Stephen: Oh, man! See, that patch right there. Yeah, you know it! Seiji: Unbelievable. Stephen: Oh, it's so cool.
Now you are reacting to a girl group called Cosmic Girls,
and this is their second 2018 comeback, called, 'Save Me, Save You'.
Jordan: The song is composed by Full8loom, and the lyrics are co-written by
member Exy. Taking a cue from the album title
'Would You Please', the
singer is asking the listener to open up to her.
Umu: By sharing their stories and their secrets,
they can save each other from the pain and sadness. This song features 10 of the 13 members, as the Chinese members are currently promoting
for Rocker Girls in China. Kevin: mm.
Lindsey: Ready? Fiona: Yeah. Lindsey: Three, two, one.
Stephen: That looks really cool. I love space. That looks cool. Seiji: Yeah, I'm kind of trippin' out right now. Not anymore.
Lindsey: Whoa.
What?! There is a descending fifths line going on in the background.
In the bassline. It's super bizarre.
Stephen: Man, those synths, dude! That was sick.
Seiji: Yeah, whatever studio they're using, they're well set up. Stephen: Yeah. Seiji: Really well set up.
Kevin: It's amazing how strong a picardy third can sound
when it's handled well.
Elizabeth: Do you hear the like, very quiet electric guitar in the back? James: Um-hmm.
Elizabeth: It's like, super syncopated. James: Yeah.
Elizabeth: Whoa, yeah, let's have that modal mixture.
Seiji: Yeah, this stuff's cool though, cuz there's like so much going on, you know,? Sephen: Yeah.
Elizabeth: Let's have that seventh chord.
James: Super cool bass line. It's like kinda hard to hear, it's so low.
Elizabeth: Whoa!
Chromatic ascending line in the bass.
Fiona: It's so like, mystical and magical sounding. Like, you can hear all the magic-y sounds, like (singing) , like wind chimes. Lindsey: Yeah.
Fiona: Really sprinkly sounding effects. Lindsey: Yes.
Elizabeth: Gotta love those applied dominants!
Kevin: I like the upwards chromatic thing.
Lindsey: So it's like a little transition into the verse there.
Fiona: Um-hmm.
This part is all like wa-wa-wa-wa. Lindsey: Um-hmm.
Fiona: Very cool voice. Lindsey: It's very....whoa.
Fiona: Um-hmm.
There's something about this song that's like putting me in a daze, almost. Fiona: Yeah.
You're like, wha...?
Seiji: So many deceptive cadences going on. Stephen: Yeah, seriously. Seiji: It's awesome, though.
Lindsey: You can hear like, the bass line
is like doing a descending fifths-type progression, but it's not an actual sequence,
it's just like, Fiona: It's just like, hopping around. Lindsey: it's a harmonic sequence but not a melodic sequence.
Fiona: Mmm.
Oh, man! See, that pad right there. Yeah, you know it! Seiji: Unbelievable. Stephen: Oh, it's so cool
Seiji: Also the time. Just time that he plays that thing in, it's crazy. Stephen: (singing)
Elizabeth: That chorus ends in a hemiola triplet. James: Um-hmm.
Elizabeth: Which is so interesting, because like the very end of the chorus is disrupting the meter. Stephen: Yeah.
Seiji: All right.
Lament bass.
Lindsey: Ooh, I like that girl's voice.
Fiona: Yeah, she's the coolest. Lindsey: Yeah.
Stephen: 16 note accompaniment in the background is like, really cool. Seiji: Yeah.
James: I love that little arpeggiating, little sound effect they have going on. Elizabeth: Yeah.
If you like really listen into the
the texture of this, there's always some like,
electric guitar or
synth, like
doing some very interesting
rhythmic patterns. James: Yeah. Elizabeth: So it's very quiet and subtle, so it sounds very fluttery,
James: Mm-hmm. Elizabeth: and you don't really like hear Each individual note, it's just like the effect of it. James: Mm-hmm.
Isaac: (whistling)
Kevin: Ooh, it doesn't end on a picardy third. Nice.
Fiona: Ooh, crap. What happened?
Lindsey: I have absolutely no idea what that was, at all.
Kevin: I think the secret to this song, and why I think the Picardy thirds work
so well is because a lot of songs merely rely on the picardy third for the surprise factor,
but this song doubles down on it by adding a bunch of cool synths--a lot of fade-ins and fade-outs,
and sometimes they even add synths to the chord before the Picardy third so that
there's an extra kick to it, and I think that's really cool. There is a WJSN sound, and I really dig it.
Isaac: There's so many people that you have to like balance out,
it's like, give them their airtime, and I think listening to it, it's like, they sound very similar in timbre,
which is good in some way. Because that way, you don't have too many
variances or differences between those. It's just like, it sounded very
bland, in the sense
it's like, well, you have the similar girl group traits--you have
textures where you just have the soprano line and just the bass line,
and no middle, and maybe the middle comes in later, and then you have this calling and response.
But you have lower timbre or lower register, and then you have higher timbre, and it's just like back and forth.
But it was nicely executed, so it's like, I enjoyed it.
James: I thought the sounds, like the particular sound effects that they chose to use, both for the like percussive effects
but also just to kind of like throw in some samples in there, some like,
little random things, was actually really nice. Like that sound we were talking about, it's like a wah-wah kind of sound,
that kind of was incorporated into the beat in that at one point,
it was just arpeggiating like, in a really interesting kind of progression really quickly and quietly--
I thought that was a really interesting choice to use. And their voices were nice, too.
Like, they were sitting pretty high, and it was that very Pussycat Doll kind of really girly, kind of like, Elizabeth: Ethereal.
James: Yeah, like ethereal kind of color. Elizabeth: Um-hmm. James: And actually, the harmonies that they were using, just singing together at some points,
it was like really kind of understated, and not kind of in-your-face, but they were really nice harmonies, nonetheless. I liked it.
Elizabeth: I just thought it was interesting how like, most times the chorus would end on a
hemiola, so what that means is like, if the beat is in four, the
thing that the singer is saying is not lining up with those beats. James: Um-hmm. Elizabeth: So like, in this instance, it wasn't
duh-duh-duh, it was duh-duh-DUH.
So, you can see how the meter doesn't line up with the big beats that have been established by the song before,
so it makes you sort of question, like, oh,
James: What's happening? Yeah. Elizabeth: where is the beat, what's happening? And so,
like, if this is a song about them trying to save each other, I don't know what that means.
James: Yeah, it's definitely really interesting
Fiona: I think overall, I'm confused. Lindsey: Like, there was a lot of modal mixture happening,
but bass line didn't change throughout the entire song, Fiona: Um-hmm. Lindsey: It kept going over and over again, and like,
there wasn't a lot of variety.
Fiona: At the beginning, I liked the (singing), Lindsey: Yeah. Fiona: like there were these scale things in the background. That was cool.
I liked the girl who went like that with her glasses. Lindsey: I liked the rapper. I liked the rapper.
Lindsey: She's cool. Fiona: Yeah, the rapper's super cool. Lindsey: Yeah.
Seiji: I think it's pretty awesome.
Like, there was a lot going on and maybe that's just me wanting to kind of get bombarded by all sorts of change and different things.
I thought the the melodies were
well-designed and the things that were going on were well mixed and balanced, so they weren't really overpowering what was going on.
For instance, the bass line that we were freaking out about was in a transition place.
Stephen: Oh, man.
Seiji: So,
Stephrn: Yeah. Seiji: that's something that you know, is a really good place to put something like that, and a good way to kind of like
propel you into this next section.
And each section had something different in it, like the 16th note section that Stephen was talking about. I thought it was really cool.
It was well developed. Stephen: Yeah, I mean,
I think this song is a perfect example, because there are other songs that we've listened to where
they just try to throw everything, and it's too arranged, and it's kind of like, oh, my goodness. It's overload.
It's a mental overload.
But I think this is a great...because we had mentioned this earlier in the video, like when it started the challenge of having enough
ear candy, if you will, and just having the song be heavily arranged enough to where like
it keeps the listener wanting more and wanting to continue to listen to it,
but having to do it in a musical way as well,
I think that was an excellent example. One thing that was refreshing is it wasn't necessarily super
predictable. There's always some sort of predictability. But sometimes in a pop song where you know, like you kinda already know what's gonna happen,
it's really nice when they subvert your expectations, whether or not
it's how they accompany a vocal line. Like with the 16th notes,
you don't hear a lot of that, because people would be like, oh, that's you know, too busy, or something like that, but I really enjoyed it.
Hello everyone. I'm Umu, React to the K channel creator, and I'd like to thank you for watching this video.
I really hope you enjoyed or learned something from it.
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