Isaac: Woa
Isaac: Woah!!
Isaac & Kevin: AH-
Umu: So SHINee is a five-member boy group this song was released in 2013
This song is an intense complextro dubstep song, which plays well into the robot concept in the music video
The song was composed by Thomas Troelsen and Coach & Sendo the lyrics are written by Cho Yoonkyung
Kevin & Isaac: Everybody (Umu: Put your headphones in Put your headphones in!!) Backstreet's back alright
Charlotte: Oh ho! Oh! Ah! No!
Charlotte: No! Noooooo! Peyton: You going to be okay?
I do AHHHHHHHH!
James: Yo this is some purge stuff
Hugo: It's some full-on dubstep
Peyton: *imitates dubstep*
Charlotte: Is it the masked dude again? (Peyton: *more synth imitation*) Ah *squeamish*
Peyton: He plugged in
Kevin: Oh no here it comes, oh I love this shit
Oh this is so good
YEAHHHHH!!! *aggressive head-bopping*
Charlotte: What is happening
Peyton: What is (Charlotte: Woah what?!) that
Fiona: I'm confused how their like intense like unison vocals go with this background
Olivia: It's kind of like they just went from one mood and they went
Olivia: Completely opposite direction Aaron: Yeah, this is like a pop song. I'm confused
Olivia: But (Aaron: It's okay) mixed with like
Like EDM?
Peyton: This is giving me like style whiplash. Charlotte: Yeah, it's like here's some major for two bars. Just kidding. Let me rip that all away
Stephen: Yeah, I like the interplay between the vocal line and the instrumentals Naoki: Yeah, that's really really cool
Stephen: That's really on fire
Lindsey: Wow, I love the flute
Fiona: Flute double flute
Isaac: Oh yes, the music correlates with their singing this is great.
Fiona: Yeah, they're like little toy soldiers
L: They're like (F: Yeah like how they beep beep beep *robot noises*) pawns in like a game and it's kind of goes with the whole like robot thing
It's like they're not human.
I: Oh, yeah
Get those hips in there
H: Arpeggiating synths I'm always down for some arpeggiating synths
N: Like how the dance like totally goes along with the song (S: Yeah) like with the effects that's going on too
S: That's very precise
I: Charging them up K: Yeah
K: Hey who knew that like
Army-navy outfits and dubstep go together so well, am I right?
L: They have such good voices like they I mean that's just like a theme, you know
with this group. I, Yeah
N: Slower harmonic progression slows the music down (S: oh, yeah) nice contrast again
S: And it's reflected in the beat there too N: Yeah
I: Picking up the speed
C: Their chorus is never what I expected to be. P: Yeah
P: Oh! C: And then it does that and you're like that's what I expected to be
and then it goes back to the other like "everybody" thing. It's weird P: Yeah
It's like a little bit lighter. C: Yeah
P: Like its not light but C: Yeah but it doesn't fit like the rest of it feels like it would fit better with
the really hard hitting
P: Yeah
it's like the dubstep is like molasses
And like, you know, the course is still syrup, you know, it's still thick but like, you know
It feels like honey because of the molasses (C: Yeah) is so thick
L: Who's the shirtless one? Umu: That's Taemin
F: I want to tame him L: Ha OH!
K: Oh, I like it it's like in a different key but it's the same melody.
I: Was that a Taylor Swift reference?
I: Woa
I: WOAHHHH!!
I & K: AHHHHHH!
J: NO! What are you doing?! Those are priceless artifacts H: Fuck art
Fuck art, Fuck art
J: No!
P: the descant~
C & P: AHHHHHHH
F: Ooh! I like that
*pew*
I like that I love that break from the "everybody".
P: Well those little dubstep breaks are kind of cool
C & P: WAWAWA
L: I like how it's like instead of modal mixture
We've got like dubstep mixture in here like every once in a while I get like a woob woob
F: Double woob woob woob
L: But then it's not all the time
*Isaac and Kevin aggressive head bopping*
I: Noooooo recharge! Noooooo
But that was fantastic...Damn
Dang it
H: Favorite kpop song J: You really like you the arpeggios
J: I...Well, I just love the rhythmic complexity. It's taking a synth and making it not only a melodic instrument but a percussive instrument
J: Yeah H: And I think that's really dope and then something that's just pretty much done entirely in the studio
J: Yeah H: It's almost all mixing but man when it's done well
yes it cut away when they were doing the main vocal lines for the
Verses but it didn't like go completely away. It wasn't just like
boom boom boom boom
Underneath there was actually like rhythmic stuff happening that
Intertwined with the vocal line like the vocal line and the instrumentals were combined things
It wasn't just you've heard the vocal line over top the instrumental part
You know what I mean there was J: It was symbiotic
H: Exactly which is what I really enjoyed. This is one of the like shining k-pop songs
They were really keep conjoined the two together shine
SHINee
HA!
Ha
Umu: Yeah! So what did you think of that song?
C: Very repetitive but fun
If I heard it at a club I would have a good time
P: Yeah, it kind of like did this
It's like you got on the train and I was like, KABOOM
And they never really slowed down you like had moments where it was like I don't like this
It's like well, I like to call it zero gravity moments where you like maybe the track cuts out
you're just floating for a sec, but like you don't really like drop into so you're just like
*brr OOF bgdgrdgdgd?????? VROOOM*
and then like you're back to where you just were but like aside from that it was just kinda like it started
It was up here in a stayed up here
K: But it might mean come on. This song is a total banger are you kidding me
It's so good!!
when you play to many dubstep songs in the club
You get a little fatigued like you can only have so many dubstep dance moves
But we have a track like this you can do both
I: It's really nice how they coordinated their singing dancing to the music so that all or vice versa up they just coordinated
So if it's slowing down or if it's in a slower passage then synthetic sounds that they use
Are a lot wider and are prolonged versus like really fast ones
They're just fast pulsations and then it's just so yeah
It sounds kind of like a Skrillex track but the way they do things just to add
Dancing singing. It's very unique.
K: Yeah I: I can't
N: Oh dude. There was so much going on, but it was so effective S: Yeah dude
Like the contrast between all the different sections and the way they like ____ things it was just great
I mean it was never boring. It just captured your attention from start to end it was
♫ everybody ♫ eheheh It was great
S: Yeah, what Naoki had said earlier were like they had call-and-response between the chorus like everybody and then you'd hear it answered
N: In the instrumentals
S: Yeah
Which was really really cool
also
Like how they I feel like they tastefully used like their drops
Really really well (N: Yeah) or like when they go to the double time and then they would be in a double time like drumset groove
But they'd have the equivalent of like 32nd notes or like fast 16th notes juxtaposed over that which is like really really sick
Especially some of the effects that they had going on and then when they like went quiet twice before the actual
N: Yeah S: Drop, that was really really cool
N: Yeah
U: So this is a b-side track called one minute back. And in front of you is a fan-made lyric video, so the pictures-
H: YES! I love these fan made lyrics videos. U: So this song much like SHINee themselves is a bit of a hot mess in the best way
the lyrics are about catching someone cheating on you and wanting to turn the clock one minute back to before he found out
Song was composed by Trinity music and Andrew Jackson and the lyrics were written by Jeon Gan-di
K: Three two one lets go One minute back ksjfnskdjfnskjfnkjsndj
One Minute Back!
F: Ooh, I like that
L: Of course, yeah- F: Sounds like a car going by too
*grrrr* gravel
A: This is a bop
O: I feel like I could...
have sex to this
K: Oh no, Yeah, this is what. What is happening right now?
H: Oh!
N: You got that like sighing?? motif
Ostinato??
Turning back time
K: WHAT
L: Those harmonies are so good
so tight
P: Wooo
F: I like the militaristic feel that the song gives
seems very straight
L: The pictures of them don't hurt that either
K: Oh here it comes 2x
Okay, okay, I see
H: Oh, woah
S: Those hit really good N: Those chords, Yeah!
Man it just goes to places where its just like WOW
S: Yeah
H: There's that major, there's that surprise major
O: Everything's changing a lot right now.
I-
A: It's very risset style
H: I can dig that
J: Yo, I'm so into this song
C: Huhhhhhh I don't know what that was
P: It's like a like extra bars of like
like a filler thing like a transition
C: Oh now make it stop
P: OH SHIT!
There's a very hip cat behind these people
F: I love the crazy background shifts like whenever they switch singers like
whenever it changes L: Yeah, like in the drums especially like
I: He has a very nice voice
wow
K: dudududu I: This guy
A: Oh, okay. So this is like the chorus
O: It's really cool, because the beat didn't lineup for a second and then it catches up
It kinda speeds up to get back to the
A: It is so
H: I love that they use the major
Kpop loves to use major in their choruses surprisingly
Like random major moments
K: Oh yeah, I mean thats a picardy third
But it's done well I: Just stop for one minute
K: Oh, I like this
S: It's the wishful thinking part of the song
N: Yeah, you just lose the time there because he wants to be lost
You know, you want to lose time. So the time was lost in the song you can feel the rhythm
C: Chorus
P: Yeah
C: Hahahaha
Oh! I wanted it to do it again! P: Yeah, right
But they know that C: I know
P: sigana gana
C: Yup, there's your descant
P: It's in there!
H: Yeah, I like the different vocal lines as well
There's always playing?? going different on so kind of polyphonic
So you have the soaring line,
You have the main melody,
And you might have some other rhythmic stuff which is really cool
L: Yeah, their voices like are super good together
Oh we're back to the triplet triplet triplet (F: I like how like) one and two and triplet triplet one and two
F: The clock ticking changes to the triplet (L: This is a beat constant) and like that's not a normal clock
It's cause its going back in time
C: OHHH P: OH SHIT!!
C: That was so nice!!
P: WOAH!
C: Okay, we got this
P: Good music
C: Okay
So we have this lovely little
intro and then we went into the A section which was two different verses or I guess you could group it as
One bigger one, but I kind of heard it as two separate ones
There seemed to be a change
You had the bridge and the chorus and then I'm calling the B section the triplets which was this weird
I don't know what to call it
But I'm making it the B section or you can call it like a break and then you had Part C
which was another verse but instead of an actual fourth verse they did a rap instead which obviously we were like
Whaaaaaaaat
Then we had another bridge to the chorus and then we had this D section that was another break
Where I was just like where did this come from?
I don't know and then it was like
another chorus and then it repeated the chorus but it put a line over the top that Peyton was always like descant and then
We had the the B the B section or the triplet break as the outro
so there's my form analysis of this song
N: Yeah that was very rythmically
Strong like (S: The chorus was insane) you can feel the beat. S & N: Yeah
The harmonies were nuts, those were like really good nuts
S: Yeah
N: Yeah
S: But with the chorus what was really really nice was that these rhythmical which was reflected
Harmonically, like they were ascending it would like the rythmic pattern was kind of reflecting that build-up and intensity was like bum
Bum and then like bum bum, bum bum like kind of more offbeat
Syncopation which is like really cool
L: I thought it was cool how there was what a couple points in when the chorus was coming back that I like
Legitimately had to conduct because I thought something weird happened with the metre
but it didn't it just felt like it did and in the chorus they were talking about like time and like turning back time and
Like changing time, but it didn't actually change it was an illusion and that's like that's kind of cool
I: Wow!
K: You know it when you watch a movie there's this terrible like comedic relief side character that just pops in and every time he
Pops in you like don't like him. That's like the chord progression in this chorus. Just six seven
It's just so generic. This song's great even within the chorus there are others
All of everything else is great. And I agreed the verse you're probably the most out there thing. I've heard in kpop is ooh, yeah
It's probably that, but then when that's all together because of that chorus just just falls
I: Who's that vocalist? Dang he has a good voice U: The one that you like?
I: Yes U: Onew
Onew's voice
I think is one of the most recognizable voices in kpop because like my mom doesn't know shit about kpop
But whenever I playing SHINee she's like this is SHINee because she recognizes Onew's voice.
K: Oh wow I: That's one good thing
It's like if you can differentiate yourself and make you sound good, or you sound like you
K: Make you sound good?
I just quoted the song
U: Anyways, yeah, what do you think about this song compared to everybody?
K: Meh, everybody's still, everybody just is a crowd-pleaser
What can you know? It's called everybody? Yeah, it pleases everybody.
U: Yeah, so comparing this to everybody
Could you see how they're in the same album? How did they-
C: Oh, yeah, because they still have that dubstep feel to them
U: Right and which one do you like better? How do they compare musically?
C: I love this one P: Yeah, that's really really good
C: It just did everything exactly the way that you wouldn't expect (P: Yeah, lots of left turns) Yeah it threw you for a loop
literally every time P: Yeah, maybe we'll learn something again and they were just like
HA PSYCH
C: That!
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