Khanh: WOAH HANG ON A SECOND Kevin: WHa-HEY-WOAH-HUR
KEVIN:HER HER
Khanh: WhHOOOWA
Umu: OkaY so this is OH MY GIRL, "Windy Day"
Umu: We've reacted to them before, they did the coloring book, where it was all white and then- Hugo: THAT WAS A CRAZY VIDEO
Hugo: That shit was CRAY
U: So that wasn't their usual style music, we'll be reacting to one of their more typical songs
U: In this music video, the songs lyrics portray wind as feelings / emotions of falling in love with someone H: Sounds like German lieder
Jeremy: [chokes on air] it does
U: And in both the music video and the musicality of this songs, it shows different types of wind as different stages of love
U: So everything is finally connected
Emiel: This is a deep recording session here U: There will be lots of text painting
Peyton: Threeeee twoooo one Melissa: This is just like Strauss
Melissa: This is exactly like a Strauss tone poem. I really love these flowers
Lindsey: It's a cute little acoustic guitar Fiona: Very beachy vibes
Lindsey: Yeah, summer vibes
Naoki: Oh that's chill Stephen: Nice guitar with piano
Fiona: I feel like the guitar sound is louder than her voice, like the vocals at this point
Lindsey: I think that's still the intro Fiona: Cause the guitars more on the foreground
Naoki: A really high, wispy voice with a sparse background, just the strumming
Naoki: oH and then changing here Stephen: Also those vocals harmonies are really nice
Naoki: More legato, slower harmony
Naoki: And then it's gonna pick up
Khanh: WOAH HANG ON ASEC Kevin: HEY WOAH HA HER
Kevin: I mean it makes sense Khanh: I wasn't expecting it because of the- Kevin: The chord was actually the 5 of that
Kevin: But it didn't sound like it was a strong enough dominant
Hugo: I like the rising chord progression, though Jeremy: Yeah me too
Hugo: OH and now they're going down Jeremy: CHROMATIC!
Hugo: I really like that. Those cluster chords
Kevin: That was a diminished- wait augmented AND diminished? Khanh: Yeah yeah bro
Hugo: I feel like there's a guy with a tom just going ham in the background
Khanh: It's just, a lot of harmonic interest Kevin: Don't shoot the deer
Khanh: WOAH WHAT THE HELL WHERE DID THAT COME FROM
Hugo: This song is going into so many styles at the same time!!!!!
Melissa: I can see that the wind is getting more violent and I feel like the music is in more, like
Melissa: Minor, like, harmonic minor, so it's scary
Emiel: It's an out music video for what the concept is Henry: This is so wild
Katie: I dig the duality of this video Jarod: YEAH
Naoki: OHhhh
Stephen: That was nice
Naoki: That sounded fun
Stephen: I really love this bridge section right here where it's just the voices
Naoki: And guitar
Lindsey: Those were some cool harmonies, it was a little deceptive in there, a little bit
Naoki: That first chord dadaDA
Naoki: That's pretty nice.....suspension?
Jarod: 2 Both: 3
Katie: #4- oh 3
Katie: It was a whole step sequence
Melissa: Oh this is col
Peyton: Melting like sugar
Melissa: I like this rhythm
Melissa: I like how they're all in rhythmic unison
Jarod: It's like the Harry Potter maze right here Katie: Yeah that's what I was thinking too
Hugo: You never open something like that in a haunted maze
Hugo: And I was like- Jeremy: Where's this phrygian coming from?????
Fiona: They're clogging and then it has this weird Egyptian feel Lindsey: OH that's weird, it's ilke phrygian but with the raised 3
Jeremy: Ohh this is cool, I like this
Hugo: They're mimicking the chromaticism from before
Jarod: Playing with silence, I dig that, I dig that
Jarod: Just makes you wonder what's next
Katie: I Jarod: Bumbumbumbum
Katie: 2~~~~
Both: 3~~~~~
Both: 4~~~~
Katie: 5, llaaaa
Kevin: It's just that
Khanh: Yeah I heard it as like, chromatic passing motion
Melissa: Oh my god they're like deer in the headlights
Melissa: You can tell by the deerhorns ((antlers???)) they're wearing Pey: yeah and the head lights!
Khanh: WAIT HANG ON WOAH
Kevin: So they're the hunted and the hunters?
Kevin: Is this an environmental- is there an environmental message here?
Jarod: Dude I hate windy days, they're bad for the hair, man
Katie: I really like this, because it's the duality. The two good and bad sides of love
Katie: I think that's what you were referencing to
Jarod: Oh my girl. Omg. Katie: I loved that
Kevin: Did you hear that? Khanh: Wait, do that again
Kevin: Do that again. At the end there was a BBUUU
Kevin: Like it ends, but it doesnt
Khanh: Show me
Kevin: There's that one 'dee'
Kevin: That sounded like a pitch to me, though
Kevin: It's a 7!! There's a random 7 there!!
Kevin: So like
Kevin: That happens at the end
KEvin: Just a tiny little
Umu: So what did you think about that song overall musically?
Melissa: I liked how you could really see the contrast between the scary and the not scary wind
Melissa: In the tone of voice that they used and the musical minor shit- STUFF vs. the nice happy chords
Peyton: Yeah I enjoyed it, I guess, overall? Because there was a lot of text painting, you know
Peyton: I felt like I could follow it all the way through
Katie: It was pretty complex, there were some modulations Umu: HI HENRY
Katie: And the leading tones and it was pretty neat, pretty nifty
Katie; And I liked the beat a lot
Jarod: Yeah it was really cool
Jarod: Like the bassline, what they were doing with the chromatic movement and the step-wise motion and also, yeah, two contrasting styles, really awesome
Umu: I felt like this song had an extra verse-chorus than usual Lindsey: It was too long
Lindsey: I thought it was gonna end a minute and a half before it ended
Lindsey: They kept you in the same thing over and over again, and they could've gone with
Lindsey: And it was the same thing without any variation, you know?
L: The whole thing with us is we see a phrase written twice, oop gotta do something different the second time
L: NOPE
Fiona: I feel like if had a break, like a rappy half time feel
Fiona: In the middle of it, it would've felt much more fresh
U: When it came back?
Lindsey: They need a bridge or something Fiona: When it came back for the fourth time or whatever it wasn't like DUKDUDKDUDKchuuuu
Emiel: That was interesting Henry: Yeah that was really interesting
Henry: It was like a cool- again, I feel like there could've been more space to breathe
Henry: In terms of the actual instruments, but they had a lot of interesting
Henry: Layers? They had the electric guitar that came in and kind of made it feel like
Henry: Ohhh it's the Egyptian scale!!
Henry: It had that kind of feel, and then the wind would blow really hard, and those linked up
Kevin: It's not phrygian, phrygian doesn't work
Kevin: Because the 3 is a major 3, phrygian's a minor Khanh: It's essentially
Khanh: A harmonic minor scale starting on scale degree what is it, 6?
Khanh: So it's basically starting off the minor scale on different scale degree other than 1
Kevin: But the root is, the root is A
Khanh: No- well, yeah yeah Kevin: But so is that with a root- we can't think of it as a- I mean
Kevin: If the root was D, then yeah, it's that
Khanh: So it's like, a mode of a harmonic minor scale Kevin: Yeah, yeah
Kevin: It's like phrygian's actually a mode of the diatonic
Kevin: All the main modes are modes based on the diatonic scale
Khanh: Play that, play the diatonic scale
Khanh: So phrygian would starting on three
Kevin: So basically
Kevin: It's a harmonic minor scale that starts on the scale degree 5, I'm sure there's modal name for it but we don't know what the mode is
Khanh: I just call it the Egyptian scale Kevin: Yeah exactly
Hugo: WOW that was just
HUgo: That was a lot
Jeremy: It was, I feel like- Hugo: And there was a lot I liked in it!
Jeremy: I feel like the music was more than the video
Jeremy: Like I thought the video was weird, yeah, but the music was just like
Jeremy: Jarring Hugo: Yeah this is one of the first times where I've been like, the music is by far the weirdest part Jeremy: Of the thing
Jeremy: It was very dynamic, like, I wasn't expecting anything that happened Hugo: I expected none of it
Jeremy: In the beginning it was a slow- I mean, it was upbeat but it was still slow and then all of a sudden, like..
Jeremy: It just
Jeremy: Came out Hugo: Like, "I'm here to sing about good Christian faith" is what this sounds like to me
Jeremy: And then all of a sudden it comes into a pop, like... Hugo: Yeah and it's..
Hugo: It was a jammin pop beat, but it was just like
Hugo: OKAY WE'RE HERE NOW
Hugo: And you're like "hooooooooooookay"
Naoki: I really liked some of the chord structures that they used, and
Naoki: The texture was very sparse but it worked, it wasn't like in your face, especially because how wind isn't in your face that much very often
Naoki: Unless if it's an augmented second, in which case, is very in your face
Stephen: One thing that was really cool that at least
Stephen: We heard in the song before but and not some of the other ones was how much they focused on, and kind of going in what you were saying
S: Where at least instrumentally it was sparse and nothing ever really detracted from the vocals
S: How arranged all of their parts were where there was a lot more um..
S: Harmonies and- it's not just like one vocal line, it'd be like one vocal line supported by
S: By a pad of some of the voices or just, yeah, one of the parts before some of the choruses where it's just guitar
S: And it's just all voices, that was really really nice
U: What'd you think of that song overall musically?
Kevin: It's good stuff. I wanna hear how they do the modulation so I can try to explain it Khanh: Yeah do it one more time Kevin: The modulation of the- yeah
Kevin: They do something.. ugh.. it's... I can't explain it
Kevin: This one
Kevin: So they do that, and then for some reason- so, here
Kevin: So they start on I, you know, and then do like that
Kevin: So after that they play a regular IV, it sounds like- it doesn't sound like its related to G major anymore
Kevin: Cause when all of a sudden you play IV, it sounds normal, but after you do that, this sounds so special?
Kevin: So it's almost like we're in C now?
Kevin: Like the second chorus kind of washes our ears
Kevin: And makes the iv chord now FOUReign badumtssSSSSSS
Kevin: And then they go dadadaa
Kev: [figuring out the chords]
Kevin: It's like four unstable chords in a row
Kevin: And then they just use the last one as the dominant to the new key
Khanh: [starts singing the chorus] Kevin: We're gonna, there's gonna be an EXAM guys
Khanh: I'm gonna fail
Umu: How'd you feel the music supported the visuals in this song?
Kevin: Good, I mean it's wind and it's wind and Khanh: It's actually made sense for once Kevin: It made a lot of sense
Fiona: It was like, wild, because it made their cutesyness a little bit edgy, not as flowery and happy and major as it could've been
Fiona: The more chromatic bassline with happy vocals made it really balanced
Stephen: Well definitely the part I guess we refer to as the Egyptian part, I mean
Stephen: Whenever the had that going on, obviously that's when the wind became the most
S: Not necessarily violent, but just powerful? So that was nice, I thought that was done really really well Naoki: The music reflected the contrast
Naoki: Love or whatever they want to call it
Naoki: Very well
Naoki: Cause you had some motifs that represented different things, like you had that really pastoral
Naoki: Flat texture, which is one thing, then you have the augmented second section, the Egyptian feeling, another thing, then the walking bassline, which is another
N: So it was nice having those different sections and contrasts
Naoki: That's how they did that
Naoki: A+
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