Melissa: Oh my God!
James: Wow.
Jordon: Now you're reacting to the solo artist Gaho, and his 2018 release called 'Stay Here'.
Gaho is in a project group made up of soloists under the name Planetarium Records, where each artist debuts alone, but also makes music with the rest of the group
However, this song was both written and composed by Gaho alone.
Umu: The lyrics are about not wanting to end or change a precious relationship. This music video is subbed,
so make sure to turn on the CCs if you want to read the lyrics.
James: Definitely relatable.
James: Congrats. James: Thank you. I like this.
James: It's just the intro. Melissa: Oh. Well, it's nice. Good job on the into. James: Mmm.
James: Piano. Melissa: Oh, no.
That's a real low note, bro.
Kevin: Oh, yeah, we got the motivational vibe. But that first note...all overtones, man.
Fiona: I like the thought of the deserted road sounding like this.
Kevin: What a bass. Like it's not that low, but he really knows how to use it.
Hugo: Ooh! Nice register change. Rachel: Um-hmm.
Rachel: Yeah, he's got a good falsetto. Hugo: Yeah, and he does a really good job of alternating between chest voice and falsetto.
Rachel: Yeah. Hugo: And head voice. Rachel: He hit a hella low note earlier.
Elizabeth: They're doing an antiphonal thing with the singer and the piano and the chorus.
Melissa: Oh, my God!
James: Wow.
Melissa: I love...Okay,
like the fact that the low notes in piano are so loud and bold, and the high notes are just so quiet and delicate,
I love that. Great balance. James: Wow.
Isaac: Hmm.
Kevin: I like his melodies.
It's a little unpredictable,
but it's very well written.
James: I like the pits. Melissa: What?
James: The strings, the pits. Melissa: Yeah, new stuff. Adding intensity.
Elizabeth: Well, we also...the piano's changed. Cuz in the first verse it was just like chord,
chord on the strong beats, 1-2-3, and now we have an actual like,
Henry: Yeah. Elizabeth: arpeggiation, like rhythm thing goin' on.
Rachel: He's got that like forward thing. Hugo: Mm-hmm. Rachel: Cuz it could be like really light, but he's putting it somewhere.
It's nice.
Kevin: One.....
five, four, three, two, si...
Oh! He finally does the 5-4-3-2---1. He's been doing da, da, da, da, DUM.
Interesting.
Yeah.
That's really cool.
Hugo: Yeah, he does a really good job of going from belt to falsetto. Rachel: Yeah.
Hugo: Like it mixes really well.
Rachel: Yeah, and it almost doesn't sound less powerful, like it normally does. Hugo: Mm-hmm.
Fiona: It's a little more energy--a little more hopeful sounding.
It's like something's happening.
Melissa: The way the strings have those repeated eighth notes, it sounds like walking, doesn't it? He's walking really fast. Duh-duh-duh-duh-duh...
Sounds like it to me. I know he's not actually doing that in the video.
Aaron: Mmm. He has a beautiful voice. Fiona: Such...lack of effort., I guess. Aaron: It just shimmers.
Effortless, that's the word.
Kevin: Aww, he changes it, the last time. That's great.
Very creatively, too.
Hugo: Man yeah, I like that when he runs, and he goes through different registers. Rachel: Go back to her. You've got it.
James: Can we not? Can we not, please?
Peyton: Oh, you gotta be kiddin' me.
Peyton: Leavin' us hangin'. Charlotte: Truly.
Peyton: (singing)
Melsssa: I love this song so much, cuz I love when songs
have like,
such a
strong bassline
on a piano. Like specifically, that's a nice-ass piano. And his voice--his voice.
We need to talk about his voice, but I don't know what to say. I like it. I love it.
James: Oof. Trying to get my life together, right now, in this moment,
so that I can speak Melissa: Shook. James: and give good commentary. His voice is really great.
So...
Melissa: I agree. James: Specific things that I liked about it: He has a very kind of breathy, warm
timbre that stays
present no matter where in the range he's singing. Melissa: Yeah, evenness through out the registers. James: Yeah.
There were some really, really lovely low, bassy things that were warm,
kind of like (imitates)--that kind of sound. But even when he went up into his head, in his chest
in his mixed in his falsetto, it was still there, and he had so much control over it and he really used it. He's very, very
accomplished with his instrument. I mean, it's very, very clear to me
that he knows what he's doing. And it was just like a really pretty,
pretty tune, and the lyrics got me too. Like that's so relatable, when you have a relationship and things are going well,
and you know, sometimes that can change and things can get worse, things can get better, but you always to have that vision of how it was
in the back of your head can really suck sometimes, so I totally,
totally get the sentiment for the song.
Elizabeth: Even just like the simplicity of the music video,
it's like, focuses on the way that he uses his voice in an expressive way as opposed to like setting, and Henry: Um-hmm.
chords, and
like heavy orchestration. I feel like the focus in this
is drawn specifically to him, because it's just him singing and moving around and walking around in this,
you know, it's sort of like a dawn setting
in the desert. And so having him be like the focus of attention
visually and also aurally, we really get to hear the expressive qualities of his voice, and you know,
he does have a killer voice, Henry: Um-hmm. Elizabeth: so it works,
I mean, it's always a struggle when you try and take like a mediocre vocalist and
Henry: Yeah. Elizabeth: put them in this context. But because he's very capable of using dynamics and expression,
and has really good musical sense of time, like he knows when to pull back and he knows when to like,
wait for the resolution a little bit, I think
he has very good musical instincts, as well. Henry: Yeah. Yeah, I agree with his individual capabilities.
I have got no questions in that area.
Again, like you said, it's, you know,
it's a formula that works, but at the same time, if all music was about formulas that worked,
I really feel like we wouldn't move forward
And so, yeah,
there were like a lot of things that worked that we were able to recognize. I think part of the problem was it was
four chords on strong beats for so much of the song.
It's not that I doubt that it meant something to the person who wrote it,
I just wouldn't turn it on and listen to it.
Elizabeth: I think I'm coming at it from a different perspective because I'm very interested in minimalism,
Henry: Yeah, okay.
Elizabeth: and so the movement of minimalism and music was all about
simple beautiful harmonies repeated over and over again, with like simple repeated rhythmic fragments, and so the interest
lies in these pieces in like the development of the patterns, and over time. It was
directly in reaction against like
serialism, and like Henry: Um-hmm.
overcomplicating music, and trying to control every little thing and just make it sound really wild.
It was really about like taking things away so that you can see the beauty of what's left.
And I think that's definitely the idea here, is you know,
taking away a really bright and colorful and super distracting video, and taking away
super crazy modulations,
and you know, really odd-sounding chords and taking away
syncopation, and
like crazy rhythms, so that we can really focus on the one person and his voice, and how that develops over the song.
Isaac: Wait, so you're telling me he got off the car to sing, and he came back.
What a guy.
Kevin: There's something very clever about the chorus of the song where he sings the tonic, which is ohhhh,
and he holds it, and the chords change underneath him.
So like, the relationship of that note changes as the chords change,
so it's really cool. And then he sings da-da-da-da-da--DA.
Instead of 5-4-3-2---1, it's 5-4-3-2
Both singing: Six
Kevin: So it goes back to minor.
It's like a melody that is fully aware of the chord progression that it's using and it's just very,
very well written in that sense.
Charlotte: There's something to be said for
something that is pure and simple and beautiful and that's what this is.
Because we're in the arts to connect with the emotional side of humans.
I mean, though there are some people that take music and they want to, you know,
go into the analytical side, and the mathematical side, you go to atonal serialism, blah, blah, blah, which is fine too, but for the everyday person,
music is more of an emotional thing, and I think that taps in to that specifically.
Peyton: Also, I think there's
something to be said about great melody writing. Like all of the lines he's saying, if you were to like take them out and on play them on piano,
they'd be freaking beautiful. I mean they sound great in this voice, too,
but I feel like you'd really be able to tell the way over the chords. None of it was too,
I guess, predictable, you know? They found another way to create the wheel, you know, or more so,
you know what I mean?
Like it's still using the same notes that we always use, but just in another way and it was interesting.
It was captivating. And the simplicity in it, from a melodic standpoint,
was just the fact that like,
he'd sing a whole chorus and then all the lines were coming down, and then he'd sing a whole chorus and
all the lines were going up. And it's simple, but that's the thing,
people really underestimate the power of repetition. If you keep feeding the same idea to someone, they're gonna start really buying into it.
Look at bars, I mean,
you'd think you'd be tired of it by the end, but like when the whole orchestra comes in at the end, it's like,
(singing) you're just like, your whole body's just like, f*ck, yeah!!
Charlotte: Yeah.
Hello everyone, I'm Umu, React to the K channel creator, and I'd like to thank you for watching this video.
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