh out!' and the next thing you hear is 'Doo doo doo doo doo.' "
"And the contrast is just so good. It's so good.
"I wanted to talk about the rap actually because it's just the aspect of taking someone and"
"taking what they're good at and just putting them with- putting them with a line"
"where, like, it's the right pitch so they can maximize a lot of the rapping."
"The rapping was just, like... you don't feel any discomfort."
"You're just like 'Oh, it's so smooth sailing', and they just- they're running it. And I love it."
"It's so great in that aspect. With the beats,"
"They're so diverse. There's like the... I guess there's the siren? It's like- it's like it goes from E to F, E F, they kinda flow along."
"Danananananananana."
"And then there was, like, that E drone- or was it?"
"Yeah, it was E. It was just pounding out. And it's very interesting because, like, something that's a drone- it can be very annoying."
"That's for sure. But the way they do it it just it keeps the rhythm and then everything else just so flourishing,"
"like, it's so nicely done with the rap, with the melodies and all the little, like, little"
"embellishments that they add, like, random- like, I don't know, I feel like it's like the straw effect, like, they just blow into a straw or like a tube,"
"And it creates that, like, it's like dubstep. It's kind of like-"
"There is a dubstep vibe to that, yeah."
"A dubstep vibe! That's so neat."
"And you gotta love that little organ synth string- the quiet distant-"
"yeah, that bridge. And none of the beats are particularly complex either,"
"it's not- there- it just seems like there's a lot of variety because they know how to"
"bring things down or bring things up. Yeah."
"Preach."
"That was actually good."
"Mm."
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